The Queen Commanded Him to Forget
Christian Klühs Veranstaltungstechnik
Ashraf Hanna Visuelles Konzept Anni Atedgy-Yellin Kostüme Ramy Al-Asheq Dichtung
Henning Streck Lichtdesign
Martin Wittstock Ton Stephan Wend Licht backlight! GmbH Inspizienz Panthea Übersetzung Übertitel
Clara Stangier Projektleitung
Dedicated to the memory of Peter Brook (1925 2022)
Anan Abu Jaber Der Soldat
Keine Pause
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Nach dem Roman My Name Is Adam. Children of the Ghetto von Elias Khoury und Motiven aus Mutter Courage und ihre Kinder von Bertolt Brecht
Ofira Henig Adaption und Regie Khalifa Natour Dramaturgie und arabische Übersetzung
THE QUEEN COMMANDED HIM TO FORGET
Murad Abu Elheja Redaktion Übertitel Sujood Kabha Regieassistenz
Sonntag 2. Oktober 2022 18.00
Saleh Bakri Der Schriftsteller
Khalifa Natour Um Hassan Carlos Gharzuzi Der Sohn
Marco Hoës (MA*MA Production GmbH) Technische Leitung
Unterstützt von
Maya Omaya Keesh Die Tochter
Kinan Azmeh Musik
Freitag 30. September 2022 19.30
In arabischer Sprache mit deutschen und englischen Übertiteln
Urau ührung
Au ührungsdauer: etwa 70 Minuten
Samstag 1. Oktober 2022 19.00
Basheer Asli Eine Kinderstimme
Kinan, Ramy, Ashraf, Annie, Khalifa, Saleh, Omaya, Carlos, Anan, and Murad come from various nations, di erent generations, belong to di erent religions, and speak a range of languages in diverse dialects. All of us left our homes, and we met each other in this boundary crossing artistic space. Here, we plunged into the
Ofira Henig
“A performance has only one possibility—in other words, the nature of sound being ephemeral, once it is over, it is finished.”
In theater, however, words and language build another narrative —their presence, the interpretation that the actors give it are no less important than movements and sounds. It is not abstract art, and when I communicate with the actors, when they communicate with their fellow actors and the audience, it also depends on verbal, not just emotional, and intuitive understanding.
More than two years ago we launched a working process because we were given a home—the space and audience of the Pierre Boulez Saal at the Barenboim Said Akademie, which houses the project that Barenboim and Said established.
This is the first time I have directed a work that is entirely based on Arabic—a language I don’t speak. Goethe discovered Islam through Arab and Persian sources and started to study Arabic. I dis covered Arabic culture through a continuing dialogue with Khalifa Natour—my partner in creativity, whose captivating oeuvre and powerful love of the Arabic language introduced me to a multilayered culture crammed with imagery, for which I am deeply grateful. Arabic literature, particularly the books of Naguib Mahfouz and Elias Khoury, has been part of my life for years; although always through the mediation of Arabic to Hebrew translators, it was still my journey, my Iliad
All the artists involved in this project have their own Iliad and Odyssey—those who were exiled, those who were displaced, and those who returned.
Nothing can substitute for a live performance. That moment before the lights go up on stage, before the first word is spoken, before the first breath—that moment is the absolute silence that provides the space for creating from nothing, to sustain a world that draws on reality. But the same moment also leads persistently and deliberately toward generating an alternative reality on stage. A reality in which we continue debating with Socrates on the nature of the “moral virtue”—and keep seeking the definition of the “moral badness,” always connected to the societal, geographic, and politicalDefiningcontext.thenature of a live concert, Barenboim says: “It never comes again.” And indeed in the theater, radically and absolutely, if we don’t perform, if there is no one watching us and listening to
From Silence to Silence
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Ah, the silence. The hush.
When I first read that book, I noticed some points of convergence with the philosophical, artistic, and political themes I engage with. Theater is my mediating art, and I am researching and probing these topics through the dramatic arts.
us—we do not exist. That essentially is our complete dependence on the audience and the space.
