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Ran Brown on CRESCENDO GOLD  | August 6, 2023 | Haaretz

Dvir continues to perfect in "Golden Crescendo" the performance art she has formulated in recent years - vocal work, choreography and live music merge into a spectacular art, a mind craft of elements that have no hierarchy between them"...

In CRESCENDO GOLD Dvir offers not only an alternative female mythology, in which the women are the protagonists - she offers a new way of telling it, and creates a form of performance that cannot be classified. She adopts the bodily rhetoric of the showcases of the hysterical women, the possessed witches.

This was their way, according to feminist theorist Catherine Clement, to take the floor and express their desires, their sexuality, their anger and the silenced experiences of women in the patriarchal culture. "We cook, wash, vacuum, anesthetize," the performers sing in one moment. At another moment, knife in hand, one of the dancers calls out: "we may all look like sinners, I'm myself a D-E-M-O-N", while another dancer convulses at the other end of the stage. And despite what has been said, this is not "mobilized art" for the liberation of women. This is already the next step, and it's wonderful!"


FICTIONS – Annabelle Dvir (Israel)

An article by Luis Alberto Sosa Berlanga | June 13, 2022 | Achtung

These three professionals set up a true coven, in which their "spells" took the form of songs and movements interspersed with such a sense of rhythm, a sense of aesthetics, rigor, and above all, a strong defense of what they were representing on the stage. What I'm talking about is the most eccentric and bizarre piece selected for this edition of the International Public Beta Exhibition.

These three professionals put together a very difficult job to achieve the result they arrived at, given that, perfectly, they could have saved complications by having done half of what they staged, with a series of more or less conventional links, and they would not have had trouble getting approval from your audience. But they did not settle, they wanted to go as far as their imagination and willpower took them. Not to achieve something virtuous that sought technical excellence, but actually, to expose absolute delirium in the best of its versions. Which places them at the focus of all the comments: both the cruelest and unnecessary ones, as well as those that could raise them to a level, in which it is a matter of time, before a fan club of them is founded in Madrid. In this interval they moved, as if they were from the first research session for the production of Fictions , assuming their peculiar destiny. 

The structure of Fictions is not narrative. At best, it had an internal logic that would take years to decipher the pattern that organizes it. So there was no way to predict what would follow the next scene, keeping us, the viewers, in a permanent state of alert. Behold, those of us who "entered into their games" abandoned any position that leads us to intellectually analyze what they were doing. At least in my case, I was inclined to "collect" in my memory the images that referred us to an imaginary in which people assigned the female gender had been mandated to materialize a series of behaviors. and ways of understanding the world, it does not surprise me that many have "lost their axis" (if I may use the expression) along the way.

In such a way, that Fictions is postulated as a piece that is called to value the beings that have been badly injured in the attempt to comply with the norms with which all of us human beings have found ourselves at birth without first being we have committed in one way or another, to its militant compliance. There has only been a kind of coercion that has stalked us to determine if isolation, or being dehumanized, were the "sanctions" that best corresponded to our initiatives against a supposed natural order. That is why there is room to collect readings of feminist and Queer inspiration, through identifying the performative acts that constitute Fictions, under the "shelter" that it was "just a piece of performing arts."

Therefore, it could be said that this piece sought to shake each of us viewers, including people who follow feminist and Queer traditions. It is not going to be, that they have been adapting to lands where they have had the enormous fortune, to insert safe spaces where they can be themselves with others where, let's say, they must maintain their composure and a certain decorum. I guess that's why Fictions can be so offbeat, even though its background isn't really avant-garde at all.

In short, I think Fictions is a brilliant work that establishes Annabelle Dvir as a creator and interpreter, with the potential to be talked about beyond the borders of the country in which she develops her profession as an artist. Having said that, I invite you to continue delving into her imagery and stage language, so that exhaustiveness continues to be one of the pillars that will make her be the extraordinary creator she aims to be with this short piece.

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Takao Norikoshi | June 2023 | cont·act Contemporary Dance Festival 2023

FICTIONS was the most astonishing piece I have watched in these couple of years and has received the most impact in recent years...pure and psychotic. Their bodies made me sense all the discords, conflicts, and frustrations, which a body can experience.


She displayed her unique and outstanding characteristics among many pieces of Israeli young artists that have been Europeanized in recent years.




The poetic, political and social repertoire of these metropolitan rappers capable of poetic poetry, also shocks and annihilates the audience of Generation Z, shaken in a performance without resolution of hits.

And in this regard, what about the show “Fictions” by Annabelle Dvir , on stage with Women of Sounds Ensemble at the Teatro Studio? At the end of this scenic bacchanal, we are struck by two miracles: the first is that the parquet of the Lemming headquarters is still intact and without dents; the second is that the bones of the three maenads on stage remain intact: with Dvir herself (Israeli-Georgian choreographer, playwright, vocal composer and designer of the soundtrack) also the performers Layil Goren and Dana Naim – Hafouta.

But what is “Fictions”? Anyone who claims to give an answer would be even crazier than the actresses on stage. Because this is “Fictions”: the rhythm of the body that produces a mixture of sounds and colors, the ritual of the theater that creates eddies of light and performance. These hysterical, haunted, possessed bodies produce a disruptive telluric energy. “Fictions” is blood and sweat. It's epilepsy and neurosis. It is eros, pain and paradox. It is the ritual of theater between hallucination and magic.
The possessed actresses start from a veneer of chastened women (in demure almost nineteenth-century dresses, white shirt and long black skirt) and peel it away until revealing the latent androgynous kaleidoscopicity. 


Moreover, the name of the choreographer contemplates precisely the duplicity: Dvir, i.e. D as Domina and Vir asMale in Latin. The wild soul of these Bacchae explodes in a pervasive mix of reality and fiction. The furious dance, combined with tribal song, uses the body in a self-destructive way. We will have counted perhaps a hundred thunderous tumbles in this blunt and blunt, violent and liberating work, with a high coefficient of difficulty.

Creative animality. Combat Theater. Strong risk for bones and joints. A heart sinking for sensitive souls. Not recommended for orthopedic audiences.

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a part from the Jpost article

A dark horse in the Israeli contemporary dance community, playing by her own rules, keeping her head and doing the work it takes to get her artistic vision out there II Ori J. Lenkinski.



And here, from the depths of a sleepy swamp of mediocrity peeks out a work that is a true pearl. The song of human meat, pounded into the floor and from the pain and the impact emerges a beautiful, delightful poem. Astoundingly precise. An inspiring language devoid of mannerisms and excess decoration. A personal story that becomes, in a split second, a chapter in local dance history. Annabelle - you set the stage (literally)"

II Lee Nahat Shalom - CW - Ori J. Lenkinski.

An innovation…intriguing and primal…I would very much recommend to everyone who loves the searching, exploring and experimental fields, to watch this work”

II Yoval Meskin - An interview on the show - Art Period.


"From the material shards of the slammed body, emerges a feminine community that replaces communication through words and expression, for a deeper connection of voice and senses”

II Idit Soslik Phd - The Current Eye.

"Carved into my soul…an awesome lamentation…chilling slamming recital”

II Lilach Dekel Avneri - This moment 26 | a testimony of fracture.

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