Make a DONATION
Your donation will allow you, under article 200 of the CGI, to benefit from a 66% tax reduction on the amount of your donation under income tax (IRPP) within the annual limit of 20% of taxable income and under article 238 BIS of the CGI for companies to benefit from a tax reduction of 60% of the amount of their donation within the limit of 5% of their annual turnover.
We thank you for your support and look forward to seeing many of you on Mai 11 at Chaillot-Théâtre national de la Danse. At the end of the show, we will be happy to meet you and share a glass of champagne with Ohad Naharin and the dancers.
We invite you to confirm your participation/attendance as soon as possible by contacting us :
You can make your payment:
- online by Credit Card
- by wire transfer to:
Pluriel non-profit organization for Contemporary Art - IBAN FR76 1820 6002 5565 0548 4128 551 - BICAGRIFRPP882
- by check made out to:
Pluriel non-profit organization for Contemporary Art, 115 rue de la Pompe 75116 Paris, France
Honorary Committee 2022 : Jean-Michel Attal, Marina & Jean-François Bensahel, Corinne & Yves Benzakine, Doris Beyerdorf, Alexandra & Frédéric Bitbol, Martine Bogliotti, Nathalie & Jean-Daniel Cohen, Chantal Crousel, Laurent Dassault, Arié Flack, Jacqueline Frydman, Moshe Gorsd, Sara & Yaacov Gorsd, Michèle & Jimmy Guyot-Rose, Simone Harari, Isabelle Hotimsky, Patricia & Marcel Katz, Carmen & Daniel Klein, Naomie & Charles Kremer, Myriam & Daniel Leibovici Rubinstein, Eric Levy, Catherine & Jean Madar, Nathalie & Marc Mandel, Hélène & Yves Michali, Céline & Manuel Munz, Sophie & Alban Neveux, Delphine & Léon Ouazana, Diane & Jean-Louis Pariente, Corinne Richard-Saier, Brigitte & Denis Salama, Rachel & Bertrand Salomon, Nathalie Seroussi.
For Venezuela a unique chemistry once again binds the dancers and their creator. The show is about a constant dialogue between movement and its representation.
Ohad Naharin asks the questions in his own virtuosic way, exploring multiple leads, stirring our senses and undermining our assumptions. Falling bodies become a last-ditch movement, the steps are locked into a trance-like unison, the waving flags turn into a moving set.
The performers of Batsheva pour their energy into a collective effort, striking a chord with the audience when a dancer reaches his hand out.
The musical selection emphasizes the spiritual dimension of the piece, daringly juxtaposing Gregorian chant and rock. Ohad Naharin makes this dance voyage a shared odyssey.