This is how Daniel Barenboim describes the experience of playing music in a live performance, in the book Parallels and Paradoxes, which chronicles a series of conversations with Edward W. Said that took place between 1995 and 2002. Later, he comments: “In other words, it is the sort of equivalent to the life of a human being or of a plant: that it starts from nothing and ends in nothing …” Said adds: “From silence to silence…”
For years I have read Said’s works and listened to Barenboim’s playing. As an “uprooted” artist, directing theater outside my homeland, beyond the realm of my native language, that anthology of conversations has become one of my bedside books. I agree with Barenboim that an artist whose profession goes beyond a profession and becomes a way of life—an artist who engages not only in self expression but also in the expressions of others—can be a creative artist anywhere. The geographical location is less important. One can have several identities, and the sense of belonging to diverse cultures is inevitably enriching.
jolting scenes from Khoury’s book, and the marvelous situations Brecht o ers us in his play Mother Courage. We shifted between German and Khouri’s literary Arabic, between the actors’ many dialects, English as the language of communication in rehearsals, the influence of fairy tales that we each first heard in our native language, and powerful love for art, music, and humanity.
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Considering playwrights like Chekhov, Shakespeare, or any play written as a play, Brecht’s as well, I of course agree with Barenboim. But, when it comes to authentic testimonies, like those in Khoury’s books, the words are truth, and the stage we give them transforms them into a work of art. The testimony, just like the theater, needs someone to listen to it, only then is it defined as a testimony, and this place is given by the theater stage. But the stage also casts doubt on the veracity of the words, since the context is artistic, the structuring of an alternative reality.
In the Said Barenboim discussion on performance and freedom of interpretation, Barenboim says: “After all, the composer’s notation is, in some respects, much more approximate than people like to think—you know, this question of truthful to the letter, it doesn’t really exist.” Said wonders why that is, and Barenboim responds: “Because the score is not the truth. The score is not the piece. The piece is when you actually bring it into sound.”
That’s how the project took shape.
So what should happen then? We should tell a story. In fact, we don’t discuss ourselves but the stories we carry with us. And here the question of the message arises. Said remarks: “Music doesn’t explain itself in the same way that a word does in relationship to other words,” and Barenboim mentions the inherent danger of messages: “Words such as redemption, glory, or revolution, whatever it is, bring with them the danger of then using the music, even on a subconscious level, as a description of these ideas. I think that the true expression of absolute music has to be found in the world of sound and sound relations themselves.”
Maya Omaya Keesh (The Daughter)
While art is not aimed at projecting messages or educating, theater comprises words and concepts—and words possess contra dictory meanings. In theater, we walk a tightrope, for it is more than abstract sounds. Rather, it is a never ending journey between the urge to shout and scream out pain and wrath on a stage, and the existential instinct of every artist hoping to create moments of beauty and poetry, with immense love for life and humanity. Loving and being loved.
In My Name Is Adam: Children of the Ghetto, Khoury depicts an incident in which, to the sound of gunfire, soldiers force an old woman, Um Hassan, to dance. In my memory and imagination, the figure of Um Hassan merges with the character of Mother Courage, the heroine of Brecht’s play.
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The situation—wartime.
That is where our story opens, where our silence begins.
Translated from Hebrew by Diana Rubanenko
A big thank you to Ole Bækhøj, Clara Stangier, Philipp Brieler, and the sta of the Pierre Boulez Saal who listened to us and dreamed with us. Without you, the project could not have come to fruition.Andfinally—thanks to Edward W. Said for being who he was, and for what he thought and wrote, and to Daniel Barenboim—for being who he is.
Thanks to Elias Khoury, who made the dialogue possible and allowed us to adapt and interpret excerpts from his book, and thanks to Yehouda Shenhav, who is translating Khoury’s words into Hebrew and devotedly bridging between the two cultures.
Thanks to all our friends at home, particularly Rawan Mansour, Youssef Abu Warda, Ala Hlehel, and Wael Hamdun, who worked with us in the initial stages of the process. Thanks to Tsafrir Cohen and Tali Konas at the Rosa Luxemburg Stiftung; to Prof. Orna Ben Naftali, the Emile Zola Chair of Human Rights at the Haim Striks School of Law; and to our friends in Berlin—especially Tobias Veit and Thomas Ostermeier of the Schaubühne who have had a wonderful dialogue with us for many years.
Carlos Gharzuzi (The Son)
Khoury writes in his book: “My never ending ambition is to arrive at a meaningless text, like music … this is my story, I am an author and I am sorrowful unto death.”
