ah, it makes me feel like i want to put theater entire thing with it's june 20 2130 degrees in the shade. i've come to meet someone. he was always in lotion, internationally acclaimed, choreographer. bull fashion trash done. he's currently working at the theater house in germany, tasting residence with booty, dance company. i catch him on a quick break between with an artist. he is difficult to pin down. i want to know more about his princess. how does he begin? what a history of this depths in creating a choreography starting a dance business like sitting on the street with kind of what it's like wobbly, uncomfortable. yeah. you have to find am yeah, am starting of done space is, is complicated and kill taken. and i would normally try to start with what's happening now in my life. whatever comes up to my head, anything, anything, it's a bit like it starts like therapy and i see what keeps me busy. and then i kind of do the same with the world around me with a dancer as i try to fail. what's the energy in the room? and what bothers us or interest us? i'm a choreographer. so i, i'm the chef in the kitchen. i lead the so sheriffs and, you know, we get the material in the, the tomatoes, they, you know, they onions and it's all, it's great to when it's good products, we always say for a good meal, you need good product. but i appreciate the time. i'm kind of like leading the kitchen, but for this thing to happen for don supposed to happen, you need the great products who did great dance or as you need the great kitchen unit, great equipment. and i recognize i can't just do it on my own chest. this work also towards the world winning major rewards. he's a star among contemporary choreography. as his piece is a known for being willing to consist of emotion brimming with energy. i will have a fantasy about to what's the energy of the music without interference of the music . you have a strong feeling of it. and once you start writing it down or telling it to someone it's, it's disappearing. it's up and the same, i will have the feeling of the music or the atmosphere of it, and i will start recording the music. and then the work starts and i will experiment and experiment and experiment until the, until i find something that is like the, the heart of the thing. it's an incredibly subjective experience. dance and it's every moment to watch it is different. i can fall in love with something, and then really me sit and try to get the dancers to get there again. and maybe they never will because i can't feel it. power percussion action checks that took them lessons at an early age, studied music, played for a long time in a rock band. to this day, his productions are driven by strong rhythms. when suddenly everything is collapsing and, and a lot of times i think this is when the groove is coming in, when the re them is where i just go like, let's just rides this wave and not think too much and you know, part of the work and the ambition of the work is to take people on a journey where they lose their thoughts, they lose their minds. of course, we tell the audience kind of where we are, we, the audience get a sense of the, the atmosphere, the place or the, the emotion that we are kind of dealing with them. i hope is that it becomes a poetic experience. i disappear into it like a dream. one of his most successful pieces is it features typical shesta moments motif cease developed and uses again and again, evernote jeremy likes to love the cloud and the flower clown. then we're really heavy. it's monmouth, you can really get into a concert. i'm for sets. yeah. she really talks about being smoky. like having the idea. yeah. now you are a smoke or you're a balloon or it's a lot with the much a nation. so all the time we, we constantly, much in things is not your finger needs to be here or your leg needs to be. there is sola, the much nation. the movement is quite, do see if that word makes sense. like there's a lot of texture and strong and viscosity as if for dancing through honey. and it kind of morse through the bodies of the body kind of is constantly changing and morphing and going out. and it's a, it's a way to find space in the body that maybe we haven't found before. in stuttgart, whole session chesta is working with the renowned gaurtier dance company. he is known and respected i courtiers, company, for a long time. it's an honor to be guessed choreography here. so when i re came with the idea of more, like just acknowledging the relationship close, we have one ready m, which is a very fruitful one, you know, and i love the company. i love the spirit of the company, and there is a sense of fair working really hard, you know, kind of for a lot of investments from the dancers, from everybody in the same time the atmosphere is very light. it's very friendly. it's very casual in the casualness of a company in muslims for you can find something quite human actually, and this is what interests me about dance. so i don't like when it's too late. can you known that it has all the facade and the glamour? and now that's interested in that the carefully, just underneath yourself. i wanted to quickly throw ho fash. shesta has already had work staged in stuttgart. he's been math at 3 years as artist in residence. his 1st production with the goatee dance company is a re interpretation of swan lake. by the time rehearsals are over, valley, anything will remain of the classic. the world famous ballet is given the typical shape, the treatment. the idea for the adaptation came from the dance company director who wanted the original ballet to spock something entirely unique. but when every kid spoke about it in the beginning i was a bit like. busy sworn leg, but exactly, that is what's interesting for me, the conflict, the, me for the story, the, the culture around the, to the culture around what, you know, ballets and beauties. and that just makes me feel like i want to break everything. you know, it makes me feel like i want to put the theater on fire, contemporary dance as an act, that blues away the old to make way for the new radicalism is part of who, who fish. chester is. deeply in shewn with the zeitgeist. he permits different ideas of beauty. diversity for me, is it the heart of what contemporary dances? the world of ballad comes from a very particular