This photograph is from a dance work called Shalosh (Hebrew for “three”) by Israeli choreographer Ohad Naharin.
I love the photo. I like the skinny, long-legged girls. I like the nervous tension, the skewed angles, and the extreme tilt of the head. Here is a choreographer who has found new ways of moving. He has reinvented the wheel.
I got to chat with Naharin in advance of Batsheva Dance Company’s performance of his newest work, Max. We get Max at UCLA Royce Hall this weekend. It then moves to New York’s Brooklyn Academy of Music. First Los Angeles, then New York. We like that. 
What is very Naharin-esque in the photo is the grindingly deep way the dancers are moving. You don’t choreograph shapes like that from the top down. You arrive at them from deep within, from the inside out.
Ohad’s jagged edges remind me a bit of Picasso’s portraits of women, at right. Or, dare I suggest, Modigliani?
Here’s a link to my interview with Ohad Naharin in the Los Angeles Jewish Journal. Please enjoy.
It sounds like you enjoyed your interview with the man, as well. Nice casual tone in the piece, funny use of Yiddishisms and reference to the good Jewish children. Let’s talk post-Sunday.
Keith
Hi Deb, your blog looks fantastic! I love the comparison between the choreography and Picasso’s portraits of his lovers.
Great images!
Hope you are doing well!
Lauren
Ohad will be teaching a “gaga” class at New York’s Peridance studio on Tuesday morning, and offering a talk and a demonstration about it Tuesday evening at BAM, prior to the Brooklyn run of “MAX”….