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Am I

Am I is a personal creation for the Dancer Talia Paz.


The dance movements are all part of Talia Paz’s personal movement material she embodied and performed in the last 20 years. Various forms of expression stretched from Ohad Naharin to Matz Ek’s significant style, from Stijn Celis to Sharon Eyal’s extreme body languge, are being re-visited and examined by Talia Paz.

De-constructing the text of the famous tune from the chorus line ‘Let Me Dance For You‘ into fragments of words and breathes, allows Talia to reformulate her artistic presence and skills.

Straddling the line between personal physicality to spoken text and the uncertain relations evolving on stage between these, triggers Talia Paz to challenge her current physical and emotional state.

A paradoxical landscape is created, shifting between the tragic and the comic, between the gaze and the hearing, between the said and the done and between the body’s desire to master the craft and to lose power and form.

The piece premiered at the Gala performance 'Age on Stage' October/2015 - Stockholm La Rival Theatre.

The creation enjoyed the support of the Israel Lottery Council For Culture & Arts.

Concept: Michael Getman // Talia Paz

Performance: Talia Paz

Sound: Michael Getman

Original Light: Tobias Hallgren // Tamar Or


Special Thanks to Charlotta Ofverholm


Talia Paz is a wonderful example of a mature dancer who is completely aware of her body, her age, her physical abilities and their limitations.

Choreographer, Michael Getman, crafted especially for her, an intelligent solo piece that tells the story of a character, a dancer who crossed the red line - that is, the age of 45. on stage she offers moments from her daily routine in which the body is aware of its pains and strains - before it warms up.

Every movement of the joints and limbs is a battle against rigidity and resistance of the muscles, tendons and the skeleton as a whole. As a dancer, she knows, that her body needs to be systematically and consistently appeased and indulged until it tempers.

Getman used a lot of Talia Paz’s personal idiosyncratic expressions and exaggerates them. He encourage her to breath loudly, and moan. As time goes by, she repeats the same phrases and fragmented movements that she dealt with, in various ways over and over. We witness how the movement itself is improving, the body slowly defrosts, while her moans had long assumed their right to shout. A self- flagellation of sorts.

Getman, and Talia Paz under his guidance, are well aware of the two parallel channels: The movement enhancement and in parallel, the increasing level of complaints, expressed in many different shades of “krechtz” (the Yiddish word for fuss or grunt in pain), as a protest against the price she has to pay.

In the midst of conflicting emotions and entangled level of coping, Talia’s image does not forget what all this suffering is for. She raises her head and assumes a proud position while she announces:


Yes Talia, you are a dancer. Hell yeah!!”
Ora Brafman - Dancetalk

"This tragicomical solo dealing with the psycho­ and physiological identity of a dancer. And she was simply fantastic."

Petra Dotlacilova ­- Tanecniaktuality

"A sober and sobering dance, which incorporates a rare self-consciousness, a wonderful talent and a healthy humor.”

Merav Yudilovitch