Zaides and his co-creator Itay Weiser created a very special dance in white costumes by dalia lider, accompanied by precise and excellent lighting by Jackie Shemesh.
The movement in the piece is extremely personal, deriving from the dancers, each with his own personality and in search of a way from the inner to the outer. there is no story, but rather an individual existential situation, albeit portrayed by a group, or in the background.
The creation takes place within a restricted white surface, shaped like a trapezoid, which is accentuated with the lighting – emphasizing that which is open, and no less the line distinguishing the inside from the outside.
The five dancers do not move in the conventional manner of dance. Their dancing is built of small hand, leg and head gestures – even when the entire body is in perturbation or physical occurrence – much like a multi-angled mirror of inner struggles, painful or exiting.
This is a very strong piece, original, creating a strong tension between stage and audience, and does not allow you to remain indifferent.
by Zvi Goren, Habama, December 2004, Israel
“Zaides, who until recently was a member of the Batsheva dance company, creates a mature piece.
At first the dancers dressed in white are coiled over in pain. Their movements are rough, avoiding each other’s faces, as if they are attempting to erase contact. The electronic music repeats itself in an endless and uneasy loop.
In pairs and single they make their way to a golden light and silence. Slowly they shed that which is trying to stick to them – madness or desperation. Instead of distorted contact, a couple now stands in the soft light, holding hands, eyes closed. The white light makes place to the gold, as one of the dancers makes her way slowly on her back, until the last of the kicking dancers also succumbs to quietness.
A thin blue light replaces the gold. “Pleasure is the secret”, Zaides quotes Makjalshan, and the secret is “to cease speaking, and to listen…”
this is a very good and intriguing creation.
by Gabi Aldor, Ha’ir, December 2004, Israel
“At first glance, movement seems restrained, hesitant. But as the performance progresses, Zaides exposes his audience to light shades of emotions, formulated movement, measured, expressive of a mental state. Set to a monotonic electronic and well edited sound – the dancers move in a introverted manner, educating, troubling. This is not an easy piece to watch, like the personal confession of a creator loyal to the original. an intelligent and brave creation…”
by Ido Dagan, Zman Tel Aviv, December 2004, Israel
“On a black stage, with an asymmetric white linoleum square in the middle, lay five bent dancers. Movement has begun before the eye can distinguish. Body touches body, head pushes hand, and it seems the movement has a life of it’s own, stronger then the will to control it. Five bodies share one space and attempt, each in his own way, to extricate something that insists on staying in, as if trying to get rid of an obsession. Zaides’s lines are clean, which is also true of the stage design, costumes and movement itself.
It’s difficult to distinguish whether the dancers deform in pleasure or anguish, but that line, fine and deliberately unclear, leaves the audience attention.
As his previous creations, this is also an abstract piece that makes use of sharp and mechanical movements, yet at the same time very emotional and sensual. At the end of the piece Zaides brings together all the edges of emotion that unfolded throughout and allows, for the first time in the evening, the calm to return.
by Merav Yodelevitch, Ynet, December 2004, Israel
Zaides’s foremost objective here is a search for inner truth, a process that requires reflection. Although the dancers used contrived movements, the work is precise, sensitive and leaves an optimistic trail where communication is an option.
by Ora Brafman, The Jerusalem Post, July 2005, Israelback to press