Batsheva’s Young Ensemble performs Naharin’s Virus at the Joyce through July 22 (photo © Ascaf)

The Joyce Theater
175 Eighth Ave. at 19th St.
July 10-22, $10-$86
212-242-0800
www.joyce.org
batsheva.co.il/en

“Language! It’s a virus!” multidisciplinary artist Laurie Anderson declares in her 1986 song “Language Is a Virus.” Batsheva Dance Company artistic director Ohad Naharin uses his trademark Gaga movement language to infectious triumph in his 2001 piece Naharin’s Virus, which has now been adapted for Batsheva – The Young Ensemble, trimmed down to a relatively lean sixty minutes and continuing at the Joyce through July 22. Don’t be scared off by the term “Youth Ensemble”; the large troupe of seventeen dancers and two apprentices are enthusiastic and energetic, well-trained performers — with many very likely to soon graduate to the senior company. As the crowd enters the theater, an inflatable white sky dancer swirls above its fan, a sly introduction to what is to follow: A female dancer traces parts of her body with chalk as she moves awkwardly along a blackboard at the back of the stage; Evyatar Omessy stands on a platform in a rigid suit, reciting text inspired by Peter Handke’s confrontational 1966 play, Offending the Audience, which places the viewer in uncomfortable contrast to the performer; dancers in unflattering, tight beige and black costumes form a row up front and break out into improvised, aggressive solos; performers share brief, intimate tales about their life and jump onto and hang from the blackboard, on which they have written words and phrases that evoke what is happening in the world today.

The show changes slightly from performance to performance, as dancers improvise in certain sections and can write and draw whatever they want on the blackboard, but one large word must be included, running the length of the board: “Plastelina,” the Hebrew word for “playdough” as well as a purposeful misspelling of Palestine, a reference to Naharin’s politics, which have been critical of the Israeli government’s treatment of the Palestinian people. In addition, the work features Arab folk music by Shama Khader, Habib Allah Jamal, and Karni Postel, along with snippets of Samuel Barber, Carlos D’Alessio, P. Stokes, and P. Parsons. However, Naharin’s Virus is not meant to be controversial but instead a celebration of, among other things, ambiguity. “In the spirit of collaboration, Naharin’s Virus brings together the work of an Israeli-American choreographer, an Austrian writer, Arab and Israeli musicians, and dancers from around the world,” Naharin explains in a program note. “Even and especially in these divided times, the work reminds us that dance can act on universal ethics to create sublime moments that we could not have created alone.” In “Language Is a Virus,” Anderson explains, “Paradise / is exactly like / where you are right now / only much much / better”; with this new, updated version of Naharin’s Virus, Naharin has created another unique kind of paradise.