Giora Rosen

Editor-in-Chief, Red Line Books

Hakibbutz Hameuchad Publishing House

Dear Adina,

The performance tonight was fascinating. It was built layer upon layer, and progressed from one to the other. Very quickly I gave in to the thought that your act was a renaissance artwork. I stood by a few of the things I said, about its final manifestation, but as I said I saw the virtuous planning, that seemed to emanate from itself. But it did not emanate from itself, but from you. Meaning, there is something internal like with a trained painter, who sees the work as his own internal process. The same years long “internalness” that you spoke of in the beginning. This is not a variation, a duplication or a copy, but a continuation of the creation. And this is in my mind a very different thing. This “internalness” is the control, conscious and unconscious, in the brush of thinking and acting in the space. The analysis goes on to the colorist touch. Understanding paint, its thickness, its transparency. Where are the transparencies, whether in the barriers or in the gaps. And every time stood before me a complete work, which became full, sometimes by surprise. For a moment I feared a surplus, but you never got there. You stopped at the right moment. When the space of the work was already closed. The renaissance picture was finished and that was the time for the signature: Adina B.

And let’s talk for a moment about the audience: what happened? This issue preoccupied you and surely also others. I felt that it created a frame. More than anything it was sound and echo, voice and reaction, range and meaning. From the outside it was like a frame, from the inside it created the dialog. It built the concentration, it held the performance together, it was its soundtrack. And if it wasn’t there, would there have been a performance? Silently present, hidden, or making the entire work redundant. And this is the place to talk about touch. To wrap up the issue of sound, as Anat Pick says, and I agree. The sound is touch. And it is so right. But there was also your physical touch. First of all in your stage presence. It is infinitely sensual and you easily give yourself to the other, and make him a part of you. It’s a complex movement. It’s what high quality dance aspires to. Since I’m writing to you an immediate reaction to the experience, and all in one stroke, things are not properly formulated, and moreover not properly processed, as should be done with a work such as this, which invites an analysis of its various aspects.

Well, you had an impressive performance tonight, and I hope to remember it for years.

Yours,

Giora