About
I'm an intermedia performance practitioner, director, and scholar, hybridising live physical theatre with video screening and installation in site-specific performance, informed by performance research and movement notations. My practice-based PhD explore hybridity, perception, transmediation, and enstrangement in my own ScreenStage practice, combining semiotics with phenomenology.
REEL: https://vimeo.com/1152956857
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My site-specific works layer visual, aural, and kinetic elements, guided by internal storytelling and subtext, and designed to transform patterns of perception in the hybrid of media. My participatory projects aim to foster community and challenge habitual ways of seeing and interpreting through emotional and sensory experiences.
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.
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I am a senior lecturer at academic institutions in Israel and in Europe, specializing in dance research, movement notations, intermedia and performance-making. Currently, am a guest lecturer at the Dance Division of the Music Academy in Katowice, Poland.
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In My PhD from the Faculty of Arts and Creative Industries at Middlesex University London (2023), I've been 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 composition and narration, performance making and analysis.
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I'm a 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.
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About my artistic PhD
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My artistic Practice as Research, ”ScreenStage Performance: Hybridity, Perception and Enstrangement”, supervised by Prof Vida Midgelow and Prof Paul Cobley, developed through international inspiring collaborations with artists, performers, scholars and institutions, in the UK, Israel, Poland and Germany.
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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.
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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.
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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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