'A Tin Soldier on the Seashore of Jerusalem' Arie Bursztyn. אריה בורשטין: חייל בדיל על חוף ירושלים

"A TIN SOLDIER ON THE SEA-SHORE OF JERUSALEM (1991)" אריה בורשטין: חייל בדיל על חוף ירושלים Choreography and Performance: Arie Bursztyn Advisor: Rina Baruch Lighting: Bambi Video: Roni Konforti, Arie Bursztyn Voice: Itzik Weingarten Costumes: Kiki Smith, Arie Bursztyn Sections: "Strong and Light" Music: Yuval Ron. Poem: Yehuda Amichai "A Woman Perhaps" Music: Wim Mertens "Stained" Music: Yuval Ron, Stephan Mikus. Text: Dr. Eitan Bachar "Ha Ha Ha the Next War" Music: Yehuda Poliker (Kaldares/Papastematio) Commissioned by "G'vanim 91" Dance Festival in Tel-Aviv. Supported by the Israel Council for Culture and Art - the Ministry for Education and Culture; the Tel-Aviv Foundation for Literature and Art; the Tel-Aviv Foundation for Development; the Susan Dellal Center for Dance and Theater. Premiere June 16, 1991 at the Susan Dellal Center. Received a special citation at the "G'vanim 91" Dance Festival; chosen by Bat-Sheva, Israel's national dance company, for its subscription series. About the Piece: A wondering child, an athletic youth, a man and perhaps a woman, a bitter, sarcastic soldier, mourning and consolation, violence and shame, irony and hope: Clashing identities in me/in us within Israeli reality. The work is an expressive, high-energy dance piece incorporating theatrical elements like the use of symbolic objects, and a large video projection screen. About the Choreographer/Dancer: Grew up and studied in Israel. Performed and toured with "Kol Demama" Company, "Karmon" Dance Company, and others in Israel and abroad. Participated in the first creations for Western dancers by Ushio Amagatsu, creator of Sankai Juku, in the United States and Japan. Presented his own works in various festival and dance events in Israel and the United States. Studied Judo, Yoga, contact-improvisation, and other movement methods related to dance and theater. Holds an MFA degree in dance from Smith College, Massachusetts. Teaches dance and movement at the Seminar Ha 'kibbutzim Teachers' College, Tel-Aviv. Conducts workshops in technique, improvisation and composition at dance teachers' continuing education programs. An informal translation of Yehuda Amichai's poem AS IN FUNERALS Following every action I act, they march, as in funerals, the child I was years ago, the youth in his first love I was, the soldier I was in those days, and the man with the grey hair I was an hour ago. And others, also strangers, I was, and forgot, and one of them perhaps a woman. And all together with lips moving and remembering, and all together with eyes wet and shiny and all speaking words of mourning and consolation and all will return to their affairs and their times' as in funerals. And one told his friend: "The main task of our times' industry, is to make very strong materials that will be also light". He said that, and wept, and went on his way, as in funerals. An informal translation of Dr. Eitan Bachar's paper. "It is permissible to feel anxious, but it is also permissible to feel good" by Dr. Eitan Bachar, the Center for Psychological Trauma, Department of Psychiatry, Hadassa Ein-Karem, from "Conversations", an Israeli periodical on Psychotherapy, Volume 5, Special Issue, February 1991. People in the profession tend recently to convey the message to the public, that " It is permissible to feel anxious" during the war. Though this message is true and relaxing, it is necessary to remember that intra-psychic processes, mediated mainly by objects-representation processes, may give the individual a better internal feeling during an external crisis. This feeling is real, and not a result of denial or repression of feelings of fear. The existence of such a clear Evil sitting on the banks of the Kh'idekel {river in Iraq}, who evokes such feelings of disgust by so many, gives rise to the usage of early externalization mechanisms, by which it is possible to project internal distresses and internal destructive tendencies onto that Evil. Their placement outside the "I" protects internal object representations and the self. Furthermore, the existence of an external object hated by everybody and feared by everybody, opens an additional channel for narcissistic fulfillment that is vital and important. Kohut describes the Tweenship as a third channel, in addition to the first two channels he described, mirroring and the ideal-image of the parent. In this channel of Tweenship the individual draws self-esteem, self-confidence and self-regulating mechanisms that enhance a positive and cohesive sense of the self. http://www.nytimes.com/1993/03/22/art... http://www.chicagoreader.com/chicago/...