A FISH IN THE TUMMY //
Based on three stories from Efrat Danon's book.
Adapted and directed by : Lilach Dekel-Avneri.
A journey in an indifferent world, in which the heroine, a young writer with a creative block, sways along the time scale during the mourning period for her mother, and confronts sacred conventions of childhood and motherhood.
In the first story, “Carousel”, the heroine is split into two, in conflict with herself and with the world, returning to a moment of abuse at school. In the second story “A meeting” she goes to meet her mother, a ride during which she “gets even” with the past. In the third story “A fish in the tummy” she dares to confront the mother with having deprived her of her childhood. The three stories expressing the voice of the “living inept”, are told with authentic sencerity and hit like a fist in the abdomen.
A play about missing, in which the viewer himself experiences the same feeling due to the fact that all the stories take place simultaneously, and he can never absorb everything. The viewer takes an active role in watching and assembles his story by himself. A theatrical experience affecting all the senses with unique aesthetitcs.
Music: Karni Postel
Designer: Sivan Veinstein
Video: Iris Mualem
Lighting Design: Hanni Vardi
Actors: Raymond Amsalem, Lani Shahaff, Maya Weinberg, Yael Zafrir.
Produced by : Tmu-na Theater
Photography: Gadi Dagon
Golden Hedgehog: Award for the best performer - Karny Postel
From the critics:
“The new show in “Tmuna” theatre brings the viewer back to the good old days of motion-theatre using movement, music, and space to enhance the drama it presents… the adaptation refrains from molding the play into a routine play structure and manages to create a consistent harmony..… a show with visual beauty” ( “Habama”).
“An original, highly imaginative stage production…..an achievement for the talented young director and the four excellent actresses… a show embodying a feminine voyage, theatrical, lyrical and unique. Like true poetry, it leaves you with plenty of thoughts, and a feeling of sad, elusive beauty” (“Yediot Aharoniot”).
“…A human and emotional experience in which all the actresses move or talk simultaneously, in a kind of a wonderful struggle for our attention. Maya Weinberg and Yael Zafrir levitate and collide into each other as only dancers can. Raymond Amsalem scatters sexuality with every movement, and Lanny Shachaf scatters a conquering iciness. And higher up Karni Postel, sits in the corner with her Cello, beautiful, powerful, and yet peaceful. “How can you get lost in your own language?”, asks one of them. Of course you can, here, the only one who is not lost here is Karni, and she says nothing. Her quietness emphasizes their noise; her stillness stresses their frenzy. “Never stop moving” says the other, and hits me smack in the belly, because I know that feeling. I stop moving. Karni shows me how. The woman with me smiles” (“Hair”)