Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Hofesh Shechter Company

La reprise de Theatre of Dreams de Hofesh Shechter au Théâtre de la Ville emporte le spectateur corps et âme grâce à ses dynamiques intenses et ses images poétiques.

Theatre of Dreams is a sumptuous smorgasbord of dance theatre rich in visual imagery and lingering in one’s imagination indefinitely.

After a slow beginning, the work gathers pace, thoroughly engrossing the audience in its exhilarating, foot-tapping momentum.

Hofesh Shechter Company are a tremendous ensemble, performing with pinpoint accuracy whenever in unison, and more-or-less continually in action for over 90 minutes.

Quatre ans après sa première mondiale, Grand Finale d'Hofesh Shechter est de retour à la Grande Halle de La Villette portée par une nouvelle génération d’interprètes – remarquablement brillante.

Shechter is back to his finest form with this Waltz for the End of Time.

Juan Diego Flórez perhaps is the only one currently able to revive the virtuosity of the role created in 1762

It’s easy to feel like the world is on the brink of oblivion sometimes. 

Avec Grand Finale, Hofesh Shechter présente un état convulsé et régressif du monde. Grand Finale est un point de rupture, l’apocalypse d’un monde qui chavire dans la violence, et probablement le travail le plus abouti et saisissant de Hofesh Shechter à ce jour. 

Barbarians is a beautiful and disturbing exploration of intimacy through dance movement that creates intimacy between choreographer and audience. It is an extremely personal and powerful production.

Juan Diego Flórez turns in a tour de force in the title role of a consistently attractive and inventive performance of Gluck's ballet-laden Orphée et Eurydice.

Avec Barbarians, nouvelle création du chorégraphe anglo-israélien Hofesh Shechter, le Festival d’Avignon accueille un peu de danse au sein d'une programmation autrement « In ». Choc entre animalité et éducation, Barbarians doit être lue comme la confrontation brutale d’individus primitifs soumis à un dressage coercitif du corps.

Six budding choreographers show five unique dance pieces and one enthralling film in the third incarnation of In Good Company at The Place, London this weekend.

Known for having a unique talent for creating darker, perhaps aggressive, choreography, Hofech Shechter brings SUN to the Warwick Arts Centre in Coventry, England.

Almost exactly a year ago, Hofesh Shechter Company graced the stage of Brooklyn Academy of Music’s Howard Gilman Opera House, with the choreographer’s explosive Political Mother. Bringing a deafening sound score (the audience was handed ear plugs on their way to the auditorium), vigorous dancing and impactful political slant, that work remains a highlight of BAM’s 2012 Next Wave Festival.

Hofesh Shechter is a choreographer known for creating potent dance works, which reflect on the nature of power and its impact over the individual. Following the line of his previous Uprising (2006) and Political Mother (2010), Sun (2013) is a complex, dark and pessimistic meditation on evil and its shattering effects.

Often, the audience waiting in the hall reveals something about the show you are about to see. On this occasion, already on entering the theatre, one can smell the excitement in the air. Sadler’s Sampled presents Political Mother: The Choreographer’s Cut by the Israeli-born Hofesh Shechter.

Hofesh Shechter is a choreographer who uses dance to make powerful statements in quite an oblique way. He does not define a storyline or delineate strong characters that can catch the audience’s sympathy. Rather, he combines the theatrical elements to suggest ideas and create moods, presenting them in disjointed fragments that the audience must put together after reflection.