Works

Commissioned by Inbal Dance Company, as a part of ‘Quarter of a Moon’ - an evening composed of four duets by four different choreographers.

Photo: Tamara Dekel London

Created for St. Gallen Dance Company

https://www.instagram.com/stgallendancecompany/reel/C6g1hDHIwuW/?locale=bz-hans&hl=am-et

https://www.instagram.com/p/C7hLXdVoKrJ/?locale=bz-hans&hl=am-et

GoteborgsOperans DansKompani

Waltz with the Beast was created in collaboration with GoteborgsOperans DansKompani.

The work builds a collage of fragmented narratives on stage, through both physical and theatrical acts, inviting the audience to feel, reflect, and reimagine. It exposes matters connecting us all through a non-linear lens, celebrating our clichés, chaos, suffering, grief, inside heightened physicality. It touches on being as sea, on our love for music and drama, on the violence and beauty in existing.

We constantly curate our best selves - that seems to be how we navigate the time in which we are living – bringing upon confusion and disorientation. In that regard the work offers a multitude of questions, both explicit and hidden for the viewer to sit with. It does so with humor, sarcasm, lightness, and vulnerability, inviting us to get closer to an unpolished nature of ourselves.

Iceland Dance Company

The Simple Act of Letting Go is a performance by Tom Weinberger in collaboration with the Iceland Dance Company, depicting a primary, fundamental action. 

It takes place right here, right now, but also off the coast of Portugal. That is how she remembers it. Following a pulse, we move through a non-linear journey composed of autobiographical and fictional truths. 

Side by side, with time leaking, we listen. 

Photo: Axel Sig

Tanz Luzern

Aye Aye Captain is an absurd piece. It is based on a thirty three page script and includes ten performers, ten microphones, and three pieces of music.

It moves between a rehearsal and a performance of a hybrid dance-theater-play. We build and demolish castles of drama one time after another. Over and over again.

 We have a host and a ghost, an old man by the sea, and someone who used to be a dreamer. We dance to the sound of the theremin and hold hands with an assortment of cliches and universal fears.

We inhale and wait for the music.

Originally created for Tanzluzern

https://vimeo.com/760806261

Photo by: Ingo Hoehn

NSP2

Every body carries a tragic fragility, an unwavering strength. While each individual story varies, there is a deeper narrative we all share. You Know this Song is a highly physical, theatrical dance piece that leans into tragedy, loss, and the beauty that lives in grief. It invites us to recognize and sit with the shared experience of being human. Bleeding together fragmented portraits, familiar lyrics, movement, and a strong cinematic aesthetic, the work offers a window through which we can see our own reflection, traveling through the vast landscape of emotions.

The melody shifts, the lyrics change, yet we all know this song.

Performers: nagelhus schia productions

Photo: Antero Hein

NDT2

Created for ten dancers of NDT2, The most fascinating problem in the world is a piece constructed to the lecture the Myth of Myself by Philosopher Alan Watts. The performers give life to the ideas brought forward by Mr. Watts as they illustrate them with their bodies, seeking to bridge between the text and the observer. Using the musicality, mannerism and humor in Watts’s speech the performers offer both light and intense physical interpretation for the themes brought to surface by Mr. Watts. Finding ways of expressing an ever pungent point, that all that exists is related to, and is a part of one whole cosmic weave.

“I believe that if we are honest with ourselves, that the most fascinating problem in the world is “Who am I?” What do you mean, what do you feel when you say the word “I”, “I, Myself”? I do not think there can be any more fascinating preoccupation than that because it is so mysterious, it’s so elusive. Because what you are in your inmost being escapes your examination in rather the same way that you can not look directly into your own eyes without using a mirror, you can’t bite your own teeth, and you can’t touch the tip of this finger with the tip of this finger. And that is why there is always an element of profound mystery in the problem of who we are.”

Alan Watts.

