Concept and choreography: Guy Weizman and Roni Haver (Israel/The Netherlands)
Music: Elad Cohen (Israel)
Assistant choreographer: Eva Puscheнdorf (Germany/ The Netherlands), Olivera Kovacevic Crnjanski
Playing: Maja Grnja, Andreja Kulesevic, Jelena Markovic, Frosina Dimovska, Ana Lecic, Jelena Lecic, Danijela Vojinovski (Maja Stankovic, Ivana Ivanov, Bojana Matic, Aleksandra Voin) and Istvan Cik, percussionist
Stage managers: Olgica Banovcanin, Tanja Cvijic
Light designers: Vladislav Milovanovic, Marko Radanovic, Tihomir Boroja
Sound engineer: Dusan Jovanovic

Author of the project New Dance Forum: Olivera Kovacevic Crnjanski

The duration of the play is 60 minutes.

 

The Language of Walls is a piece for seven female dancers and a one-man band, about sisterhood and personal liberation. Between worn-out wallpaper, bar stools and tables, the dancers perform a powerful journey to the electro acoustic composition of Elad Cohen, researching for female expression through dance. Moving between despair and order and trying to catch the intoxicating energy of life, the performers reach far beyond their limits as artistes, beyond the teaching of shame and beyond social judgment.
Guy Weizman and Roni Haver

If New Dance Forum, as a part of the Serbian National Theatre Ballet company, was founded with the aim of expanding interests in modern dance, with dancers as well as with the audience, pointing out to the margins of the performing art where dance, drama, various artistic expressions, installations and happenings meet, interweave and permeate; then after the last year’s engagement of Jens van Daele (External and Internal Circles) and the play Fragments By Olivera Kovacevic Crnjanski and Sasha Asentic, the work of Guy Weizman and Roni Haver represents a step forward on this path.
Energetic movement and ecstatic dance, followed by complex dramatic requirements and concrete dramatic tasks, make it even more layered and enrich the experiences that were foundation of recent Forum, but prepare it as well for the projects yet to come.
Aleksandar Milosavljevic

The main specific property of The Language of Walls is a conceptual and choreographic courage; spontaneity and ability to, in an unconventional way, release a dance performance from its (purely) dance form and to go further – into an open drama narrative poetry. Cunningly and extremely methodically, not escaping from exceptionally witty and funny connotations, Guy and Roni ask from the dancers something more than movements; in that way, the dancers become actresses, whose characters (in)directly repres

ent: women – blondes, women – losers, naïve women, women – workers, women – friends, women – prisoners, talkative women, women in a herd, lonely women, etc.
Igor Buric