A body needs an authentic language of its own to tell the truth, one that draws its vocabulary from its diversity. Shmuel and Tomer meet on a stage.
Shmuel familiarises with his diversity, observes his own movements, learns to recognise himself. And he defines his actions in this inequality. He shapes them, dances them and transforms his movement into a bridge that invites Tomer to dialogue.
Tomer responds to the call and a duet begins between the two that emphasises the characteristics of each of them, along with the limits and possibilities of their movements, a balance that becomes perfect in the desire to support each other, without either of them prevailing or concealing the other.
In their shared desire to be beauty, to be truth.
Fridman’s works, highly physical, are based on a contact improvisation technique. This particular creation took him deep into spiritual moods, where his dancers are expected to go through various phases in search for utopian harmony.
