By Ronnee Jaeger (March / April 2001)
Israelis on the left described the electoral choice
between Barak and
Sharon as a choice between the plague and cholera. We are angry at Barak
for his "another general" style of secrecy and arrogance. Having seen
many
projected maps of new borders, no one on either side knows what is actually
on the bargaining table. We are shocked and ashamed at the violent response
of the army to this second Intifada. On the other hand, we fear the
resurgence of the right under the infamous Sharon, with Netanyahu in the
wings.
Because of the intensity of the political situation, political
themes are
very much part of the Israeli theatre and art scene. This week, a group
of
eight artists opened their show with a political statement. The goals
they
advocated were as follows:
* Ending the occupation and a return
to '67 borders, with
mutually-agreed-to modifications.
* Establishing a Palestinian state
with Jerusalem as the shared capital.
* Discussing the Right of Return of
Palestinian refugees and Israel's
responsibility for this problem.
* Equitable sharing of resources such
as water.
Outlook Readers will find these positions familiar, despite
the
panic-filled ad authored by Amos Oz and A.B. Yehoshua, which vetoed any
suggestion of the return of refugees, thus maintaining old sacred cows.
Having seen a couple of plays and concerts in Israel, East Jerusalem and
Palestine, I can make two generalizations. Every play I saw was sold out.
Secondly, and sadly, ticket prices are very high. There are no Pay What
You
Can and no half-price last-minute tickets. Some work places, clubs and
schools offer subsidized tickets to particular performances. Tickets can
cost from $40 to $60 and up. Museums and National Galleries are similarly
pricey.
Noting that Israeli incomes are lower than Canadian incomes,
you can see a
gloomy cultural forecast.
One of the pleasures of the last three years has been the
increasing acceptance of musical diversity. Jerusalem has opened the first
school of
Oriental Classical Music. There is a radio station devoted to Mizrahi
music-the music of Jews from Arab lands or Arabic Jews born in Israel-and
three televised weekly programs reflecting this tradition. They are very
popular, and this writer is also a fan.
On to the Theatre- The Hakawati Theatre Company of East
Jerusalem presented The Emigrant, a play by Georges Chehade adapted by
George Ibrahim in Arabic, with an English synopsis, at the National Theatre
of Palestine. The play is a modern examination of the corruption of the
emigrant, resulting from nostalgia, guilt and fantasy and the changes
of The Homeland under occupation, poverty and illiteracy. The play presents
the tragic, comic and murderous meeting of the emigrant and the homeland
in Palestine. The
actors, many quite young, have studied in Chile, London, Baghdad, Denmark,
Spain, Israel and Palestine. The acting was excellent, and the play painful
to watch.
The Khan Theatre (Jerusalem) production of a one-man-show based on a short story, "Two Scholars from our Town," by Israeli Nobel-Prize-winning writer S.Y. Agnon, received rave reviews and brought out an unusual audience. There were so many kippot (yarmulkes) I thought I was in shul on the High Holidays.
Shuli Rand, who plays the lead, is well known as an actor
and as a recent
returnee to Jewish ultra-Orthodoxy. The story, written in the thirties,
displays Agnon's dazzling literary style and his sly moral allegory. The
story takes place long ago in the world of the shtetl. It concerns two
scholars, one poor and one from a wealthy background. The rich scholar
insults the impoverished scholar, and although the former begs forgiveness
and attempts to make amends financially, the poor scholar will not forgive.
Both parties are thus bound in an unreconciled conflict and both pay a
tragic price. There is no individual salvation in Agnon's play, and guilt
and innocence are neither clear nor separate. The play is called Yor Zeit
(the remembrance for the dead). A long run is expected.
A very different theatrical experience is coming to a theatre
near you.
Klipa Theatre is an ensemble of eight artists from widely differing fields.
Three of the company come from Bat Sheva and Bat Dor dance companies,
one is a sculptor, one a musician and a number are painters and actors.
They
are all under 30 years of age, a requirement for the strenuous and demanding
physical work in this theatre piece.
The piece presented, Labyrinth, is a rich orchestration
of music, costumes,
lighting, and dance-movements set against an ever-changing "moodscape".
The entire theatre space was used, actually a well-known Jerusalem nightclub,
"Ha-Uman 17". It was beautifully crafted and as satisfying as a good piece
of music or a well-told fable. The theme vaguely concerns individual development
within society. However, having seen previous productions by this company,
I thought there was a lack of content in this work, unlike the social
satire of previous pieces. The large audience of mainly young adults didn't
seem to agree with me. Labyrinth will be performed in Calgary and Montreal
at the end of January and the middle of February.
In between all the meetings and continual activities of the left (although
they are often unreported in the media), the theatre and music provide
some
of the support we need to continue fighting.
Warm regards from a cool sad city, zeyt gezunt.
Ronnee Jaeger
Jerusalem