culture, from a cultural high society, a royal courts and song. so it, it carries a very racist, i to the hearts you know, and we are descendants of classical bother we came from there. we're like the ugly sister. the point of contemporary dance is that it diversify the perspective of how we look at things. and it is essential for contemporary dance to be diverse and it is what makes it interesting and it is what makes it to reach and truthful and honest and revealing. we want to feel and believe that contemporary john says, very open the truth. these contemporary dance is still sort of owned by the middle class, you know, and it's owned by a very white audience in order to open the doors and to you know, to, to make them temper dance available for everybody. not only as an art form to watch, but to participate. a lot has to be done. the doors have to be swearing in a wide open since 2002 chairs to has lived in london and has frequently sold out major venues their job. but he also takes his work to the city smallest ages and works with up and coming down says he wants to 10 conventions on their head to open doors and do away with elite ism and exclusion for him. that's true. freedom act ah ah. working among the dances in stuttgart, our international performance, they admire his clear vision, his calmness and accuracy checks. that doesn't think much have strict drills all the perfectionism of classical ballet. it's very clear of what he wants and her she's not stricken away. no, you do it wrong or no, this is not nice, but he finds a way to guide thus into these. but the same time he has the patients that we get it in the body, something i find with professions. i'm kind of a light heartedness in the studio, and that allows us all to explore and to try different things without judging ourselves too much on while at the same time, having very serious physicality. so there's a lot of challenge. also, advice gantski knows exactly what he wants from us, but he also gives us the freedom to find it ourselves. so, but for fin with your little how pretty how. and then despite the relaxed atmosphere at rehearsals, nothing escapes his gaze changed as p since often reflect his own background in modern israeli dance is by him of but i've always been passionate about the israeli style of dance. who fishes from israel is about lives in london, is movement style and the music. he uses feature a lot of heavy and loud beats. heavy bass that goes right to your stomach bow. you sit there and think, wow homes. because it's fast paced and energetically funds 20 minutes of a for you, with the style could fit in anywhere and above puzzle chest. i was born in jerusalem in 1975. he learned piano with a child, and later studied ballet and modern dance. at the age of 18, he moved to tel aviv, where he was drafted into military service for 30 long months. it was a formative and borderline traumatic time for him. i certainly tried to forget my military service. it was very unpleasant experience just just as an individual and, and you know, growing up in a country that is in attempting really badly, but attempting to be a democracy. and then you go into the army, which is a must. and then there are very different rules that it's like a universe inside a universe, and that was really difficult mentally for me to, to accept even before finishing his military service changed, i had already become a member of the renowned achiever dance company. is teaching it was oh, had naveen and net gender of contemporary dance and offended was really the association had a big impact on change to. it's very strong, you know, in my identity or in my, i mean it's my history and you know, our history shapes us, you know, and, and my growing up in israel and the college traumas this sort of like overly politically obsessed environment that israelis is certainly a kind of marked me and working with ohio than working with much ever, which is obviously such a strong language such as a stronger choreographer. so it's, it's my family martin israeli dance with its powerful syntax, if lutheran past shaped companies, world wide, pulsating pieces sweep, audiences away and also reflect a society in which they were created. i think there is a level of her directness that's what comes to mind that can have a positive size and pretty, pretty difficult sized top sites. tough love and toughness. ruth? so yeah, that directness i think is, is a kind of the strength of the ease readily and dance. you get the truth in the face down often becomes political, the whole fashion stack. his pieces are all st. provocative point of emotion of passion. yeah. and also aggression just like in crowns. clowns. her clowns is a it started like an experiment. and it's a very simple and show where the performers are. obviously there to entertain the crowd thing . and they use whatever means available to them to entertain the crowd. it easily dancing and tap dancing, fake tap, dancing, and theatrical killings. so it starts with some killings that are kind of like amusing. but it never stops. the theatrical killings become more and more choreographed and more and more, you know, kind of mass, mass killings that are got crow graphically happening. so i think that the work is very starts entertaining and with a smile and can become quite satisfyingly. i think, disturbing. crisis . conflict, whoa, whoa, fetched as work reacts to political events, to the mood of the time. of the united states. 201620. 