Ofira Henig’s (director) productions have included Chekhov’s The Seagull and Three Sisters, García Lorca’s Yerma, Genet’s The Screens, Pirandello’s Six Characters in Search of an Author, as well as Hippolytus, Princess Yvonne, Salome, Back to the Desert, Scenes from an Execution,
Kinan Azmeh (Musik) stammt aus Damaskus und ist Absolvent der Juilliard School in New York und der Musik hochschule seiner Heimatstadt sowie der Universität Damaskus (als Elektroingenieur) und der City University of New York. Als Klarinettist, Komponist und improvisierender Musiker war er u.a. in der Carnegie Hall, der Alice Tully Hall und der Royal Albert Hall, in der Berliner Philharmonie, der Opéra Bastille in Paris, der Elbphil harmonie, im Salzburger Mozarteum, im Moskauer Tschaikowsky Konserva torium und im Kennedy Center in Washington zu hören und arbeitete dabei mit dem New York Philharmonic Orchestra, dem Symphonieorchester des Bayerischen Rundfunks, der NDR Bigband, dem West Eastern Divan Orchestra und Daniel Barenboim und vielen anderen zusammen. Sein Werk verzeichnis umfasst Kompositionen für Soloinstrumente, Kammermusik, Orchesterwerke und Filmmusik. Sein interdisziplinäres Musiktheaterwerk Songs for Days to Come wurde im Juni 2022 am Theater Osnabrück uraufge führt. Für sein jüngstes Album Uneven Sky wurde er 2019 mit einem Opus Klassik ausgezeichnet. Kinan Azmeh ist Mitglied in Yo Yo Mas Silk Road Ensemble und künstlerischer Leiter der Damascus Festival Chamber Players; außerdem tritt er regelmäßig mit seinem Quartett, der Kinan Azmeh CityBand, mit seinem Ensemble Hewar und im Duo mit dem Pianisten Dinuk Wijeratne auf. Kürzlich wurde
Ofira Henig (Regie) inszenierte u.a. Produktionen von Tschechows
Ofira Henig
Ulysses on Bottles, Sea Breeze, Both Upon a Time, Sky, The Claim of Don Quixote, and In Spitting Distance. She has been honored with some of Israel’s most important awards for her work. After beginning her career as resident director at the Habima Theater in Tel Aviv, she was appointed artistic director of Jerusalem’s Khan Theater in 1995 and six years later took over the same position at the Jerusalem Festival. In 2004, she created her own ensemble at The Lab, a new alternative theater in Jerusalem, where she began her re search on combining di erent spoken languages on the same stage. She sub sequently collaborated with Peter Brook and in 2007 was invited to establish a new theater in the city of Herzliya near Tel Aviv together with her ensemble. In June 2011, she was dismissed from her position for having taken an active part in the protest against the Israeli government, which forced actors to perform in the occupied territories. Since then she prefers to work inter nationally and in this context has directed The Bees’ Road (Schaubühne Berlin), Geh mir aus der Sonne (Zürcher Theater Spektakel, Spielart Festival München), Three Dog Night (Deutsches Theater Berlin), KIND OF (Schaubühne Berlin, Ruhrtriennale) and Nathan der Weise (Goethe Institute). She divides her time between Tel Aviv, where she teaches directing at the university, Berlin, where she creates her projects and leads workshops at the BarenboimSaid Akademie, and Daliyat al Carmel, where she lives.
Three Dog Night (Deutsches Theater Berlin), KIND OF (Schaubühne Berlin, Ruhrtriennale) und Nathan der Weise (Goethe Institut). Sie lebt in Daliyat al Carmel und arbeitet in Tel Aviv, wo sie an der Universität Regie unter richtet, und in Berlin, wo sie ihre Projekte entwickelt und Workshops an der Barenboim Said Akademie gibt.
