Aim:

To convey the social processes of Israeli society over the past 50 years and the issues which are reflected in Israeli theatre in different styles and dramatic media.

Age:

Issues I & II - 13 upwards; issues III & IV - 15, 16 upwards.

Time:

Presentation of each section varies between 4 and 7 minutes; preparation through chugim or special workshops in each movement.

Materials:

 

  • Sound equipment and cassettes;

     

  • Chinese shadows materials (see Ben-Gurion booklet);

     

  • masks materials: vaseline and cotton wool soap; plaster, water, containers for paints and water; scissors, plastic coverings for hair; plastic plates, paint-brushes, elastic (and hole-punchers) or sticks to hold masks;

     

  • puppet theatre materials - same as masks with paper, cloth and fabrics, wire;

     

  • background articles from Book I and from Jerusalem kit (drama).

     

Outline

This activity is based on four historical sections of Israeli history, each employing a different theatrical technique.

For the activity you will need songs and sound effects from the Ben-Gurion sound effects cassette and the one in this kit.

The presentation can be planned using four different groups from the same youth movement or by allocating one section to each of four tnu'ot.

 

No. Technique Section
I Dance theatre Mass aliya of Oriental Jews; cultural clash between Ashkenazim and Sephardim.
II Masks/mime or musical Six-Day War.  
III Puppet theatre 1970s: 1973 - before and after the Yom Kippur War, Soviet Aliya, the social situation within the country.
IV Regular drama or Chinese shadows Early 1980s, period of Likud government and National Unity Government. Ethiopian aliya.

 

Section I

Using music of the period and sound effects recorded on cassette for the first three songs, a creative movement / dance theater scene can be organized by a moderator who is familiar with the technique. The content is central to the dance: it should be based on a study of Israel in the 1950s and the different aliyot as a setting which led ultimately to cultural clashes between Ashkenazim and Sephardim. Two different styles of movement should be used for the different groups, and the encounter can be developed into a very interesting scenario or series of scenes.

Songs:

Partisan song (HaPalmach)

Kalaniot (Anemones) by Shoshana Damari

Yeladim ze simha - HaBreira HaTiv'it.

Section II

This is a very eventful period during which the country grew in two ways: by the extension of its borders and through an influx of new immigrants. These ideas can therefore be developed in two different directions: the first, through scenography in which various visual methods can be used to portray the difference between the previous borders and the post-67 borders. Examples are: bright and soft lights, wall maps, walls illustrating areas of Israel with the opposite wall showing the Kotel on which coloured lights are playing.

The second theme can be developed either through masks and mime which can display designated expressions and feelings (each participant will require two or three masks) or through a musical - for which you obviously need people with good voices. These techniques are particularly suitable because the period is one which can be represented better through feelings and music than words.

Songs:

Nasser mehake leRabin (Nasser waits for Rabin)

Amda na'ara mul haKotel (A girl stood at the Western Wall)

Section III

The third period follows on the euphoria of the Six-Day War and is in many ways more introvert, since it looks at problems within Israeli society.

For many young people the period following 1973 was one of disillusionment with the army, society and politics, a change in Israeli society.

The problems can be conveyed in a less threatening manner by the use of puppet theatre. When the work is centred on the values of youth in Israel and the world, it opens up means of discovering a great deal about young people in educational terms.

If, however, your community or organization has a good amateur theatre group, you might wish to consider working on Hanoch Levin's play, "The Bath Woman" as an alternative (using the English translation).

The atmosphere of the period is very important, in order to convey the questioning, critical approach as well as just disillusionment.

Songs:

Omrim shehaya po sameach - Arik Einstein

Lifnei shenolad'ti - Arik Einstein

Ani ve'ata - Arik Einstein

Ani mabit mehahalon - David Broza.

Section IV:

The fourth period can be translated effectively through contemporary theatre and Chinese shadows, using freeze techniques at times to alternate between the two.

The content will reflect the social and political issues in Israel, as well as Israel-Diaspora relations. Events can be presented on the centre stage. The one or two shadow screens behind at an angle towards the wings can be used to portray reactions both by Israelis and by Jews living in the Diaspora.

Songs for this period can be chosen from current recordings.

 

 

 

 

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15 Aug 2005 / 10 Av 5765 0