The dance of life

Sharon Eyal’s world is one where dance is more than just movement – it’s life itself. Through her work, she invites us to step into her universe, where music, emotion, and the body fuse into a mesmerising whole. As she continues to explore the world of what dance can be, we can only anticipate what’s next from this endlessly inspiring choreographer.

hube: Your work is known for its powerful synergy of movement, music, and visual design. How do you approach the process of blending these elements so seamlessly in your productions?

Sharon Eyal: For me, it’s all about the total experience. Every element – the movement, the composition, the music, the lighting, the costumes, even the atmosphere – everything is part of one complete feeling. It’s not just one thing; it’s about collaboration, with everyone on the same wavelength. I work closely with people I trust, like my husband, who is my partner at our company. He’s deeply involved in everything, acting as my advisor.

Music is a huge part of the process, and I’ve been lucky to work with beautiful people, like Dior and Maria Grazia Chiuri for costumes, who are a great inspiration for me and the relationship with whom I appreciate dearly. Our lighting designer, Alon Cohen, brings it all together. It’s always about collaborating with the soul.

h: Your work often explores themes of love, identity, and human emotion. How do you ensure these complex themes are communicated effectively through both the choreography and the overall production design?

SE: It’s all interconnected. My work is physical, but it’s also deeply emotional and layered. The themes aren’t just love – they’re about life itself. Everything comes from my body, my spirit, and the minds of others around me. It’s never just one thing; it’s layers of emotions, timing, and chemistry with the people and the atmosphere. Life is all about timing.

h: How would you define this concept of life in your work? Is it something you continuously explore or something you communicate with a clear understanding?

SE: I don’t understand anything completely! I’m constantly exploring. If I understood it all, maybe I’d have to stop creating. It’s about growth, learning, and sharing what I love – dance, movement, music, beauty. It’s about creating an open source of feelings and allowing others to be part of that.

h: Your performances are known for their captivating, almost trance-like quality. What are some specific choreographic methods and production elements you employ to draw audiences into such an intense and immersive experience?

SE: I’d say, come with an open heart. Be yourself. It’s less about trying to explain or understand everything, and more about feeling. It’s like going to a treatment – you have to be open for it to work. The same goes for my work. I want people to connect to themselves through it.

h: Is it difficult to be yourself when creating? Does it come naturally to you?

SE: I’m a difficult person, I think, – but creating isn’t difficult for me. It’s healing. Dance and creating have always been a source of freedom and happiness for me. It’s never felt like work – always a pleasure. It’s challenging, yes, because I’m always pushing to explore more. But it’s never hard. It’s always interesting and inspiring.

h: You often feature a strong integration of electronic music. How do you decide on the musical direction for each piece, and how does music influence the choreography and staging?

SE: Music is one of my favorite things in life – it changes my mood, my feelings, everything. I am working a lot with the beautiful Ori Lichtik, but I’ve recently opened up and collaborated with Young, the label. We did a three-hour DJ set with Ben UFO, at the Armoury in New York, with the dancers performing alongside the music. For the last piece for my company, I’ve collaborated with the talented and sweet Koreless – musician Lewis Roberts. For the new piece at Gothenburg Opera, the beloved Josef Laimon brings a fresh energy to the music. 

Music and dance – they’re like day and night. One cannot exist without the other.

h: You’ve worked on large-scale productions and more intimate performances. How do you adapt your creative approach depending on the scale and setting of the performance?

SE: Whether it’s a huge venue or a small room, the intimacy is always there. It’s something I carry into every piece. Of course, the setting inspires me to create differently – it’s always adapted to the space, the people, and the energy. But the intimacy? That’s constant.

h: Looking ahead, what new ideas or projects are you most excited to explore, and how do you see your work evolving in the future?

SE: I want to keep growing in the direction I’m going. I’m thankful for the opportunities and the people I get to work with, especially the dancers I love so much. I just want to keep collaborating with beautiful people and different scales of work – and most importantly, stay healthy.