17. for example. saw terrorist attacks carried out my islamic militants around the world. chester responded with the peace grand finale. run. finally, a war and that kind of responded to the energy, the apocalyptic energy in our world. there was a feeling that everything is collapsing, everything is coming to an end. it's like all the structures that we know. everything that we trust is like falling apart of the world. from being the solid place that we can trust became. we don't know what we can trust in death is everywhere. looking at everything collapsing and how does it feel? how does, for, from the inside what, what's the experience of people inside this is 8th case. in the contrast could hardly be greater between the calm, polite atmosphere of rehearsals and the harsh controlled chaos of shakes his work on stage. but he also sees the rehearsal studio as a place to create genuine physical experiences. something that plays an important role in his work is the darkened stage dancers who in the state that nearby yes, rapture, as if hypnotized. ah, the darkness gives us a space like a surreal space. again, it's like a dream world. so the darkness helps focus the elements, you know, focused energy. you know, we start getting into some sort of a trance. think we speak about the works that have the darkness. that's the power for me. sometimes you can say there is a power in revealing the room. there is a power in saying, we are here now experiencing this and like in our 1000 people watching a few people bringing the spirit up and you say, this is where we are now. like having these 2 sides of the rainbow of the arch is what makes you feel all their world that exist between so that you know, the really kill article peasy quick. you know, i love it when it gets complicated. repetitive to and then you have the, the kind of the silence and the moments that gives you very little. i love it or positions i just, i love kind of arguing with myself again and again. whole fresh, shasta seeks out animalistic movements in his dances. echoes, if the primal we are an animal in my head and we're just is somehow have the ability to speak. that's kind of amazing. and the ability to plan, i enjoy exploring the body and the movement of the body to, to the complexity of it. so when you explore the complexity and the for ability of your color, you're in discover animalistic size. for shasta, the animalistic wet presented direct and continuous energy, pure physicality and unrestrained power thing. there is an openness. there is there. i don't know how to explain it. there is like the, the breath of oxygen sort of, that is very inspiring. are almost like translucent, transparent, energy. after just 4 weeks of rehearsal, i meet whole fish down again on the day of the dress rehearsal. i'm back at the t. r to house should god home, if the go to a dance company, the mood is highly focused, but relaxed at last shakes does re interpretation of swan lake is coming to the stage. he's re named the piece. it's one cake. it's less about the profound and more about the pleasure of nonsense. he composed the music, him as for most of his choreography, you know, okay, so he's having a last consultation with the companies director and i go to head you're hearing there are still a few details to be ironed out. like, how will the curtain cold be done, and what for suitable soundtrack? like confetti cannon. yeah. are there feathers from the ceiling? others from the tar and feather over that and then and then down. ah, yeah, that is sort of like the pricing, the audience. yeah. so basically, yeah, a bit like how it starts, and this one lake is an unrecognizable version of tchaikovsky classic. there's no white swan to be seen. the dances are in colorful casual gear instead of fairy tale bliss this palm. instead of themes of purity and beauty, a crazy true fellow, the stage instead of melodrama, best light hearted chaos. it's more like a wild party in our thing, late into the night. told a dance many times and feels like it. it's pulling down the steps and it goes another layer and another layer. there is no rules in a way to the piece it's, it's kind of exists in a bit of a cabaret like worlds, you know. but, but that allows for everything to happen. them. and maybe it's that sense of freedom that it just, it just wants to, it just wants to explode and do what it once may be a bit childish. ah, swan can't maybe not a whole fetched, a masterpiece that will be talked about forever. but definitely something that leaves you wanting more and the performance is certainly demanding for the dances as exhaustion and relief when it's over. for the choreographer himself, it's a chance with critical reflection. my feeling is there, what can be fixed and what can i make better? them so yeah, good moments about him and you know, i can see the things where it fulfills itself and where it really works nicely to places where maybe we can make it better. and i'm not just sitting and enjoying. and so there was very intense, but it's funny because very intense work in the same time stood guard is very quiet . but there's a sweet memory to this, which memorial annoyed. so it's, it was a healthy working hard. and then for me it's very important that that in series, creative and open and playful. and yeah, this is a how i want to spend my life. oh, fresh desperate options are full of emotional and physical power like the rest of his life. thereabout motion and intensity. one last question for the choreographer. which part of the body does he see as most underappreciated? that bought some of the c. you'll have to think about that a little bit. thank you very much. thank you. thank you. with oh, ah, ah. ah ah ah ah with who oh, this is 33 on the diabetes business, diabetes a lucrative disease affecting millions. the cost of treatment has risen tenfold in recent years. and this despite falling production. will a cure ever be found? in 15 minutes d w. virginity is still a strong social construct in africa. girls and women are harmed by traditional practices like female genital mutilation, or testing for virginity as a team. when they see me on your back, open your leg. when they put the fingers in to you, this is not right. he did not feel right to me somehow. 77 percent in 90 minutes on dw. mm hm. please listen carefully. don't know how those 2 things you missed today. go, ah, feel the magic discover the world around you. subscribe to d w documentary on youtube. the man with the memories of a woman. ah ali from syria is born in a female body. forced into marriage. great to escape will be the journey of his life far from home. ali can finally become the person. he's always wanted to be alone. despair badly. oh, in that re credit and we'll go through with it. i was born in berlin. he starts july 22nd on d w. ah, this is dw news ally from berlin to re lock as opposition parties begin discussions on forming a new government. the talks are due the day after protest, your storm, the homes of the president and prime minister, causing both leaders to step down amid the chaos. also coming.
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