Megafon News: Review Here
Kibbutz Time: Article Here
Public Parking @ The Israel Festival June 14-16, 2021
Jerusalem Post:
https://www.jpost.com/israel-news/culture/yes-planet-parking-lot-to-host-israel-festival-musical-dance-event-669558
פורטפוליו https://www.prtfl.co.il/archives/147837
Maariv: https://www.israel-festival.org/wp-content/uploads/2021/06/%D7%9B%D7%AA%D7%91%D7%94-%D7%A2%D7%9C-%D7%97%D7%A0%D7%99%D7%94-%D7%A6%D7%99%D7%91%D7%95%D7%A8%D7%99%D7%AA-%D7%91%D7%9E%D7%93%D7%A8%D7%99%D7%9A-%D7%9E%D7%A2%D7%A8%D7%99%D7%91.pdf
המלצות תרבות- מירה אן בינראט +מצ"ב
https://mailchi.mp/mirabeinart.com/43
UTOPIA AND THE NIGHT
Check out the article about “Utopia and the night” at MyNet - Kibutz
2208 PINTS!
Ms. Pulvermacher , who has limked herself to a scientist in the studio, is something of a Dr. Coppélius in the way that she creates choreographic kaleidoscopes that shift from raucous to meditative. ... In this work (2280 Pints!), which incorporates 57 white five-gallon containers, Ms. Pulvermacher uses buckets to create a mostly whimsical world dedicated to the spirit of imagination and joy.” (Gia Kourlas, New York Times, 2011)
http://www.nytimes.com/2011/05/27/arts/dance/neta-dance-company-performs-2280-pints-at-dance-theater-workshop-review.html
“Neta Pulvermacher deploys her squad of dancers and their fifty-seven buckets in a richly imaginative series of danced and mimed tableaux, set to a musical smorgasbord that runs the gamut from Mozart to Sonny & Cher.” (Oberon’s Grove, 2011)
http://oberon481.typepad.com/oberons_grove/2011/05/2280-pints.html
“There is no doubt how refreshing it is to see and experience youthful exuberance as developed and encouraged by Neta Pulvermacher. Her work is an expression of abundant and sincere joyous moments of life!” (Deborah Wingert, Eye on the Arts, NY, 2011)
http://www.eyeondance.org/arts/archives.cfm?id_journal_item=32C9C627-CB90-A2CC-BF77B03191917D8E&category=5FA605C9-5555-46DF-992EB5F4AEACF582
Check out Neta’s interview with CultureBot!
http://culturebot.net/2011/05/10687/2280-pints-at-dance-theater-workshop/
The New York Times
“.... Wild imagination.... pretty and immaculately structured.... “ (The New York Times 2009).
“[Air is] a little slice of heaven… Ms Pulvermacher [has a] frisky musicality and aptitude for stillness” (Gia Kourlas, The New York Times, 2007)
Brooklyn Rail
“Gotta Go, Welcome To My Garden and Air, were choreographed as a trilogy and explored death and the afterlife. Whatever death is - its mystery, sadness, release, journey- Pulvermacher’s trilogy embodied it wonderfully and provocatively through a mixture of quirky theatrics, sophisticated aesthetics and solid modern dance vocabulary.” (2007)
Back Stage
“Choreographer Neta Pulvermacher has a talent for finding the extraordinary within the ordinary. Her works are always thoughtful, full of surprises, and sparked by a sense of awe, discovery, and delight. She shows us that thinking is fun and that contained within everyday experiences are profound ideas just waiting to be actively examined. Because of her acute theatrical sensibilities, Pulvermacher's choreographic explorations are keenly entertaining. They are smartly paced, with lots of kinetic variety, and never feel ponderous or pretentious.” (Lisa Jo Sagolla 2009 about Air + Fold)
“The wild imagination of choreographer Neta Pulvermacher is highly infectious. Pulvermacher's contagious fancy motivates not only her fellow artists but her audience as well. - When tickled by such an inconceivable combination of ideas, one is both riveted by the incredible goings-on and stimulated to unleash one's own imagination” (Lisa Jo Sagolla 2001 about the Orchid Show)
The New Yorker
“Eclectic spirited repertoire… dancers move with stately stop action in the adagio and rocket through the Allergros in such intricate, quick trajectories that it’s a wonder they don’t collide” (May 2005)
Ney York Planet
"Pulvermacher's choreography is fierce and uncompromising. Her movement never whispers nor minces meaning. She has mastered a style characterized by fragmentation, by shards of emotion and physicality fused in flight." (Carolyn Kahn)
DANCE
“Despite her small size, Neta Pulvermacher is a big, aggressive mover whose work illuminates and stretches her dancers. Rainbow Girl, A fictionalized documentary, underscored Pulvermacher’s talent for dance-drama”. (July 2005)
The Orchid Show Reviews
"Would dance have more impact on America if, as at the Flea’s downstairs space, people simply sat closer to it? ...accomplished cast of singing dancers tickles your funny bone without mercy." (Eva Yaa Asantewaa, The Village Voice review of The Orchid Show, February 11, 2004)
"The wild imagination of choreographer Neta Pulvermacher is highly infectious. Pulvermacher's contagious fancy motives not only her fellow artists but her audience as well. Then tickled by such an inconceivable combination of ideas, one is both reveted by the incredible goings-on and timulated to unleash one's own imagination" (Backstage, February, 2001)
"To Flower enthusiasts, a rare orchid is like the Holy Grail. That passion is behind the Neta Dance Company’s The Orchid Show, but here the quest for the grail is much closer to the one undertaken by Monty Python than that of the Crusades. Youngsters get right into the kooky spirit...their only disappointment seems to be that the orchid ice cream Jill discusses isn’t also for sale." (Laurel Graeber, New York Times February 6, 2004)
