Deep waters. Ori J. Lenkinsky

Noa wertheim talks a lot about the elements. “You are very air here and I need you to be more earth” is correction she has been known to giveto her dancers. When she speaks about fire,she isn’t only recognizing the positive elements but the potential dangerit possesses. “The same material can be soft and smooth and also strong and destructive,”says Wertheim over the phone.It is Sunday morning, and Wertheim ‘s dancers are just finish  their warm-up, preparing for another intense day.The past few months have been busy for the members of Vertigo Dance Company. With new creation on the presses and multiple existing works being performed in Israel and abroad, they haven’t had much time to catch their breath. The new work, which will premiere next week, is study of the many faces of water. “I started research on Yama long time ago. started to look at movements that are at the extremes of the water spectrum.If water has no boundary, it will flow and flow. It keeps moving.On the other hand, if water is closed in on, it will explode in such powerful way that it can create tsunami,” she explain”s A.t the end of the day, there are very few things in the world that we don’t have any control over, and water isone of them.” The process, which beganlast year, saw significat unrtnover in the Vertigo cast. Where as Wertheim had grown accustomed to creat in aglongsid deancers who had been with her for several years, predominant new artists will perform Yama. “There was very challenging phase when tried to explore the movement material on group of my veteran dancers. Then, in September,had bigturn over of dancers. We had big tour. And then had to pass the material on to these new dancers. I’m used to working with dancers for five to eight years, Suddenly had change,and the oldest company member had been here for three years,s”he says In Yama, feel that was attracted to very deep cast. My new dancers are very deep, creative and ripe.The cast isvery strong,and enjoyit.It’s very special group,”she remarks. Wertheim explaints that the discovery of the material at hand occurred together with the discoveroy her cast. “Duringthe research, lot of things are revealed. It’s very interestingam. meeting the material and also the people at the same time. Like water, when you put person in corner, they can become monster,” she says. Another revelation that awaited Wertheim in the Yama journey came from her team of collaborators. Ran Bagno,who has worked with the company for more than 20 years, returned to write an original score for Yama. “It’s amazing to work with someone for so long and see that they can stil slurprise you,”she marvels. For costumes, Wertheim turned to fashion designer Sasson Kedem, whose black garbadds drama and volume to the movement. The set designer Swiss visual artist Nathalie Rodach, was the only new comer to the team. “Nathalie is doing the ater for the first time in her life.Several months ago she came to do residency at our ecologic vailllagien Kibbutz Netiv Halamed Hay. We got very close and had such great chemistry that we decided to work together on Yama. She went to the theater and measured, studied, learned the field. She did something very interestitng that really love,” she says. All the visual elements in Yama are black, fact that creates “local, Arabic, Middle Eastern” look to the work. “There is sense that something is being restrained on stage,that it is about to explode,”she says.