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Sharon Eyal
Dancer & Choreographer



She has her own unique language, knows exactly what she wants to say, and succeeds in doing so. And, as always, Eyal is hypnotic as a performer noble and wild.
Yediot Aharonot


Press Reviews



























Pictures from "Shalosh" and "Telofaza" by Ohad Narin. Photographed by Gadi Dagon


Born in Jerusalem in 1971, Sharon Eyal has been one of the spectacular dancers of the Batsheva Dance Company since 1990. During her time there, she developed her talents as a choreographer, becoming so adept that she was named associate artistic director in 2003 and 2004. In 2005, Sharon was invited to serve as Batshevas house choreographer after her talent and unique voice became evident- a position which she successfully has been holding since. Eyal is such a productive choreographer that within an extremely short time she developed into an influential figure on the Israeli scene and has rapidly been gaining international recognition. Among her creations for the Batsheva Dance Company and the Batsheva Ensemble: You Got to Live, Pan (2001), Ink (2002), Static (2002), After Love (2003), Love (2003), Quiet Village (2004), Part II (2005), Bertolina (2006) and Makarova Kabisa (2008).
 

In her works, Eyal challenges existing norms and rules and offers an unusual and innovative movement language. Eyals creation process is extremely compelling due to her ability to lead each of the dancers to his/her unique expression.

 

In the last few years, Eyals impressive reputation has been generating interest from choreographers and dance companies outside Batsheva. Solo dancer Talia Paz has been performing excerpts from love in her performances around the world and since the beginning of 2009, has been performing One leg Barbie, a new solo work created for her by Eyal.  In 2009, Eyal created Killer Pig, a new work for the reputable dance company Carte Blanche from Norway.
 









Press Reviews:
 
Batsheva Dance Company: Breathtaking:  One almost believed he was in the jungle, in a warm place, physical, tribal a breathtaking performance.In Bertolina, the choreographer at home of the company, Sharon Eyal, discards the choreographic conventions in order to return to the source dancing: movement and energy. From the beginning to the end , she does not leave any breathing space to the spectators, and they do not complain One can affirm that the Batsheva Dance Company has left behind her an indelible trace. The spectators have been moved, troubled, and breathtaken by what they saw.
Daphne Bedard, Le Soleil-Quebec
 
Bertolina Sets the Maisonneuve Aflame: The 36-year-old choreographer, active in the Israeli company of international scale for 10 years, claims herself a worthy heiress to the renowned Ohad Naharin Brilliantly orchestrated, the group scenes magnificently build on the vigor of the number and the weight of the masses opposite the individual.
Christian Saint Pierre, Arts de la scene, Nov. 23, 2007     
                  
A Menagerie Gone Wild:  Imagine that Manet´s beautiful Olympia should come down from her bed, and start dancing with fury. Or that the "dejeuner sur l´herbe" was caught a little while later, in the middle of the orgy that is starting under the wondering eye of the painter. You will then have an idea of the freedom that the choreographer, Sharon Eyal, has captured in order to brush her dance painting. They are 20 magnificent interpreters, invading a black canvas, intense, black, deep, and the beautiful Sharon Eyal among them, superbly feline, nearly naked, captures all the glances."
Guylaine Massoutre, Le Devoir
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