Judiska Teatern Jewish Theatre

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Movement, body and rhythm are reoccurring in her photographs and videos. Using her camera Yanor wants to portray situations that balance between documentary and fiction. The video installations are dreamlike and are constructed using multiple visual layers. Time and motion are important components in the creation of her art. The choreographer Pina Bausch has given dance a new language, far removed from classical ballet.

To many the encounter with her art has been overwhelming. Coffee with Pina was filmed between the years and has been screened at a number of major film festivals worldwide. There is art that grabs us, that swishes us around in a pirouette and then come to a standstill and point to the gateway to our own inner journey. Small Songs is such an exhibit. Lee Yanor has a background in the dance world. Dance as a means of expression also lends a strong influence to her visual art.

Interest in the body and its language, from sweeping movements to small barely visible gestures, is central here. The current exhibition includes three video works, holographic images and photographs on canvas, previously treated with photo emulsion. The presentation consists of four separate parts. They never form a coherent story, interestingly enough, but together they generate a comprehensive experience. Countless layers of thoughts, images and feelings — have in turn — hit your brain as easily as light.

One might think that each layer might bury the previous, but nothing is completely lost. The impressions accumulate during the walk through the theatre. It is obvious from the very beginning. The video installation Void is the sluice to the exhibit.

It is therefore impossible to go past it. There is also no time for the eyes to adjust to the darkness. Images and sounds bombard us from all four walls.

As an outsider one is suddenly in the middle of an ongoing, charged meeting. The darkness engulfs the floating figures that appear and disappear. It is as if different versions of the same story bounced back against each other and broke up into short episodes. We must put them back together as best our individual imagination allows. It is bewildering and beautiful in a way that is hard to describe.

The mood changes completely in the next room. Essential for the still lifes here is the artful lighting. On sheer transparent canvases emerge the same motifs as in the prints in the background. The technique enables the underwater images to convey movement in the stream and captures what goes on under the surface. Yanor is the artist of suggestion.

She skilfully steers our attention in a certain direction without tracing too concrete contours of the answers. A suite of nine holographic images depicts childhood recreations. The children hang around on the beach. We follow them from afar. Both features and silhouettes disappear into a veil of greyness. They are more shadows from our own past than actual figures. This blurring is indelible.

It affords childhood an ounce of immortality. The video installation Cloud 9 is shown on nine screens with parallel action. Every scene is a fragment of an elusive whole. As a whole Small Songs offer a subtle series of impressions of how the narrative dissolves in favour of clarity of emotion. The Director of the theatre Pia Forsgren has altered the entire space for this project.

In this video installation she wants to convey the feeling of motion, particularly how the actors in the film fly through a storm. Through a hidden door the audience then emerges into what at first glance seems like a very trendy bar.

Lee Yanor has worked with multiple layers, both in her choice of materials as well as intellectually, in the seemingly conventional pictures.

Printed on sheer fabric canvases the images are the same as on the prints behind them, so as to render them three-dimensional. On another wall hang holograms where figures appear as in a fog. They seem to move as one progresses in the room. The Lighting Designer Noa Lev has helped out with the holograms. The pictures are from a bathhouse in Pompeii, the Italian city that was destroyed by a volcanic eruption in 79 AD. On cotton canvases coated with photographic emulsion a dancer appears in pictures that seem to be a hundred years old and they are in sharp contrast to the other pieces in this exhibition that are all very contemporary in spirit.

In the main theatre all the works are tied together. In the films the different motifs from the other art pieces recur. So how is this Jewish? Pia Forsgren and Lee Yanor both agree that the pieces want to convey thoughts on identity, where one comes from and where one is heading.

A question that has strongly affected Jews throughout history but that also concerns people in general. Two Israeli artists are currently in Stockholm. Lee Yanor relates to landscapes and memories. Also shown is her praised portrait of Pina Bausch. At the Jewish Theatre in Stockholm, Lee Yanor, together with the artistic leader Pia Forsgren, has built a new spatial frame around her work for the exhibition Small Songs, with still images and video art.

