The magic of the unconscious as performed by Sharon Eyal. The mesmerizing and (sometimes too) repetitive ride of Into the Hairy has its moments
Have you ever wished to see the unconscious dance? Have you ever wondered how Sigmund Freud's ideas about the drives and instincts stored somewhere in the depths of our psyche could be expressed through dance? Perhaps the work Into the Hairy by the Israeli choreographic duo Sharon Eyal and Gaia Behar, created for the L-E-V Dance Company, which performed at Teatros del Canal in Madrid at the end of March, answers just that question. But their work is no stranger to Czech audiences either, as in 2019 they performed OCD Love (again, psychological themes, coincidence?) at the TANEC PRAHA festival.
Into the Hairy. L-E-V Dance Company. Photo: Katerina Jebb.
I use the word "maybe" deliberately. The authors do not provide more information to explain their work than a short, four-line poetic text. Into the Hairy is mysterious and enigmatic, just like Sigmund Freud's unconscious. I can imagine Eyal and Behar amusedly reading the reviews of various critics and chuckling at the multiplicity and creative potential of their interpretations - not for nothing are interpretations one of the basic techniques of Freud's psychoanalysis and are still used in psychodynamically oriented psychotherapy today. Perhaps this was the intention, perhaps not, but their provocation works perfectly well. For there is something ancient, animalistic about the choreography, touching the original essence of our being, coming from the very womb of our ancient ancestors...
The repetitive movement of the eight dancers is characterized by unusual dynamics and form. The direction of the movement is determined by one leg on a half-squat bent at the knee, followed by a second leg stepping on the whole foot with regular steps, precise as a Swiss watch. The arms usually occupy twisted, sharp angles, the gaze is always fixed with careful and deliberate insistence. The group functions as a living organism, expanding and contracting again, creating sculptural formations and groupings that stand out in the dark, red-lit space.
The arms occasionally catch their life-giving breath and float through the space in graceful and fluid sequences. At other times, the knees shoot high above the waist as well as the entire stretched limbs in long slashes. The sculptural quality of the movement is reminiscent of the perfect features of the human figure, which are accentuated by the transparent lace fabric encircling the dancers' bodies (the costumes were designed by Maria Grazia Chiuri - Christian Dior Couture). But are we really observing human beings? For there is something devilish, evil about them, as if they are waiting for their victim when it is least expected. They remind me of an insidious but perfectly organized virus or hermaphrodite figures devoid of any emotional expression. For example, for a long time I couldn't guess the ratio of women to men on stage; gender is modulated, perhaps even denied, which, after all, is nothing new in dance. Everything, in short, is covered by a tightly woven cloak of secrecy, which it is unable to loosen.
The spellbinding pace of the choreography moves relentlessly forward, artfully supported by the musical score by Koreless. Adding to the impact is the striking make-up (unfortunately the specific name of the make-up artist is not available in the programme) in the form of black paint that resembles the runny black contours of the eyes after a long, hare-brained cry. The dancers' hands are adorned with paintings, apparently an important part of the production according to the program, as it uncharacteristically lists the designer of the nail and jewelry designs, @prettybitchclawss (unfortunately, from a distance, these details blended in with Alon Cohen's very somber lighting, though).
It is an undeniable fact that the visual and musical components of Into the Hairy created a feeling of elusiveness. It was as if the creators were inviting us to have a purely emotional experience, to leave our cognitive tendencies in the lobby and enter the auditorium as simple beings. I confess that although the duo of Eyal and Behar know how to create an engaging spectacle, a true masterful viewing experience, something kept eluding me. I felt I couldn't touch that essence. The repetitive passages, however brilliantly interpreted, could therefore have had a lengthy impression on some people, which also took me out of that orgiastic emotional experience. And that's a great pity, because the experience is truly unprecedented.
Written from a reprise on 27 March 2025, Teatros del Canal, Madrid, Spain.
Into the Hairy
Choreography by Sharon Eyal
Creative collaboration: Gai Behar
Music by Koreless
Costumes: Maria Grazia Chiuri - Christian Dior Couture
Lighting Design by Alon Cohen
Nail and jewelry design: @prettybitchclawss
Dancers: Darren Devaney, Juan Gil, Alice Godfrey, Johnny McMillan, Keren Lurie Pardes, Nitzan Ressler, Héloïse Jocquevile, Clyde Emmanuel Archer
