Nir Vidan (IL)

8 October, 8:00 p.m.

A4 – space for contemporary culture


Nir Vidan has been active since 2004 in the interdisciplinary field between physical and political theatre, performance and contemporary dance, first as a performer, and later also as dramaturge and choreographer. Since he graduated his studies at HZT-berlin in 2015, Nir has been creating his independent choreographic works, side by side with his ongoing collaborations with other performance artists such as Isabelle Schad, Yasmeen Godder, Clement Layes, Laurent Goldring, Julia Rodriguez and others.

“The ground for my choreographic work is the articulation of a subjective body presence and the way its singular identity is unfolding through time in a performative state. This is my personal exploration as a choreographer, and my interest when working with others as an interpreter. Side by side with that, I am engaged with learning and decoding the structural violence of our time and I perceive artistic work as an opportunity for critical action and community life.”



Choreography, performance: Nir Vidan

Sound: Tomer Damsky

Dramaturgy: Diethild Meier, Ran Brown, Ari Teperberg

Philosophical research, dramaturgy: Sharon Cohen

Rehearsal director: Tamar Kisch

Light design: Emma Juliard

Study group facilitator: Roni Katz

Project management: Raquel Moreira.

The project is funded by the Berlin Senate of Culture and Europe and co-produced by Tanzfabrik Berlin. It is supported by Vierte Welt, Yasmeen Godder Studio, Kelim Choreography Center and The Israel Lottery Council for Culture & Arts.

Assembly Instructions is a solo performance driven by the desire to question and deconstruct the so-called normative body on stage. It is a body-based manifesto for multiplicity, a tribute to queer legacy, a quest toward the undefined. The body in »Assembly Instructions« is a constantly evolving, experimental entity that continually abstracts itself, creating itself. Through cycles of dis- and re-assembly, it sheds its skin to transform feelings and memories related to sexuality and shame, reshaping them into a new experience of the self. In a play between the sensual and the abstract, the erotic and the absurd, the intimate and the obscene, it seeks fullness in the incomplete.

This black-and-white solo work is graphic, stark, and brilliantly paced. Thanks to his clinically precise performance and thoughtful dramaturgy, Vidan paints compelling and evocative images and avoids simplistic narratives. I quickly succumbed to the magic of his work and lost myself in this intense and meticulous experience.”

By Evgeny Borisenko, Published in

Photo: Dieter Hartwig