As he did in both No play hero (2012) and loom (2014), in Ply Yuval Pick continues his exp l orationof movement to contemporary American music: he strips down its many layers, deconstructingthem in order to re-deploy their essential structures.
Having distilled this process down to a sort of pure choreographic “marrow,” he now begins classifying movement according to new configurations, moving them in mirror patterns, transferring them from one dancer to another,reversing their directions, and exposing them to continual variation, which are executed in different rhythms or from different points of view.
loom was a duo organized according to two principal polari ties: breathing in and out and gi vi ng a ndreceiving. These movements originating at the center of the body, are – in Ply – prolonged to thevery edges of the kinesphere (the space around the body that is reachable with fully extended arms or legs). The exchange between two individuals opens out into a wider space, with more complex movements, also expanding to include five dancers.