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I am a practitioner, director, and researcher based in London, specializing in intermedial performance that interacts video and physical theatre. I explore the perception of mediation through my ScreenStage Performance practice and research.

In my work with practitioners, scholars and students I look into today's most pressing challenge: our relationships with artificial technologies and with the virtual realms.

I am a senior lecturer at academic institutions in Israel and in Europe, specializing in dance research, movement notations, intermedia and performance-making. I'm currently a guest lecturer at the Dance Division of the Music Academy in Katowice Poland.

I completed successfully my PhD from the Faculty of Arts and Creative Industries at Middlesex University London (2023), researching and creating my ScreenStage Performance practice by PaR methodology.

My thesis applies semiotic and phenomenological viewpoints, exploring mine, as well as others' hybrid live-virtual immersive performance, providing valuable insight into transmedial narration, performance making and analysis.

I was the former Head and artistic director of the School of Dance of the Arts Faculty at the Kibbutzim College, Tel Aviv (2007-2014). For many years I've been a physical theatre practitioner, as well as a dancer-researcher of the RikudNetto dance and research group.

About my artistic PhD

My artistic Practice as Research, ”ScreenStage Performance: Hybridity, Perception and Enstrangement” was supervised by Prof Vida Midgelow and Prof Paul Cobley. Held in the Faculty of Arts and Creative Industries at Middlesex University, this research also developed through international inspiring collaborations with artists, performers, scholars and institutions, in the UK, Israel, Poland and Germany.

My ‘ScreenStage Performance’ practice was explored and developed through teaching processes and performance making since 2009. This practice evolves around experiences of humans’ interrelations with the mediated spheres.

The thesis combines semiotic and phenomenological perspectives, used to articulate the features of ScreenStage practice as well as my intentions to activate the perception by the practice's narration strategies.

Acknowledging human and artificial media as continuous sensorium, in this thesis I look into and develop transmedial narration, applying different sorts of enstrangement strategies to yield specific politics of the artistic texts.

The thesis provides an insight into meaning creation processes of intermedial performing arts. It emphasises the potential and tendency of ScreenStage Performances to invoke awareness by audiences to perceptual processes that characterise the correlations between human and non-human media in our life, and thus to affect and change them.


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