Naharin’s theatrical ingredients are space, movement and light." A critic comments, "In this tremendously potent work, there are few obvious displays of emotion, yet Max is full of imagery that slips between real life and dance in fleeting flashes." Anaphase, a work for 22 dancers and two musicians, combines elements of theater, opera, film and rock music as well as dance. According to Naharin, it "deals with small sculptures in a big space" and explores the abilities of the human body. Shorter and less complex than Ohad Naharin's other pieces, Echad mi Yodea finds power in its simple staging and wild, almost uncontrolled, movement. Chairs are arranged in a semicircle around the stage and dancers wear identical black suits. The movement is set to the traditional Passover song of the same name which "enumerates the thirteen attributes of God". It is a counting Hebrew song, meaning each verse builds upon the previous one. Naharin uses the cumulative nature of the song and matches it with his own type of repetition, specifically with the chorus. Prior to each chorus, a ripple occurs from stage right to stage left in which each dancer arches their back with splayed arms and bent legs, only to slowly be seated again. The final member of the semicircle, however, does not re-seat himself; instead, he falls to the ground. As he lays there, the rest of the dancers stand up from their chairs and powerfully deliver the lines of the chorus: “Echad mi yodea? Echad ani yodea. Echad Elokeinu, shebashamaim uva’aretz” (Who knows one? I know one. One is God, our God of the heavens and of earth). He then returns to his seat as the entire stage settles for a brief moment of tranquility. This action repeats itself thirteen times. It eventually becomes too much, and the dancers – excluding the stage left performer – forcefully shed and throw off their clothing piece by piece until they are standing in front of their chairs in just their undergarments, the pile of shed clothing thrown astray. As the lights and music fade, the "other" simply returns to his seat still fully clothed, while the other dancers stand proudly and exhausted in their undergarments. Naharin's Echad mi Yodea has a variety of interpretations – the shedding of one's skin, the inescapable bond with one's past, finding beauty in chaos, the singular within a group and the dichotomy