Die Möwe und Drei Schwestern, García Lorcas Yerma, Genets Die Wände, Pirandellos Sechs Personen suchen einen Autor sowie Hippolytus, Princess Yvonne, Salome, Back to the Desert, Scenes from an Execution, Ulysses on Bottles, Sea Breeze, Both Upon a Time, Sky, The Claim of Don Quixote und In Spitting Distance. Ihre Arbeiten wurden mit einigen der wichtigsten israelischen Preise ausgezeichnet. Sie begann ihre Laufbahn als Hausregisseurin am Habima Theater in Tel Aviv und wurde 1995 zur künstlerischen Leiterin des Khan Theaters in Jerusalem ernannt. Sechs Jahre später übernahm sie die gleiche Position beim Jerusalem Festival. 2004 gründete sie ihr eigenes Ensemble am Theater The Lab, einer alternativen Bühne in Jerusalem, wo sie mit der Kombination unterschied licher Sprachen auf der Bühne expe rimentierte. Anschließend arbeitete sie mit Peter Brook zusammen und rief 2007 mit ihrem Ensemble ein neues Theater in Herzliya bei Tel Aviv ins Leben. Aufgrund ihrer Beteiligung an Protesten gegen die israelische Regie rung, die Schauspieler:innen zu Auftritten in den besetzten Gebieten gezwungen hatte, wurde sie im Juni 2011 aus dieser Position entlassen. Seitdem arbeitet sie international als freie Regisseurin und inszenierte u.a. The Bees’ Road (Schaubühne Berlin), Geh mir aus der Sonne (Zürcher Theater Spektakel, Spielart Festival München),
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Kinan Azmeh
Ashraf Hanna (Visuelles Konzept) lebt und arbeitet in Haifa. Er schloss sein Studium in den Fächern Kunst und Bühnenbild im Jahr 2000 an der Uni versität Haifa ab und ist an zahlreichen Theatern im In und Ausland tätig. Er schuf Bühnenbilder und Kostüme für die Produktionen Blood Wedding und Al Zeir Salem am Al Kasaba Theater in Ramallah, The Sultana of Cádiz am Barenboim Said Center for Music in Ramallah, Death and the Maiden und A View from the Bridge am Al Midan Theater in Haifa, Samson et Dalila an der Vlaamse Opera in Belgien, sowie In the Penal Colony und Taha am Young Vic in London. Als Kostüm bildner war er an Fear and Misery of the Third Reich und Forget Herostratus! am Al Midan Theater beteiligt. Für Inszenierungen von The Maids (Herzliya Ensemble), Exit the King (Ensemble Itim, Cameri Theater Tel Aviv), Sea Breeze (Haifa Theater), The Bees’ Road (Schaubühne Berlin) und zuletzt Florian Zellers The Father am Al Jawal Theater in Haifa entwarf er das Bühnenbild. Seine Arbeiten als bildender Künstler waren u.a. in den Ausstellungen Emotions (Mainz, 2006),
Ashraf Hanna
Strangers among Us (Beit Al Karma, 2013), Manam (Qalandiya National Exhibition, 2014) und Nasikh (Fattoush Gallery, 2018) zu sehen.
Annie Atedgy Yellin (Kostüme) schloss ihre Ausbildung in den Fächern Bühnenbild sowie Theater und Kunstgeschichte an der Universität Tel Aviv ab und gestaltete Bühne und Kostüme für die Produktionen The Committee beim Jerusalem Comedy Festival, Known am Nozar Theater, Pinta, Gufa und Practice Makes Perfect beim Acre Theater Festival, Incendies am Habait Theater, The Spotted Tiger am Mazia Theater in Jerusalem sowie für Ofira Henigs KIND OF (Schau bühne Berlin) und Three Dog Night (Deutsches Theater Berlin). Als Licht designerin wirkte sie an Four of Us und Pregnancy and Childbirth am Tmuna Theater sowie Paper Hart Pearl beim Acre Theater Festival mit.
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Annie Atedgy-Yellin
Annie Atedgy Yellin (costume design) holds degrees in Set Design and in Theater and Art History from Tel Aviv University. She has designed sets and costumes for The Committee (Jerusalem Comedy Festival), Known (Nozar Theater), Pinta, Gufa, Practice Makes Perfect (all Acre Theater Festival), Incendies (Habait Theater), The Spotted Tiger (Mazia Theater, Jerusalem), and for Ofira Henig’s KIND OF (Schaubühne Berlin) and Three Dog Night (Deutsches Theater Berlin). She has also designed lighting for Four of Us and Pregnancy and Childbirth (both Tmuna Theater) and for Paper Hart Pearl (Acre Theater Festival).
with his quartet, the Kinan Azmeh CityBand. He was recently appointed to the National Council on the Arts on a nomination by President Joe Biden and has been closely associated with the Pierre Boulez Saal since its opening in 2017.