Haramat Masah Festival

“The meticulous esthetic evident in every detail through out the piece, sharpens the viewers attention to the materialistic nature of things… in disguise of naive dance Weinberger throws the viewer into an ancient debate between body and language, both asking to grasp the tangible… the attempt allows weinberger to create moments of awe and exaltedness like the one finishing the piece in which the dancers are seemingly swimming between the waves of the ocean which is the world. “

“ Both Weinberger and Daskal poses spectacular presence on stage and their execution is varied and full of depth. A surprising display of dance at its best who’s ripples echo far beyond the screen”

Ran Brown, Haaretz.

"The use of sound and camera work are very true to the creation and layer it wisely" ORA BRAFMAN, Dance Talk

Photo: Kino Kitchen

A piece for five dancers. Originated in Seattle, WA with the support of Studio Kate Wallich and Velocity Dance Center. The forty five minute piece circles around different ways of painting the esthetic of disintegration. Carving it into form to dissolve it. From structures to volumes to physicality, the performers attempt to create multiple portraits for the act of dissolving, exhibiting an ever continuous stream of unfolding events, creation and destruction, never landing in finite destination yet arriving at each moment. Original music score is by Composer Matan Daskal.

Photo: Calvin H

A solo work created for and danced by David Harvey, a Seattle-based dance artist. The work facilitates a patient space allowing subtle observation and room for wander and discovery. It is an invitation for the viewer to slow down and meditate into unspoken territories.

Rove was created through a series of residencies with the support of Korzo Theater, the San Francisco conservatory of dance & Nueva Della Danza (Torino).

Photo: Tom w.

Exceptions occur is a twenty minute duet performed by Tom and Milena Twiehaus. The duet portrays a journey of encounters, where attempts and failures at intimacy are presented in different variations. Elements are heightened in an intentionally austere and silent atmosphere, with an audience in the round. The experience of the viewer is exposed as they are able to observe each other, and the dancers’ physicality is seen and heard up close. The duet premiered in March 2015 at Korzo Theater in Den Haag, Netherlands.

“…An exciting game of attraction and repulsion, reminding of the fragility and awkwardness of two young birds that haven't yet fully understood the mating dance.” De Volkskrant

Photo: Milena T.

Tanz Kassel

The piece touches on a series of encounters, facilitating and observing the act of coming together and setting apart. Tapping into the intimacy, absurdity, tenderness, and intricacy that lays within each meeting. The structure of the piece attempts to give the viewer an opportunity to listen more closely to subtleties woven into each occurring meeting. The dancers are required to tap into their most sensitive physical self in order to create a rich and coherent environment where dynamics, textures, and timings are ever changing.

“The stage - a human landscape. In the white expanse, figures clad in black, isolated like sculptures, stand still. In the background a piano, a pianist (Donato Deliano). Sounds sound, occasionally they drip into the room (composition: Matan Daskal). Very slowly, One arm rises, one foot bends. Everything seems to be delayed, but never at a standstill, because everything flows. Tom Weinberger, the Israeli choreographer who started out as a member of the legendary Batsheva Dance Company, shows all of this in tableaus full of beauty and sensuality. In “segments on notes” he forms sequences of movements with a precise structure: five lightbulbs shine sporadically into the room, the group of dancers switches to the most varied duo constellations. These are encounters, lightly dabbed on the white surface like an impressionist painter putting his colors on the canvas: two who seek and never find each other, sheltering, carrying each other, she sits on him, he carries her away, a spherical creature almost with him four legs. The flow of movement increases, becomes faster. Until at the end two dancers move in repetitive jumps across the surface in a sound space of floating tones (Bach partita arrangement by Matan Daskal) - pushing themselves off the ground, higher and higher, stronger and stronger. Consistency, but no more closeness, Paradise lost. Here someone goes back to the beginnings of dance in a very expressionistic way and brings it right into the present day”

Photo: Tom w.

Work commissioned by Ga’aton workshop, premiered in Suzan Dallal, Tel Aviv.

Photo: Ascaf