SOL Dance Company was established in 2016 by the House of Dance team.
The artistic team consists of six unique dancers, a Choreographer / Artistic Director, Rehearsal Director & Company Manager and an Artistic & Media Consultant. The dancers and the work are accessible to the audience in an intimate and humane way. Already in its early years SOL dance company became an International success under the leadership of Eyal Dadon.
The company was invited to perform in main and leading festivals in the international dance scene and established its name as a promising contemporary dance company with unique language and stage approach.
SOL Dance Company is the house company of the House of Dance theater in Beersheba, where the dancers and Choreographer Eyal Dadon examine and develop their dance language and their approach in different ways to movement, society, music and life.
GEORGET by Eyal Dadon | SOL Dance Company Ora Brafman “Dance Talk” writes: From the list of creators chosen to present their work in the 2022 edition of 'International Exposure', GEORGET, the new work of Eyal Dadon, attracted much attention. Ever since I saw the Be’er Sheva SOL Dance Company perform their piece ‘SALE' in 2016, I have kept Eyal Dadon on my “not to miss” list. Since then Dadon has created more works in Israel and abroad and in particular he created a relatively short work, an evening with Martin Harriague - 'Croissant on the grill’ which was different, hot and cheeky, materials we love to love. Dadon's voice on the dance floor is important because of his comprehensive views, the multi-layered positions he creates and because of his personal, original voice. In Shimon Levy's article 'You have no idea how unnecessary you are' published in the Haaretz newspaper about Hans Magnus Enzenberger, one of the greatest German poets after WWII, Levy refers to what Enzenberger wrote about literature. Quote one of them: "Writing is an attempt to escape from society's control, and that is precisely what makes writing something that some of us cannot resist." This is no less true in the art of dance and connects me well with the current work of Eyal Dadon who uses layers of filters to express an encrypted but 'playful' position on reality. On the Suzan Dellal stage came his new work 'Georgette', which, not surprisingly, was layered in new ways from those we knew in his work both in the internal structure of the moves and in the one visible to the eye as it were, always as it were, which underwent metamorphoses between the three sets. The first part of the work deals intensively with the transitions between worlds of content, the one that happens live in front of us and the one that mediates to the viewer through a manipulative camera whose projected products are part-whole of what she recorded live - a procedure that took place on the edge of the stage in front of our eyes and what was projected on a large screen that occupied the entire center the stage On both sides of it, only the semi-darkened margins remain, where the work prepares fragments that will continue to 'speak to us' off the stage. At the same time, the attention turns to close-up segments of the participants, but from an angle we did not expect, unlike what is happening at the same time in reality in front of our eyes in the peripheral field. The objects, the raw materials, are the six dancers of the troupe, without accessories, unless we count the wooden torture brace and the unfortunate man whose hands are forbidden in the brace holes and his neck as above. But in front of the eyes, no move is connected to a coherent move in terms of reality. Each of the dancers is identified by the name of the color that distinguishes him and corresponds to the color of his overalls as well as the way his makeup and hair is applied with a layer of the same color as the clothing. The design by Tamar Barlev meters a feeling that the dancers are avatars in the making. In the second part, the wonderful dancer in red (Moran Muller) does a very good job of demonstrating in a short frontal solo the language of movement that will be present for the greater part of the evening and is based on breaking down body lines in the way that tiny wooden dolls that stood on a base were wanted in the toy rooms. A light press on the bottom of the base disassembled them into parts, apparently. Releasing the click, returns them to the place. The game of 'Destroy' and 'Resurrect' was popular at the time. Here too there are his traces. The nature of the fragmented, stuttering movement, which combines disintegration and continuous construction, spectacularly connected a range of extreme northern abilities to each of the dancers, in his own way and in his body, and to build countless positions and transitions from potential worlds, which are the central themes of this work by Eyal Dadon, creator and ruler of his imaginations. On the screen, images change and at the end of the picture there are several close-ups of faces and in the center, the dominant face of the dancer Evyatar Omessy, whose nickname is 'The White Man'. An unknown hand creeps into the frame and hands him a cell phone and on his screen is a photo of a submachine gun. He looks straight at the camera, clicks on the screen image, his face shrinks for a fraction of a second against his will every time a terrible bundle is released again and again. At the beginning of the last act the six dancers skip backwards in line. This is not the first time they have jumped back. Not a very complicated practice, although it is quite rare on stage. To some extent, this is a significant image, a kind of metaphor for the desire to rewind time, as they would rewind the reels of past films. Dadon also brings back this evening a futuristic journey whose appearance is built on technological mediation. A kind of attempt to start a move that stems from a digital world in his perception, which passes in his perception or translation by jumping back in time. To the current reality... in sync with you, a digital clock lights up that marks the four minutes of transition, as it counts them backwards. At this point, the dancers went to the edge of the stage, took off their clothes in front of the cameras and came back for the third part out with ties, in dark suits, armed with sunglasses, before returning to the stage from the transition area, which separates the world of reality from invented, illusory dimensions. As convincing as they are. The final image is familiar, the dancers jump and skip in a sweeping rhythm and it turns out that they are already in a loop that pulls them, lest you say dizzy them and the powerful dance mesmerizes the audience that does not stop clapping. But after very long minutes, everyone feels that something strange is happening. The dancers continue the rhythmic, demanding and intoxicating movement and the audience begins to flow out slowly as the applause continues. Some time passes and the last clappers realize that as long as there is one soul left in the hall, the dancers will not be the first to break. They will continue to pour out their souls in this crazy, mesmerizing dance and sadly, they leave the hall before the dancers’ collapse. Without a doubt, this is one of the most impressive endings you will ever see. There is only one competitor to this brilliant ending and it is also the product of Eyal Dedon's special mind. And that was years ago. There, at the end of the dance, the enthusiastic audience applauded while the dancers remained standing as salt marshals. They applauded louder, and the dancers remained frozen, not moving an eyelid. Even there they did not move as long as they were applauded. It is clear that whoever was present will not forget this evening."GEORGET"