Ashraf Hanna (visual concept) lives and works in Haifa. He graduated from the University of Haifa in 2000 with a degree in Fine Arts and Set Design and has worked with many theater companies nationally and inter nationally. He has designed sets and costumes for productions of Blood Wedding and Al Zeir Salem (Al Kasaba Theater, Ramallah), The Sultana of Cádiz (Barenboim Said Center for Music, Ramallah), Death and the Maiden and A View from the Bridge (Al Midan Theater, Haifa), Samson et Dalila (Vlaamse Opera, Belgium), and In the Penal Colony and Taha (Young Vic, London). As a costume designer, he has worked on Fear and Misery of the Third Reich and Forget Herostratus! (Al Midan Theater, Haifa). As a set designer, his productions include The Maids (Herzliya Ensemble), Exit the King (Ensemble Itim, Cameri Theatre, Tel Aviv), Sea Breeze (Haifa Theater) and The Bees’ Road (premiered at the Festival Internationale Neue Dramatik at Berlin’s Schaubühne), both of which were directed by Ofira Henig, and recently Florian Zeller’s The Father (Al Jawal Theatre, Haifa). His work as a visual artist has most notably been seen in the exhibitions Emotions (Mainz, 2006), Strangers among Us (Beit Al Karma, 2013), Manam (Qalandiya National Exhibition, 2014), and Nasikh (Fattoush Gallery, 2018).
er vom amerikanischen Präsidenten Joe Biden zum Mitglied des National Council on the Arts berufen. Dem Pierre Boulez Saal ist er seit der Erö nung 2017 eng verbunden.
Born in Damascus, Kinan Azmeh (music) trained at New York’s Juilliard School and the Institute of Music of his hometown, and also holds degrees from Damascus University’s School of Electrical Engineering and the City University of New York. As a clarinetist, composer, and improviser he has appeared at venues such as New York’s Carnegie Hall and Alice Tully Hall, the Royal Albert Hall, the Berlin Philharmonie, the Opéra Bastille in Paris, Hamburg’s Elbphilharmonie, the Salzburg Mozarteum, Moscow’s Tchaikovsky Conservatory, and the Kennedy Center in Washington, D.C., with collaborators including the Bavarian Radio Symphony, the NDR Bigband, and the West Eastern Divan Orchestra and Daniel Barenboim, among many others. He has written compositions for solo instruments, chamber music, orchestral works, and film scores. His first music theater piece, Songs for Days to Come, premiered in Osnabrück, Germany, in June 2022. He won was honored with an Opus Klassik award for his most recent album, Uneven Sky, in 2019. A member of Yo Yo Ma’s Silk Road Ensemble and artistic director of the Damascus Festival Chamber Players, Kinan Azmeh also performs regularly with his ensemble Hewar, as a duo with pianist Dinuk Wijeratne, and
20 21 productions in Palestine and internationally as well as in cinema. He most recently performed on stage in Fireworks, a new play by Dalia Taha that premiered at the Royal Court Theatre in London in 2015. Several of his films have been selected for the Cannes Festival, including Elia Suleiman’s The Time That Remains and Salvo by Fabio Grassadonia and Antonio Piazza, which won the 2013 Critics’ Week Grand Prix, as well as his most recent film, The Blue Caftan, directed by Maryam Touzani.
Der aus Palästina stammende Schau spieler Khalifa Natour (Übersetzung, Um Hassan) ist auch als Dramaturg tätig und war auf zahlreichen Bühnen weltweit zu sehen. Am Pariser Théâtre des Bou es du Nord arbeitete er mit Peter Brook in Beckets Fragments und in 11 & 12 von Amadou Hampâté Bâ zusammen. Sein Ein Personen Stück In Spitting Distance in der Regie von Ofira Henig gewann 2006 den ersten Preis beim Theatronetto Festival in Ja a und wurde am Théâtre des Bou es du Nord, im Barbican in London, beim Romaeuropa Festival, im Sydney Opera House und in New York gezeigt. Gemeinsam mit Henig brachte er außerdem Ulysses on Bottles (in der Titelrolle), Die Wände, Salome, Both Upon a Time und zuletzt The Bees’ Road und KIND OF an der Schaubühne Berlin auf die Bühne. Mit dem Regis seur Amir Nizar Zuabi erarbeitete er
Henning Streck
Ramylationen.Al Asheq (poetry) is a Palestinian-Syrian poet, performer, journalist, and curator based in Berlin. He has published five poetry collec tions in Arabic, translations of which have been published in German, English, and Polish, and many of his texts have been included in anthologies and literary magazines in Bosnian, Czech, English, French, German, Kurdish, Polish, and Spanish translations. A number of his texts have also been adapted into songs, performances, drawings, sculptures, and installations.
