On the occasion of Sadeh21's entry into the repertoire, Adèle Belem discusses Ohad Naharin's choreographic language and the world of his piece.

Quadrille in the Corps de Ballet, the dancer explains the research into movement that serves as the framework for the 21 studies that follow one another in the ballet, forming a series of abstract tableaux in a refined setting. She discusses the Gaga language, which enables the dancers to explore the physical limits of each individual, as well as the spiritual dimension that emerges from such an odyssey of the body.

Discussing her work in the rehearsal studio, the dancer explains how Naharin's choreography is a laboratory of emotions: violence, gentleness, sensuality...

On the occasion of Sadeh21's entry to the Paris Opera repertoire, Ohad Naharin discusses the meaning of the piece, which he conceives as 21 movement studies.

The choreographer talks about his work in the rehearsal studio with the dancers of the Company. He explains his language, Gaga, which accentuates gestural qualities and nurtures dancers trained in the classical style.

Ohad Naharin reveals the formalism at the heart of certain sequences in Sadeh21, notably his use of numbers and mathematics. Finally, he likens the end of the ballet, in which the dancers do not take their bows, to film credits and his taste for cinematic aesthetics.