For Lee Yanor work with images is as much an internal as an external process. She talks about the volatile and variable, associations, layers, state of mind and memories. In the first small room the viewer loses his orientation. From the darkness different characters emerge that seem to blow past in the films around the four walls. Void is created especially for the exhibition. The idea with Void is disappearance. The figures appear from nowhere and go nowhere.

The entire exhibition wants to touch a different feeling about the body, and photo, says Lee Yanor by phone from her studio in Tel Aviv.

She is extremely pleased with the meeting Pia Forsgren and show how the exhibit has been designed. I like that contradiction — to try and create a different world.

Motion has also to do with memory. The piece Cloud 9 is a mosaic of moving pictures on nine screens, a flowing stream of nature, animals, bodies, and music. Lee Yanor calls this a multiple photo or a landscape that shifts between blue, red and yellow.

In one sequence a polar bear swims between the screens. In the film Small Songs, which also has lent its name to the entire exhibit, we see — a man and a woman approach each other from opposite directions in a white vacuum — on six screens. His weak song and her falling backwards to the sound of heavy thuds gives the impression of something both tender and unpleasantly violent.

It is a state of loss, perhaps death. The white space is like a stage where I bring together these two that do not know each other, says Lee Yanor. One hears how the artist takes a sip of coffee in her studio in Tel Aviv. She shares her coffee addiction with Pina Bausch, the German world famous choreographer who passed away last summer.

During the years she followed Pina Bausch — all the way into her studio in Wuppertal — where the otherwise so shy, chain-smoking choreographer improvises right in front of the camera. She liked my pictures, I loved her work, and with time a sincere encounter between two artists grew. Pina was affectionate and true, without pretence. She encouraged me to project my own feelings through her work. But just strong coffee and cigarettes is not so god, so Pina diluted the coffee with water.

Lee Yanor Lives in: In Jerusalem, Paris and New York. We fumble about in the dark — and suddenly they appear: The figures projected along the walls, accompanied by atmospheric music enveloping us in a rhythmic yet unpredictable flow. It gives me goose pimples. It is evident that Yanor has a background as a dance photographer, the common denominator being motion. Or the journey, the internal and the external, in the past, present and the future. The hands, those hands. They never intertwine in a sentimental or pathetic way — but envelop quite objectively — slide into, out and all around.

Like fish in an aquarium. The film premiered in Sweden at The Jewish Theatre and one can only hope that it can be distributed and viewed by a wider audience. Yanor has merged the close-ups of Pina with footage from two dance productions, Agua and Rough Cut as well as rehearsals on stage for these performances. In this way, images alternate between dancers, mostly women with their hair down and flowing but body-hugging evening gowns — and the thin, black-clad Pina herself.

The hair combed smooth gathered in a barrette at the neck, face void of make-up, pure. The voice — one moment happy and girlish — and next grave, thin and harsh. The sequences of Pina Bausch in front of the mirror in a dance studio, among debris, costumes and leotards are fabulous. As if everything will be easy again — she closes her eyes and lets her hands and arms slide into a pattern of movements, beautiful, rhythmic, drawn-out.

And ending with one arm raised in a wave. As a goodbye when someone leaves. The film was made between — in Pina Bausch died suddenly at the age of 69, after a very brief period of illness. The coffee cup, the cigarette, the perseverance, the seriousness.

It turned out to be mostly choreography, but it would be fun. Coffee with Pina is cinematic poetry but also possesses insights into the many perspectives of artistic work. A more beautiful epitaph on Pina Bausch is difficult to imagine.

On September 5, , the sculptress and mother of three, Gladys Heyman-Nystroem, committed suicide at the age of She starts reading feverishly and a bold, talented and passionate woman emerges. She has performed in many film and television productions. She has previously directed a dozen productions. Med blotta sin uppenbarelse. Till vilket pris som helst:. Och nu bjuder vi in Er till den. Ask efter ask plockas ur ask.

Vem var Gladys egentligen? Vilka krafter hade hon att tampas med? Om man inte hetsar dem. The audience was treated to a performance that hovered between grand comedy and matters most serious. Amikam Levy, 54, resides in Tel Aviv where he works as an actor. He has already a very successful career behind him and is today also known as a host for a popular interior decorating program on Israeli television.

