WITH PLEASURE

"People use each other

 

 To heal their pain.  Each puts the other

 

 On their existential wounds,

 

 On the eye, on the nakedness, on the mouth, the open hand

 

 They grab one another and will not let go."

 

 (Yehuda Amichai)

 

Performance: Inbar Buchbinder, Yuval Finkelstein, Gal Gorfung

and Gilad Jerusalmy.

Artistic directors: Dana Ruttenerg and Oded Graf

Music: Roey Hazon

Dramaturgy: Sahar Azimi

Lights: Ofer Laufer

Premiere: 28/12/2020 Curtain Up Festival

“With Pleasure by Olivia Court Mesa actually succeeds in touching the real.

As as a matter of fact the real, the material, the weightful body, is the one that is in her center. The piece stretches too long, but it demonstrates that Court Mesa is a unique creator, with a clear and fresh voice, that presents a distinct solid movement language - not of little importance. The four dancers in her creation treats each other's body as it were an object - they test, measure, weigh and use one another in a drama-free act. In other words, they perform estrangement of the body.

The estrangement, as the literature investigator Victor Seklovsky claimed, returns things their aliveness. In this piece, through the estrangement, Court Mesa succeeds in bringing the body back its body quality, actually in a time that the physical presence has become a mediator, pixelized, blinking. Not once is she doing that by placing the dancers in danger; in one of the moments in the work Inbar Buchbinder is on her knees and falling to her face when her hands are holding each other behind her back. A moment before her nose slams that floor, Gal Gorfung holds her shoulders and prevents her from crashing. In another moment Gorfung stands and lets go at once his body and drops to the floor, only then, in a precise and impressive timing, Yuval Finkelstein and Gilad Jerusalmy are holding his hands a moment before his body hits the ground. The actual danger sharpens the viewers' awareness to the dancers' real body and actually also to their own body, which cries in empathy at the view of the possible impact. Thus Court Mesa sharpens the relationship between the dance and its viewers, through the body that we all share.

This body, that we are all now witnessing its vulnerability, is not only a source for pain, danger or fear, but also for pleasure...”

Ran Brown.

Haaretz Newspaper