16 September 2019
by Ora Brafman For Rikudibur
A few seasons ago, I saw the solo Am I in its first version by the choreographer Michael Getman, created for Talia Paz. Even then, it was a relatively rare opportunity to see Paz, who had returned to Israel after an impressive international career. Talia had already been a well-known and respected dancer when she performed with the Batsheva Dance Company.
After leaving Batsheva at the beginning of Ohad Naharin’s tenure, she joined Scapino Ballet Rotterdam, danced for many years with Cullberg Ballet, and later, for a shorter period in London with DV8 Physical Theatre.
Photo by Oren Mansura
A few seasons ago, I saw the solo Am I in its first version by the choreographer Michael Getman, created for Talia Paz. Even then, it was a rare opportunity to see Paz, who had returned to Israel with an impressive international career behind her. Talia had already been a well-known and highly regarded dancer from her time with the Batsheva Dance Company. After leaving Batsheva at the beginning of Naharin’s tenure as artistic director, she joined Scapino Ballet in the Netherlands, danced for many years with the Cullberg Ballet in Sweden under the acclaimed choreographer Mats Ek, and later, for a shorter period, in London with DV8.
Back to Am I: Talia is on stage at Inbal Hall. Even in the opening moments, as she stands in fifth position on a slight diagonal to the right, stretching her arms overhead, it is clear that she is about to enjoy the evening no less than we are. She has gained an added degree of expressive freedom, demonstrating precise control of timing in moments of stillness—so much so that she can detect and activate the subtle humorous element that emerges, then release it into the hall. And people respond.
I do not remember all the details of the original version precisely. Still, in my view, her performance in the current version not only matches the original—it surpasses it in the precision of the material. The work appears cleaner, less dependent on external sound support, and less driven by visceral outbursts that, while effective, are now more restrained—such as effort-induced vocalizations. To the best of my memory, the work today is quieter, more distilled, and free from some of the exertions of the past.
Photo by Oren Mansura
A few seasons ago, I saw the solo Am I in its first version by the choreographer Michael Getman, created for Talia Paz. Even then, it was a rare opportunity to see Paz, who had returned to Israel with an impressive international career behind her. Talia had already been a well-known and highly regarded dancer from her time with the Batsheva Dance Company. After leaving Batsheva at the beginning of Naharin’s tenure as artistic director, she joined Scapino Ballet in the Netherlands, danced for many years with the Cullberg Ballet in Sweden under the acclaimed choreographer Mats Ek, and later, for a shorter period, in London with DV8.
Back to Am I: Talia is on stage at Inbal Hall. Even in the opening moments, as she stands in fifth position on a slight diagonal to the right, stretching her arms overhead, it is clear that she is about to enjoy the evening no less than we are. She has gained an added degree of expressive freedom, demonstrating precise control of timing in moments of stillness—so much so that she can detect and activate the subtle humorous element that emerges, then release it into the hall. And people respond.
I do not remember all the details of the original version precisely. Still, in my view, her performance in the current version not only matches the original—it surpasses it in the precision of the material. The work appears cleaner, less dependent on external sound support, and less driven by visceral outbursts that, while effective, are now more restrained—such as effort-induced vocalizations. To the best of my memory, the work today is quieter, more distilled, and free from some of the exertions of the past.