Ply's starting point was the collaboration which took place between Yuval Pick and Ashley Fure in 2014.
In 2016, Yuval Pick revisits the piece by reorganizing its dynamic. With a new cast and a fresh take on the sound's punctuation by the movement, he reveals further the musicality and the humanity of the piece.
As he did in
both No play hero (2012) and loom (2014), in Ply Yuval Pick continues
his exploration of movement to contemporary American music: he strips down its
many layers, deconstructing them in order to re-deploy their essential
structures ... Having distilled this process down to a sort of pure
choreographic “marrow,” he now begins classifying movement according to new
configurations, moving them in mirror patterns, transferring them from one
dancer to another, reversing their directions, exposing them to continual
variation, in which they will be executed in different rhythms or from
different points of view ...
loom was a duo organized according to two
principal polarities: breathing in and out, giving and receiving. These
movements originating at the center of the body, are - in Ply - prolonged to
the very edges of the kinesphere (the space around the body which is reachable
with fully extended arms or legs). The exchange between two individuals opens
out into a wider space, with more complex movements, also expanding to include
As in No play hero and loom, Ply was created to
American music. But in this case the collaboration between Yuval Pick and the
composer Ashley Fure was conceived as if it were a score for four hands.
Working from the blank page of the empty stage, the two artists invented a
movement and sound lab, each proposing material which would be organized in
various strata or layers, all of which would communicate with each other,
through their analogies as well as through their counterpoints and tensions.
The space between the dancers in Ply
and the silences in Ashley Fure’s music are very important in the work: the
dance and the acoustic composition are almost in danger here, to the point of
rupture or a fall.
Ply begins with several “grains” of music, with
the dispersed solitude of dancers moving, each in his or her own space. These
grains begin to multiply, to combine, extending ... the bodies of the dancers
begin brushing against each other, being aware of each other, prolonging their
respective movements. Next, a few couples, then a group, begin discreetly
echoing, furtively exchanging shapes, linking to each other in fragmentary
attempts. At the individual as well as at the collective level, Yuval Pick
creates onstage obstacles to uniformity, seeking other ways of being together,
so that when there is indeed a unified form, this neither here-nor-there of
relationships plays out in bursts, starts, oscillations, irregular movements
... resonating with each other, creating links which neither erase or cancel
out the uniqueness of each body in the space, its inventiveness open wide.
Through dance, Ply asks an important question: how to create common spaces; how
to create a group without losing either one’s individuality or subjectivity.