"Orchids Don’t Stop! I had so much fun watching The Orchid Show. While that may not be good dance critic speak, I feel that it's the best thing I can say about this event. There are polka dots everywhere — in the lobby, on stage, and in the audience. The performance space at The Flea has an odd collection of doors, windows, and nooks through which the dancers exit and enter with some frequency. Unexpected heads pop in and out throughout the evening. A small wall separates the audience from the performance, but this does not contain the show in any way. The lost "orch" Eria was tossed over the wall almost into my lap, as were a bevy of monarch butterflies. The lighting design by Benjamin C. Tevelow intensifies the hyper-fun atmosphere through the exclusive use of hot pink, yellow, orange, and green. My only complaint is that I wanted the show to be longer. I hope to have a chance to go again before the end of its month long run. As Jill St. John declares at the beginning of the show, "Once you're hooked on orchids you're finished. You never get off orchids, dear." Full Story (offoff.com, February 5, 2004)
The Orchid Show (...takes Israeli choreographer and her six immensely appealing dancers into the outer stratospheres of giddiness... inspired to the heights of whimsicality," (Jennifer Dunning, The New York Times, June, 2000)
RAINBOW GIRL
"Best of all was Ms. Pulvermacher's Blue, a solo set to eerie taped vocals by Tami Stronach to Schubert's familiar piano impromptu. It was performed by Ms. Ting, who wisely commissioned the dance for herself, in a wig of long blue hair that captured the haunting strangeness of it all." (The New York Times, August 24, 2004)
"A cerebral, deadpan choreographer... This intense tiny woman from New York interrupted our sacred ballet class, I don't even know who let her in, she just started teaching materials!!! From that second she was hated. I was excited." (TimeOut NY, August 7, 2003)
"Rainbow Girl is a delightful imagining of an unseen, mythic character whose colorful visions are danced into existence in a series of vignettes by an able cast. Ms. Buechner’s playing is an extraordinary treat... Rich layered costumes by Melissa Schlachtmeyer. (Gay City, May, 2003)
"In a whimsical new dance-theater work Neta Pulvermacher celebrates a character called Rainbow Girl with eight dances that invoke the colors of the spectrum...the marvelous Brittany Reese moves her arms like ferns unfurling." (The New Yorker, May, 2003)
VIVALDIANA
"So fresh and vivid was Vivaldiana, choreographed by Neta Pulvermacher, that it might be considered the "birth" part of the program. The neo-classical work for six women performed to Vivaldi's Concerto for Two Cellos combined balletic intricacies with inventive falls, counterintuitive pirouettes and sassy little head bobbings. Each dancer was as individuated and delightful as her brightly colored costume." (Winston-Salem Journal, February 21, 2003)
Vivaldiana "Israeli choreographer, Neta Pulvermacher, created Vivaldianas for Ballet Wisconsin, and it was this performace which proved the company had come of age. Antonio Vivaldi's Concerto for Two Cellos, provided the vehicle for the six women to display seamless ensemble and rock solid technique. Ms. Pulvermacher obviously dnew the music well, interpreting every phrase of this nervous music into angular angst. It was a performance one wished would have been immediately repeated." (Wisconsin Jewish Chronical, March 13, 2000)
Vivaldiana "The six bare foot women became Vivaldi's concerto...Breathing, sweating, utterly clear and constantly surprising..." (Milwaukee Journal Sentinel, March 13, 2000)
FIVE BEDS/ CHILDREN OF THE DREAM
"The piece is finely crafted and imbued with Pulvermacher's rich dance vocabulary. Each scene from childhood has discrete phrases and gestures which serve as building blocks for a variety of moods --some dark, others funny. Transitions between sections of the dance are effortless and seamless, among the best I've seen in extended works... Explosive movement... Exuberant choreography... Pulvermacher's dance transcends her personal history and enters into aspects of growing up we can all recognize." (West Side Leader, Akron, June 17, 1999)
In Five Beds/Children of the Dream "Pulvermacher confidently, irreverently sidesteps myth. With what results? Exactly the intense, personal grab-bag of which real memories are made. . ." (Cleveland Free Times, June 9, 1997)
"The work speaks to a larger audience as a poignant remembrance of an idealistic social experiment. . .the dancers are dynamos fearlessly hurling themselves across the stage. . ." (The Plain Dealer, Cleveland, June 12, 1999)
"An excellent, brilliant, and charmingly humorous work. . ." (Giora Manor, The Green Paper, Israel, December 12, 1998)
"Pulvermacher's extraordinary Five Beds/Children of Dream grows by the accumulating weight of our knowledge...(her) choreography is forthright, rhythmic, and vigorous, studded with arrests that give the impression of inner breaks slammed on...The people, resolute, explosive, impish at times, may be on a journey - the Jew's long wandering perhaps..." (Deborah Jowitt, Village Voice: 1994)
"Pulvermacher, who also wrote the accompanying text (Five Beds/Children of the Dream), was especially effective when she sketched portraits of kibbutz residents with a few deft changes in posture and gesture..." (Jack Anderson, New York Times: 1994)
"...Powerful and moving...there is a bleak, bittersweet poetry to Five Beds/Children of the Dream." (Deborah Jowitt, Village Voice: 1993)