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X-WR-CALDESC:Events for mamuta art & research center
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DTSTART:20170101T000000
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BEGIN:VEVENT
DTSTART;TZID=UTC:20180602T210000
DTEND;TZID=UTC:20180602T220000
DTSTAMP:20260410T162843
CREATED:20180420T061242Z
LAST-MODIFIED:20180420T061422Z
UID:6025-1527973200-1527976800@old.mamuta.org
SUMMARY:[:IW]הדיבוק 1937--2017[:en]The Dybbuk 1937-2017[:]
DESCRIPTION:At the Israel Festival\, Jerusalem Theater\nDER DYBBUK (1937-2017)\n50 minutes | Film and Live Performance \n\n\nDirected by Michael Waszynski (Poland\, 1937) with a new edition by Adi Kaplan\, Shachar Carmel & Sala-manca (2017) \nLive dubbing  by Lea Mauas and Diego Rotman (Sala-manca group)\, Live Follies by Adi Kaplan\, Shachar Carmel and Ayu Rotman Mauas & Live Music by The Jerusalem Street Orchestra\, conducted by Ido Shpitalnik \n״The dead were returned to life\, and a culture long vanished\, wiped out by the Holocaust\, was resurrected on the screen” (Ira Konigsberg) \nA new\, re-edited version of the Yiddish film will be screened with live music and dubbing performance in the courtyard of the former Jerusalem Leprosarium (Hansen House)\, a venue no less gothic than the film’s aesthetics. \nThe new\, film-performance version is based on the film directed by Michael Waszynsky (1937)\, based upon S. Ansky’s play Der Dybbuk. Ansky wrote the play after completing the ethnographic expedition he organized between 1912-1914. The play (and film) tells the story of the ill-fated love between Hanan and Lea\, the possession of Lea’s body by Hanan’s soul\, the exorcism ceremony\, and death as resolution – a re-encounter of the lovers in the next world. \nAdi Kaplan\, Shahar Carmel\, and Sala-manca not only re-edited the film\, they also replaced the original music composed by Henekh Kohn and the cantorial songs performed by Gershon Sirotta\, with a new score. Performed live by the Jerusalem Street Orchestra\, conducted by Ido Shpitalnik\, the score is an adapted version of the Vltva (The Moldau)\, the second symphonic poem of Má vlast (My Homeland)\, by Czech composer Bedřich Smetana.  The use of Smetana’s Moldau as a clear reference to Israel’s national anthem – resonating it\, but different – creates a liminal sonic soundscape incapable of defining an accurate sense of place or ideology. \n  \nLea Mauas and Diego Rotman of the Sala-manca group are professional and real life partners\, possessing the voices of the “dead but eternal” characters\, originally performed by another real-life couple\, Lili Liliana (Leah) and Leon Liebgold (Hannan) \nIn the spirit of The Dybbuk\, the artists visit the archive instead of the cemetery\, and invite the dead to dance with the living once again. \nWith the support of  Ostrovsky Family Fund\,  Artis Grant Program\, Polish Institute – Tel Aviv\, P.A.T. (Performance Art and Technology)\, Hazira\, Jerusalem Municipality\, The National Authority for Yiddish Culture\, Bet Shalom Aleichem.
URL:https://old.mamuta.org/event/hebrew-%d7%94%d7%93%d7%99%d7%91%d7%95%d7%a7-1937-2017/
LOCATION:Israel Festival\, Jerusalem Theater\, Jerusalem
CATEGORIES:Performance/Concert
ATTACH;FMTTYPE=image/jpeg:https://old.mamuta.org/wpress/wp-content/uploads/2018/04/Dybbuk_festival-01.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20180609T203000
DTEND;TZID=UTC:20180609T210000
DTSTAMP:20260410T162843
CREATED:20180605T112407Z
LAST-MODIFIED:20180605T112446Z
UID:6039-1528576200-1528578000@old.mamuta.org
SUMMARY:[:IW]המבדיל בבית הנסן[:en]Hamavdil  at the Hansen House[:]
DESCRIPTION:“Hamavdil” is a sound intervention in the West Jerusalem soundscape from a temporary tower built at the  Hansen House by the Czech architecht Martin Rainisj.\n“Havdala” [Differenciation] is a ritual prayer and ceremony that marks the end of the Jewish Sabbath and the beginning of the week.\nAmir Bolzman and the Sala-manca group blurred the soundscape of the neighborhoods of Talbyeh\, Katamon\, and the German Colony\, playing a Jewish Havdalah prayer in the Arab-Jewish style. At first instance\, this traditional Makam music coming from a tower using this particular type of speaker\, appears to be a Muezzin. The Muslim call to prayer and the voice of the Muezzin\, played with similar technology from mosques\, has been the focus of a “sound conflict” in Israel and Jerusalem\, with Jewish citizens complaining of the “contamination” of the soundscape and leading to the advancement of the “Muezzin Law” in the Israeli Knesset\, a law that aims at restricting the scope of those prayers.\nFrom another direction\, the Arab-Jewish sound was suppressed from the Israel soundscape for ideological reason for many years.\nThe work challenges notions of identity and orientation regarding the local soundscape\, and propose us to imagine another possible present or future.\nThe sound is based on Moshe Habusha’s Havdala Makam Rast from youtube.\nTechnical support Yoav Fisch
URL:https://old.mamuta.org/event/hamavdil-at-the-hansen-house/
LOCATION:Mamuta Art and Media Center\, Hansen House\, Gedaliahu Alon 14\, Jerusalem\, Israel
CATEGORIES:Performance/Concert
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