Levy is full of life, intense and candid. When he took the stage at the Jewish Theatre, it was to tell a very personal story. It was at the same time complex and dynamic, where the expression of the performance can vary depending on the time, the audience and the mood. But How About The Future? Since then she had staged numerous other successful productions. Thanks to her theatrical as well as cinematic successes, she has attracted quite some attention as one of the most prominent contemporary directors in Sweden.

The performance was a journey into a very entertaining and most personal story. When I initially read the script it struck me how pressing the subject matter is.

The script was also very tempting to me as a Director. It radiates a warmth that made me anxious to nurture it and bring it to the stage. He describes a world totally different from my own but despite that has many points in common — the difficulty and beauty of being a struggling human being perhaps? Amikam takes the stage in order to deliver himself to the audience. He treats the audience to this exciting, mad, yet sweet person.

The cool thing about this particular production is that it is a live encounter that changes daily. I hope the audience leaves with a sense of strength and joy. It immediately felt like a perfect fit. He is unique in his commitment and his approach to people and we realized, almost immediately, that we shared a common view on how to interpret the script.

As a Director it is a challenge to work with an actor that is so empathetic and outgoing as Amikam. He returns what one offers and the process turns into a very exciting exchange.

The result of our encounter is a little bit like the meeting of a pulsating, warm, motley and emotional Tel Aviv and a strict, orderly, nice and doctored Falun provincial Swedish town. It feels great to be back at The Jewish Theatre. Ten years ago she was one of the hottest talents in theatre in Sweden.

The Jewish Theatre is packed to the rafters with stuff. Or rather to be a listener, and brake pad. One can say that Amikam reminds me a lot of myself and my struggles, but a hundred-fold.

Despite having acted as a brake pad, she finds that Amikam Levy is impossible to curb. His theatrical training was supplied by the rough Israeli army, where Amikam Levy and nine other men and women belonged to the entertainment unit. There this very energetic Tel Aviv-based actor learned all there is to know about the stage. Normally I am the one who triggers the actors and lend life and form to the characters they portray.

Deep down there is a tragic story, which Maria Blom wants to tell and enhance. The ambition is of course to create a different and vivid performance, and to show how affected Amikam Levy, and the rest of us, are of our background. It was followed in by the story about the forever smiling stewardess Nina Frisk.

The next step is to sit down and write, for film as well as the theatre. And there will be a piece for a stage in Stockholm too, Maria Blom confides in a whisper. Maria Blom Stage Design: He claims that he has just arrived straight from Tel Aviv, but is never the less ready to begin his performance right away. He makes an attempt but the cell-phone rings. His father has just died — and the performance becomes a high-geared dirge about a mute relation with his father, as well as a story about coming out as a Jew and a homosexual.

Amikam Levy is a 54 year-old whirlwind, erratic and immediate. With fine drastic details he tells the story of his childhood where he was the big hope — but also how, according to Jewish tradition, he has disappointed by living as a homosexual. He feels, like so many other homosexuals, as another gender, neither man nor woman. Maria Blom has directed, read: In particular she has emphasised the close contact with the audience and the insecurity factor.

Is this true, how much is made up? Levy flirts with the audience, wants to swap his shirt with a man in the audience, demands to be hugged and tells of a lifelong constipation and the interiors of a local gay sauna. More and more furniture ends up on stage, a couch, lamps, curtains and slowly the lobby is transformed from a minimalist cold space to an Oriental home.

He reveals that his best friend was a chick, describes bullying and loneliness that thrive in the cramped apartment where the entire family slept together. At the very end Amikam Levy comes out, literally, wearing a frock and stumbling on high heels toward the entrance, to the plane and the funeral. The last thing we hear is a long tirade in heavily accented English — before the applause begins. He is something all his own, even though he at times resembles Dame Edna.

The Jewish Theatre, Stockholm Direction: Amikam Levy Stage Design: Sandra Weil Costume Design: Amikam Levy keeps the suspense alive in the hourlong performance in the lobby at the Jewish Theatre. Amikam performs a monologue with breakneck irony.

