Live performances in Israel to hear and see this September

Engage your senses with live entertainment acts that dazzle your eyes and ears this September
Ester Rada
© Dean Avishar
By Kayla Levy |
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If the sounds and sights of tourists, Whatsapp notifications, and people on the bus aren’t entertaining you like they did in the past, use this September to treat your eyes and ears to live entertainment acts across Israel. Whether you’re listening to the funky jams of an artist you’ve never heard of before, or a beloved member of the Rock and Roll Hall of Fame, musicians are filling the Holy Land with tunes that are worth a ticket. If you’d rather feast your eyes on a performance, go see an innovative dance show in Tel Aviv or a dramatic play in Jerusalem from the London stage. Before your senses are overwhelmed by High Holy Day celebrations, experience all that Israel has to offer with your eyes and ears this September.

September performances to hear and see around Israel

Venezuela
© Askaf
Dance

Venezuela featuring Batsheva Dance Company

If I were to use one term to describe Venezuela, it would have to be 'uncanny.' Not simply in the strangely mysterious, unsettling manner, but more so in Freud's understanding: the 'familiar, yet unfamiliar.' The work is divided into two distinct 40-minute acts; each of which draw on the same sequence of movements (the familiar), yet the dancers, music, overall atmosphere, time feel, and energy level in the second half veer far from the first (the unfamiliar). "As anything that contains aspects of uncertainty, [Venezuela] is exuberating and exciting," says 24-year-old Batsheva Company dancer, Nitzan Ressler. Not only does this sense of unfamiliarity empower the dancers, it keeps audience members on their toes from that very first slow, swaying group movement cast against an eerie backdrop of Gregorian chant through to the final explosive scream from veteran dancer Bobby Jene Smith, as she lets out the communal anxieties and frustrations of all 17 dancers.   In the first 40-minute act, the slow monophonic drones of Gregorian chant set a very solemn tone; paired with the stark black costumes, the dancers appear to be in mourning. As with many Naharin creations, the audience is not meant to necessarily understand the dancers' world, but rather empathize with it. As the group reaches upstage, two dancers break off, striking a ballroom pose. Suddenly, the familiar Gaga style ascribed to Batsheva is thrown out the window, replaced by elements of Argentine tango – perhaps a hint

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