RED
Many many people have passed through the barre, mainly women, men stand a different way at the barre. One starts at the lower barre usually which is painted gold and works ones way up until one reaches the top barre.
There, one remains in definitely or as a classroom dancer or as a professional that essential needs the barre for technique and support and correction and then goes on to perform. the barre is a central figure in the life of any dancer and stands erect and place and firm either on the wall or on its feet. It is universal. It is a universal apparatus, a universal installation that, in this work, is both sculptural and physical, lending itself in line, sculpture, and essence.
I have always been interested in the barre, began @ 3 holding on….i was born at the barre.
The work red has a history and a process of work.
The idea of defying gravity and moving parallel to the floor is possible by sliding across the barre, creating a visual effect of a dancer pulling herself along in a different dimension.
In my programme Mi-Le-Ma-la, I used this idea but did not develop it. When I created the Red Ballerina solo, I took the idea of a ballerina being born on the barre, lying in a fetal position, and unfolding on the barre wearing a red tutu. I then took 2 minutes of the solo from Mi-Le-Ma_la and created a new solo of 7minutes. This was performed at the festival for women in Holon at the college open stage for dance and in Poland this September, representing Israel at a dance festival.
After having worked on it, I saw the possibilities of making it a richer, fuller idea using 4 women, making it a pas de quatre. The idea of 4 women that have passed through their barre or a barre learned the disciplines and have branched out into different fields, maybe in dance or other but still remember to have memories passed … and so it is a pas de quarter of 4entirely different beings and bodies coming together and constructing together with the barre a theme of movement that has a common core.
Red…..is again a universal name and color that I chose in abstraction. Red tissue, red material, red sock.
REVIEWS
"DDC’s work “Red” is inspired by everyday human experience... [It] is striving to new challenges that go beyond ballet and dance theater, achieving a unique language loaded with power and extraordinary technical mastery, and a particular ability to combine two strong elements, comedy and drama."
“Mercurio”, Cuenca, Ecuador, March 2008 (translated from the Spanish)
"[DDC's "Red"] unravels the complex sensitivity of women. … [It] is maximizing dramatic elements in dance, creating a mood which is both mysterious and humorous."
“Artzin” newspaper, Seoul, Korea, October 2008 (translated from the Korean)
“Echoes of Pina Bausch”
Claudia La Rocco, The New York Times
“A cheerful piece … treats dance as a clever outlet for serious fun, with a great measure of imagination.”
Ora Brafman, The Jerusalem Post, August 2004
“Reminds one of the films of Fellini and Almodovar, by touching on the fringes of the grotesque in a woman’s existence.”
Merav Yudelevich, “Y-net”