A happy and bundled up individual makes his way into the lobby and disperses his belongings by the door as the audience awaits to enter the auditorium at the Jewish Theatre.

It turns out to be the principal of the evening, the Israeli actor Amikam Levy, who makes his excuses for being late claiming that the flight from Tel Aviv was delayed.

Is his sister really calling him on the cellphone? Has his father really just died? Has the performance actually started yet? To keep the suspense alive. Are you sitting comfortably? These conventions are mucked up by an actor who employs break-neck self-irony and sentimental persecution mania in climbing the walls telling of his loveless father and a religious environment where homosexuality is a mortal sin.

That the father is dead is something we are made aware of, if not sooner, when Levy disappears and re-emerges in a frock and high heels. Finally he, the son, has the permission to be himself. One feels that one gets to know him. In English, five weeks remain of the run. The Jewish Theatre Playing time: The dazzling white, to the bone minimalist, lobby of the Jewish Theatre, where Amikam Levy performs his monologue in English is an unusually appropriate background for the frostily controlled, constipated family he portrays.

A sharp contrast to his own twittering needy inner self. He of course proceeds to fill the cold space with cosy comfort. He produces a carpet and a couch. Drapes floral fabrics, fetches candelabra, and finally hangs an entire garland made out of quirky small lamp shades all across the room almost as to just demonstrate how one can create forced warmth and a personality all by oneself.

Meanwhile the story is told of a sensitive boy, gay, forever searching for his father, a man so self-centred that he actually spends hours checking whether his socks are fitting just right across his toes.

This in Tel Aviv where being a real man is of the utmost importance. A dirty joke dissolves into tears. A glimpse of a schoolyard filled with dull juvenile cruelty. A facial contortion turns bitter at the memory of no one bothering to read him a bedtime story.

The winds from his adolescence are quite desolate, and I believe him. But not all the way. This man appears to be somewhat more self assured than the text implies and some of the neurosis is well rehearsed to perfection. Levy seems the most honest when he speaks of another kind of manliness, as in the little dance in honour of the brave dick.

Wearing a charming headdress fashioned into a little chubby upholstered penis covered in sequins, he confidently mimes to the singing voice of Liza Minelli that maybe tonight is his turn.

Great ironic melancholy, for all to be seen, such a deviating hat is just too embarrassing to bear. Amikam Levy is an actor, famous TV personality and author. He also runs a furniture store specialising in antiques and design in Tel Aviv. The monologue premieres outside of Israel for the first time and has also been translated from Hebrew into English for the first time.

He wrote the piece fifteen years ago. I was angry with my father, with my entire neighbourhood. Amikam lives in the middle of a conflict area, but does not see Israelis, Palestinians or Arabs, he sees individuals, souls. Amikam reveals that his director is a very impressionable and open person and that they have a great time together.

Without changing a single word in the script. The audience murmurs in the lobby at the Jewish Theatre as they await the beginning of the one-man show by and starring the Israeli actor Amikam Levy. He makes his excuses for being late and we are led to believe that he is Amikam, but not that the show has actually already begun and that it will take place in the lobby for the next hour or so.

Seats are pulled into place, champagne is offered and Amikam gets acquainted with some members of the audience. Then he gets news of his fathers death on the phone, and the performance continues on the edge of the grave — the son must return to Tel Aviv, where he is expected to read the Kaddish for his father, being the only son among eight daughters.

The monologue is delivered in a heavily accented English, which makes it not always easy to follow. In principle he sticks to the private plane, for as much as one can do so being a homosexual Oriental Jew in Israel. The Palestinian conflict is hardly mentioned, neither is anti-Semitism. The performance is very much worth seeing, but one hardly leaves the performance into the autumn cold in a daze, having experienced something fabulous.

Neither homosexuality nor broken relationships with fathers have the the power to shock anymore. At least not in Sweden. Yes, three women and a man. Or two young Feminists an older lonely woman and a homosexual man raised in a traditional culture. She speaks American English, has time to wear both burka and bikini, but shows at the same time naively and quickwittedly how global oppression of women operates. Last but not least, Amikam rages around in a pea-green ski jacket and pink carry-on suitcase at the Jewish Theatre.

