Dance Theatre: An Anti-Discursive Illustration of an Embodied Existence
By Claire Hampton University of Wolverhampton
This article draws together two traditionally polarised and hierarchised modes of theoretical enquiry: the representational, textual theories of traditional academics such as Pierre Bourdieu and Michel Foucault and the phenomenological, somatic approach of the performance-based theorist and choreographer Jasmin Vardimon.
Ipswich Evening Star, 23 May 2011
‘To examine The Holocaust is to look into ourselves. Israeli-born Jasmin Vardimon’s powerful production reminds us of the mechanical and personal brutality of The Final Solution through the prism of civilisation and petty intolerance.’
Oxford Times, 6 Oct 2010
‘In this gruelling, moving work, Israeli-born Jasmin Vardimon looks at the Holocaust, and, by flitting backwards and forwards in time, she examines how children reared on survivor stories become ‘memory-candles’… This is a sombre piece of physical theatre rather than dance. It’s a riveting, almost overwhelming work.’
Derby Telegraph, 25 March 2011
On a superficial level, it is a dance piece of exquisite detail, accuracy and exposition. But underneath the fluidity of movement and pace, there lurks a message of greater intensity.