war Henning Streck (Lichtdesign) leitender Lichtgestalter am Schlosspark Theater Berlin, an der Volksbühne Berlin und am Deutschen Theater Berlin. Außerdem unterrichtete er am Mozarteum in Salzburg und an der Akademie der bildenden Künste in München. Seit 2016 ist er freischa end tätig. Engagements führten ihn u.a. zu den Salzburger Festspielen, zum Sydney Festival, zur Ruhrtriennale, zu den Wiener Festwochen sowie an die Deutsche Oper Berlin, das Thalia Theater Hamburg, die Staatsoper Hannover, die Opéra National de Lyon, das Théâtre de la Monnaie in Brüssel, die Schaubühne Berlin, die Münchener Kammerspiele und die Oper Zürich. Dabei arbeitete er mit Regisseur:innen wie Dimiter Gottsche , Katrin Brack, Michael Thalheimer, Christoph Marthaler, Anna Viebrock, Barrie Kosky, René Pollesch, Jürgen Gosch, Christian Petzold, Christoph Schlingensief, Frank Castorf und vielen anderen zusammen. Seit 2003 verbindet ihn eine künstlerische Partnerschaft mit David Marton.
Saleh Bakri (Der Schriftsteller) wurde in Ja a geboren und war in zahlreichen Theaterproduktionen innerhalb und außerhalb Palästinas sowie in verschiedenen Kinofilmen zu erleben. Zuletzt stand er in Fireworks auf der Bühne, einem neuen Stück von Dalia Taha, das 2015 am Royal Court Theatre in London uraufgeführt wurde. Mehrere seiner Filme waren beim Filmfestival in Cannes zu sehen, darunter The Time That Remains von Elia Suleiman, Salvo von Fabio Grassadonia und Antonio Piazza, der 2013 den Grand Prix der Semaine de la Critique gewann, sowie sein jüngster Film The Blue Caftan von Regisseurin Maryam Touzani.
Der in Berlin lebende palästinensischsyrische Dichter, Performer, Journalist und Kurator Ramy Al Asheq (Dichtung) hat fünf Gedichtbände in arabischer Sprache verö entlicht, die auch in deutscher, englischer und polnischer Übersetzung erschienen sind. Seine Werke wurden außerdem in Anthologien und Literaturzeit schriften in bosnischer, tschechischer, englischer, französischer, deutscher, kurdischer, polnischer und spanischer Übersetzung publiziert. Verschiedene seiner Texte dienten außerdem als Vorlage für Lieder, Performances, Zeichnungen, Skulpturen und Instal
A graduate of Munich’s August Everding Theater Academy, Henning Streck (lighting design) served as head lighting designer at Berlin’s Schlosspark Theater, Volksbühne, and Deutsches Theater, while also teaching at the Salzburg Mozarteum and the Academy of Fine Arts in Munich. He has been working freelance since 2016, creating lighting design for productions at the Salzburg Festival, Sydney Festival, Ruhrtriennale, and Vienna Festival, as
Khalifa Natour
well as at Berlin’s Deutsche Oper, Hamburg’s Thalia Theater, Hannover Staatsoper, Opéra National de Lyon, Théâtre de la Monnaie in Brussels, Schaubühne Berlin, Munich Kammer spiele, and Zurich Opera. He has collaborated with directors such as Dimiter Gottsche , Katrin Brack, Michael Thalheimer, Christoph Marthaler, Anna Viebrock, Barrie Kosky, René Pollesch, Jürgen Gosch, Christian Petzold, Christoph Schlingensief, and Frank Castorf, among many others, and has enjoyed an ongoing artistic partnership with David Marton since 2003
Saleh Bakri
Saleh Bakri (The Writer) was born in Ja a and has been seen in many theater
Ramy Al-Asheq
Nach seinem Studium an der Theater akademie August Everding in München
Maya Omaya Keesh (Die Tochter) beendete 2016 ihr Schauspielstudium an der Universität Haifa und erwarb außerdem 2018 einen Masterabschluss
Carlos Gharzuzi (The Son) graduated from Tel Aviv University with bachelor’s and master’s degrees in Performing Arts in 2018. His theater credits include Ofira Henig’s productions of KIND OF at the Schaubühne Berlin and The Claim of Don Quixote (as Don Quixote), Murder at Tel Aviv’s Tzavta Theater, Lord of the Flies at the Ja a Theater, Saadoun AlMajnoun at Ja a’s Hebrew Arabic Theater, and Peace Road at Beer Sheba Theater. He has written and directed the independent project The People Elect and The World’s Aministration at the Al Haneen Theater in Nazareth. On screen, he has been seen in the films Dancing Arabs, directed by Eran Riklis, and Amun, directed by Anar Absarov, as well as in the 2019 HBO miniseries Our Boys, based on the true story of the kidnapping and murder of a Palestinian teenager.