He makes excuses for being late, but my father just died. And contact with the audience is just his middle name, once he starts no-one is safe.

He is very adept at putting the fiction into question, getting hugs, jackets, cigarettes from the audience. God knows what if he only wanted to. The Jewish Theatre City: Noa Lev Costume Design: Amikam Levy Dramaturgy and translation: It all seems slightly behind schedule. All the other members of the audience waiting to be admitted to the auditorium seem to have the same thought, as a stressed out gentleman wearing a cap and loads of suitcases storms in through the entrance.

The performance has already begun. Small unexpected surprises like this twinkle like a string of pearls throughout the performance. Or like the garland of lamp shades that eventually frames the minimalist white bar. Before we leave Levy has managed to re-design the whole place using rich fabrics, candelabras, rugs, a couch. To prove this he needs no shocking pink suit. And what a meeting it is. In this production Levy employs the improvisational techniques from stand-up comedy to reach the audience, garnishing with song and dance as he goes along.

He selects his victims with a kind but dangerous glint in his hawkish gaze. He gets a witty repartee from the Stockholm audience at the Jewish Theatre who obviously master the subtleties of Jewish sense of humour as described in the program by the cultural journalist Jan Gradvall Jerry Seindfeld, Larry David, Woody Allen. There is however no doubt who gets to talk the most here. The encounter lasted for ten minutes. Vehement exchanges, a poker that may have been branded, and a legendary issue: Hamadi Khemiri, Hannes Meidal and Jens Ohlin have taken the project from idea and concept to performance.

The play is based on a brief, explosive encounter in between three philosophers: In his own monologue, Signalfel premiered at Kulturhuset, produced by the Limbo theatre network.

He made his debut as a playwright in when his Kafka was performed at the Strindberg Intima Teatern and Teater Galeasen in Stockholm. He has also worked as a dramaturg and with drama at a more theoretical level, and has co-authored Dionysos och Apollon — tankar om teater with actor Keve Hjelm. Men kan det bli teater? What happens when numerous different works of art come together and make up something new? Reich spent a lot of time in his childhood traveling by train between the American West and East coasts.

She also asked them to compose and perform a new piece — Tears Apart. At the same time she realized a long-cherished dream — to build a set design in glass. West and East Coasts — juxtaposed on his thoughts about the children that during the same time travelled by train to the extermination camps in World War II Europe.

Steve Reich has had a strong influence on contemporary art music; the slow, repetitive rhythms, the phasing into different tempi, the shifts in canon. Download the program pdf, kB Download the program pdf, 3,72 MB. She says this has given her the best of two worlds: Swedish traditional craftsmanship and American artistic freedom.

This was the start of a twenty-year collaboration with the glassworks group, for which she has designed several series and acclaimed exhibitions, including Cyklon and Blue Snails — Green Seahorses. She has been awarded the Excellent Swedish Design Award on several occasions. Pia Forsgren studied stage directing at the Dramatic Institute in Stockholm, where she directed an acclaimed production of Hanjo, a modern Noh play by Mishima.

Her interest in contemporary cultural expressions and her strong inclination for experimentation and exploration of the theatrical space have been manifested in several highly renowned productions. After working as lighting director at the Royal Opera in Stockholm, he embarked on an international career as a lighting designer in Since then, he has been involved in productions for major opera houses all over the world, including Athens, Berlin, Chicago, Geneva, London, Milan, and Paris.

He has also designed lighting for Rudolf Nureyev. His other assignments include numerous dramatic and musical productions for leading theaters throughout Scandinavia: The Fleshquartet was formed in and is rooted in baroque, classical, rock, world, and modern art music. The group members have developed an unmistakable sound, well aware of the interaction between voices and tones from instruments and the everyday world. Their music is a tapestry of ethereal, transparent tones that blend readily with hard-as-nails timbres and rhythms.

With masterful ease, the Fleshquartet seamlessly melds rigorously repetitive and seductively rhythmic motifs with gently melancholic harmonies and melodies. The Fleshquartet has been active for 25 years, and has produced 12 solo albums. In they released the album Voices of Eden. Following a period as an architect in Geneva, he moved to New York where he worked as an Art Director and Creative Director for over 20 years.

