Israel’s Batsheva Dance Company, whose artistic director is Ohad Naharin, performs at UCLA’s Royce Hall on Saturday, Feb. 28, 2009. (Stefano Paltera / For The Times)
Batsheva company dancers are a swirl of color as they perform Naharim’s “Max.” In her review for the Los Angeles TImes, Sara Wolf said the work’s “dense movement phrases demanded lightning-quick shifts in direction, momentum or intention of the dancers.” (Stefano Paltera / For The Times)
Dancers from the 10-member ensemble perform a work that displayed Naharin’s hallmark humor and aggressive aesthetic and featured what reviewer Sara Wolf called a dynamic score by Maxim Warratt. (Stefano Paltera / For The Times)
In “Max,” the capacity to communicate lies at the heart of a metaphysical inquiry by Naharin, reviewer Wolf writes in The TImes. (Stefano Paltera / For The Times)
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Last seen at UCLA in 2006, the Batsheva troupe has grown only more sophisticated in its movement invention during the last decade with the institution of Naharins creative training technique, Gaga, reviewer Wolf writes. (Stefano Paltera / For The Times)
Activist Mary Hughes-Thompson, right, co-founder of Free Gaza, demonstrates with student Julia Pitt outside UCLA’s Royce Hall before the Batsheva Dance Company performance. (Stefano Paltera / For The Times)