22 23 in den Fächern Schauspiel, Gestaltung und Research an der Universität Tel Aviv. Von 2002 bis 2008 arbeitete sie am Theater A’oyon in Majdal Shames, wo sie u.a. in einer Produktion von Der Kaufmann von Venedig unter der Regie von Khalifa Natour zu sehen war. Weitere Projekte waren Sartres Geschlossene Gesellschaft in einer Insze nierung von Siwar Awad am Khashabi Theater und No One Noticed When You Died nach einem Gedicht von Ramy Al Asheq und einer Skulptur von Abeer Farhoud, das sie mitgestaltet und 2019 an der Akademie der Künste in Berlin aufgeführt hat. Sie spielte die Hauptrolle der Claire Lannes in L’Amante anglaise von Marguerite Duras und wirkte in KIND OF von Ofira Henig an der Schaubühne Berlin mit. Am Ja a Theater war sie 2020 die Dramaturgin für eine Insze nierung von Herr der Fliegen nach dem Buch von William Golding. Im Jahr darauf spielte sie in Maxim Gorkis Kinder der Sonne mit der Jugendtheatergruppe Hafait. Außerdem ist sie in dem 2018 verö entlichten Spielfilm Mafak des Regisseurs Bassam Jarbawi zu Mayasehen.Omaya Keesh (The Daughter) graduated from Haifa University in 2016 with a degree in Acting and from Tel Aviv University in 2018 with a master’s degree in Acting, Creation, and Research. From 2002 to 2008, she worked with Theatre A’oyon in Majdal Shames, where she was seen in a production of The Merchant of Venice directed by Khalifa Natour. Other
Stories Under Occupation am Al Kasaba Theater in Ramallah, eine Produktion, die u.a. auch am Young Vic in London zu sehen war. Am Palestinian National Theater in Jerusalem adaptierte er Jedareya von Mahmoud Darwish (mit Gastspielen beim Edinburgh Festival sowie in Genf und anderen Städten) und spielte außerdem in Aza und zu letzt in Grey Rock, einer Inszenierung des Remote Theater Project, die in New York, Minneapolis und Washington gastierte. Auf der Lein wand war er unter anderem in den Filmen Rana’s Wedding (2002), The Band’s Visit (Die Band von nebenan, 2007), Le Fils de l’autre (Der Sohn der Anderen, 2012) und Tikkun (2015) sowie in der Fernsehserie Fauda (2020) zu Khalifaerleben.Natour
Carlos Gharzuzi
Theater in Nazareth auf die Bühne. Außerdem wirkte er in den Kinofilmen Dancing Arabs (Regie: Eran Riklis) und Amun (Regie: Anar Absarov) und 2019 im HBO Mehrteiler Our Boys mit, die auf der wahren Geschichte der Entführung und Ermordung eines palästinensischen Teenagers basiert.
Schaubühne Berlin. Among his collab orations with director Amir Nizar Zuabi is Stories Under Occupation at the Al Kasaba Theater in Ramallah, which was also seen at the Young Vic in London and on tour. At the Palestinian National Theater in Jerusalem, he has adapted and performed in Jedareya by Mahmoud Darwish (which played at the Edinburgh Festival, in Geneva, and other cities), Aza, and most recently Grey Rock, a Remote Theater Project production performed at La MaMa and at the Public Theater’s “Under the Radar” Festival in New York, at the Guthrie Theater in Minneapolis, and at the Kennedy Center in Washington, D.C. His screen appearances include the films Rana’s Wedding (2002), The Band’s Visit (2007), The Other Son (2012), and Tikkun (2015) as well as the TV series Fauda (2020).