His assignments include editorial and commercial graphic design, costume design for the stage, and various product designs.

The first time I saw your work was in at an exhibition at the University College of Arts, Crafts and Design in Stockholm, which you attended after your studies in the United States. I particularly recall a number of geometric vases in black and different colors, based on conical forms. They impressed me with their precision and restraint — not exactly the studio glass we were used to seeing in Sweden in the s.

Since then, I have followed your work closely, both your product design at the Kosta Boda glassworks and, in more recent years, the glass objects you have produced in the United States.

We now find ourselves at The Jewish Theatre, in the setting for Different Trains, a staged concert based on the music and texts of Steve Reich. You contribute a scenographic glass installation that encompasses the room. This is an entirely new departure for me — using glass to create a room.

I am accustomed to shapes and objects, but this has been a journey I could never have imagined. Since then, she has been eager to find an opportunity to work with glass and light in a scenographic context at The Jewish Theatre.

We met and Pia told me about her idea. She wanted to begin with the space, setting no prior conditions whatsoever, and seeing where the process took us. She imagined a room in which the audience would be surrounded by glass — like bodies. I took this concept with me when I visited the Czech Republic to look for glass factories to collaborate with.

I was introduced by Charlie Parriott, one of my contacts from the glass community in Seattle. Kavalier specializes in laboratory glass and I immediately saw interesting potential. I began to make some sketches and returned with Pia and producer Elisabeth Secher Svenstedt from The Jewish Theatre to show them my ideas. The factory has nine large continuous feed glass furnaces, so the size is immense.

One corner of the factory is set aside for manual production of smaller series and it was there we began to experiment, entirely by hand, with glass shapes so large they almost burst. I managed to get the glass blowers to stop the process at precisely the right moment. When the samples eventually arrived from the Czech Republic, we began to feel our way by hanging the pieces in different ways in the space. We tried these arrangements with different lighting solutions and then decided to move on.

Pia gave me total freedom and advanced the process almost imperceptibly after having initially sown just a few but very vigorous seeds. In total there are nearly 90 objects of different sizes arranged in groups encompassing the musicians and the audience. Some are hanging and quite large in volume while others, somewhat smaller, are arranged lying. They are clear, sandblasted or silver foiled.

It is an extensive and complicated arrangement with specially designed lighting units and a rich palette of colors, digitally controlled. The arrangement of the audience and the musicians in the room is also crucial to the total experience. Having the opportunity to work with a lighting designer and thereby being able to see and control the transformation of the glass opened up a whole new world!

Eventually, however, I started to feel that I could rest in the abstraction. In the glass and the light and the music…. You spent a long time working within the art industry at Kosta Boda. How was this project different? Over the years I have, of course, become accustomed to meeting expectations in the form of products designed with sales and financial figures constantly in mind. In industry, the freedom you have as a designer is actually very restricted.

With this project, I felt completely free. I had the opportunity to learn, to take my time and to find totally new artistic possibilities in glass. Tom Hedqvist was born in and is a Designer. He has been active in the group Ten Swedish Designers since Chance toys with our lives. Composer Steve Reich has been fascinated by trains ever since he journeyed as a child between one parent in New York and one in Los Angeles, accompanied by his nanny.

This was during the second world war, and had he been living in Europe at the time, his Jewish background would probably have led him to travel down much more sinister tracks. The piece is now being staged in a theater for the first time. The light shifts between cold and warm shades and reinforces the perception of the 90 or so teardrop-shaped glass sculptures suspended in the house.

America — before the war; Europe — during the war; and After the war. But I needed a story to tell inside the glass. And then I wanted to stir up a bit of trouble with Reich.

The piece is exciting, as is the story — which is such an obvious choice for this theater. I want to try and make Stockholmers feel something. When I was in Barcelona it struck me that we Swedes are real woolly outdoor types. And the trademark Allen voice-over, an egoistic affectation if ever there was, serves the same role as the Surgeon General's warning on a pack of cigarettes.

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