Maya Omaya Keesh
(translation, Um Hassan) is a Palestinian actor who also works as a dramaturg and has appeared on stage around the world. He collaborated with director Peter Brook in Becket’s Fragments and 11 & 12 by Amadou Hampâté Bâ at the Théâtre des Bou es du Nord in Paris. His one man show In Spitting Distance, directed by Ofira Henig, won First Prize at Ja a’s Theatronetto festival in 2006 and was seen at the Théâtre des Bou es du Nord, the Barbican in London, Romaeuropa Festival, the Sydney Opera House, and in New York. He has also worked with Henig on her productions of Ulysses on Bottles (in the title role), The Screens, Salome, Both Upon a Time, and most recently The Bees’ Road and KIND OF at the
Carlos Gharzuzi (Der Sohn) schloss 2018 sein Studium der darstellenden Künste an der Universität Tel Aviv ab. Er war in Ofira Henigs Inszenierungen von KIND OF an der Schaubühne Berlin und in der Titelrolle von The Claim of Don Quixote zu sehen, außer dem spielte er in Murder am Tzavta Theater in Tel Aviv, Herr der Fliegen am Ja a Theater, Saadoun AlMajnoun am Hebrew Arabic Theater in Ja a und Peace Road am Beer Sheba Theater. Als Autor und Regisseur brachte er die Produktion The People Elect sowie The World’s Aministration am Al Haneen
projects have included Sartre’s Behind Closed Doors, directed by Siwar Awad at the Khashabi Theater, and No One Noticed When You Died, based on a poem by Ramy Al Asheq and a sculp ture by Abeer Farhoud, which she co created and performed at the Academy of Arts in Berlin in 2019 She played the leading role of Claire Lannes in L’Amante anglaise by Marguerite Duras and was seen in Ofira Henig’s KIND OF at Berlin’s Schaubühne. In 2020, she served as the dramaturg for a production of Lord of the Flies, based on the book by William Golding, at the Ja a Theater. The following year, she performed in Maxim Gorky’s Children of the Sun as a member of the young theater group Haifait. She has also been seen in the 2018 film Mafak directed by Bassam Jarbawi.
Anan Abu Jaber
Anan Abu Jaber (The Soldier) holds bachelor’s and master’s degrees in Per forming Arts from Tel Aviv University, where he graduated in 2019. On stage, he has performed in Murder at the Tzavta Theater in Tel Aviv, The Arabian Nights and The Dybbuk at the Habait Theater in Ja a, Eshtonot at the Bat Yam Festival, KIND OF directed by Ofira Henig at the Schaubühne Berlin, Lack of Interest to the Public at the Acre Theater Festival, Barefoot in the Park with Al Majd Productions, The Claim of Don Quixote and The World’s Administration at the Al Haneen Theater in Nazareth, and Love in Times of Pandemic at the Hansen House (Khan Theater) in Jerusalem. His film credits include Personal A airs, Oppressed, Borekas, Afrodita, and Borekas at Sunrise He was also seen in the TV series Eastside and Madrasa.
Anan Abu Jaber (Der Soldat)
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Anan Abu Jaber (Der Soldat) schloss sein Studium der darstellenden Kunst 2019 an der Universität Tel Aviv ab. Zu seinen Bühnenprojekten zählen Murder am Tzavta Theater in Tel Aviv, The Arabian Nights am Habait Theater in Ja a, Eshtonot beim Bat Yam Festival, KIND OF in der Regie von Ofira Henig an der Schaubühne Berlin, Lack of Interest to the Public beim Acre
Theater Festival, Barefoot in the Park von Al Majd Productions, The Dybbuk im Habait Theater in Ja a, The Claim of Don Quixote und The World’s Administration im Al Haneen Theater in Nazareth sowie Love in Times of Pandemic im Hansen House (Khan Theater) in Jerusalem. Außerdem spielte er in den Filmen Personal A airs, Oppressed, Borekas, Afrodita und Borekas at Sunrise und war in den Fernsehserien East Side und Madrasa zu sehen.
Impressum
Saleh Bakri (Der Schriftsteller) und Khalifa Natour (Um Hassan)
Programmheft Nr. 5 der Saison 2022/23 Redaktionsschluss: 23. September 2022
Pierre Boulez
Rektorin Regula Rapp Geschäftsführer Carsten Siebert Französische Straße 33d 10117 Berlin
Herausgeber Pierre Boulez Saal
Redaktion Philipp Brieler, Christoph Schaller Gestaltung Annette Sonnewend Marketing Kurt Danner
Herstellung Druckhaus Sportflieger, Berlin
Barenboim-SaidSaalAkademie gGmbH
Text- und Bildnachweise Der Essay von Ofira Henig ist ein Originalbeitrag für dieses Programmheft. Probenfotos (Pierre Boulez Saal, Januar 2020): Franz Thienel, Zabrisky Film Foto S. 16: Gerard Alon
Präsident Daniel Barenboim Intendant Ole Bækhøj
Im Fall bestehender und nicht berücksichtigter Urheberrechte bitten wir den oder die Rechteinhaber um Nachricht.
