{"id":2961,"date":"2023-10-04T18:58:19","date_gmt":"2023-10-04T15:58:19","guid":{"rendered":"http:\/\/exposure.dramaisrael.org\/?p=2961"},"modified":"2023-12-05T00:23:20","modified_gmt":"2023-12-04T22:23:20","slug":"revolution","status":"publish","type":"post","link":"https:\/\/exposure.dramaisrael.org\/2023\/revolution\/","title":{"rendered":"(R)Evolution"},"content":{"rendered":"<p><span style=\"font-weight: 400;\">The digital revolution that\u2019s making our lives easier is full of promise \u2013 it\u2019s the end of the decision-making drama. At the same time, the tech euphoria with its unlimited possibilities will ask big questions about being human. Yael Ronen designs a world in which the characters have to confront the challenges of the next evolutionary stage, Homo Digitalis: their own insignificance when billions of people are forced out of the job market by algorithms, symbiotic relationships with artificial intelligence, and virtual realities. Digital dictatorships in which our data becomes a tool in the hands of a few \u2013 or the ethical dilemmas that come with the unforeseeable consequences of genetic design. And what does the whole thing actually mean for so-called \u201cfree will\u201d? Within this experimental setting, Yuval Noah Harari\u2019s thoughts become the starting point for research that reduces the contradictions of a possible future to absurdity. Are there utopias of living together that we\u2019ve missed forever?<\/span><\/p>\n<p><iframe src=\"https:\/\/player.vimeo.com\/video\/872839652?h=bec1cbce97&amp;dnt=1&amp;app_id=122963\" width=\"728\" height=\"410\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\"><\/iframe><\/p>\n<p><b>Ilan Ronen<\/b><span style=\"font-weight: 400;\"> was the artistic director of Habima National Theatre from 2004 to 2016, after running two other theatres \u2013 The Jerusalem Khan Theatre and The Cameri Theatre of Tel Aviv. In the past decade, Ilan has paid considerable attention to the expansion of Habima\u2019s international activity. One of its most important tours was of Ronen\u2019s version of <\/span><i><span style=\"font-weight: 400;\">The Merchant of Venice<\/span><\/i><span style=\"font-weight: 400;\"> in London\u2019s Globe Theatre during the 2012 International Shakespeare Festival. Ronen\u2019s recent directing credits include <\/span><i><span style=\"font-weight: 400;\">A Streetcar Named Desire<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">The Miser<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Les Liaisons Dangereuses<\/span><\/i><span style=\"font-weight: 400;\">, and <\/span><i><span style=\"font-weight: 400;\">Alone in Berlin<\/span><\/i><span style=\"font-weight: 400;\">.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><b>Yael Ronen<\/b><span style=\"font-weight: 400;\">, in-house Gorki director, was born in Jerusalem. She comes from a theatre family, and is internationally considered one of the most exciting theatre makers of her generation.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><b>Dimitrij Schaad <\/b><span style=\"font-weight: 400;\">was born in Kazakhstan. From 2005 to 2009 he studied at the Bavarian Theatre Academy August Everding, and at the Theatre Academy of St. Petersburg. After appearances in Munich and Essen, he was an ensemble member at Bochum Theatre from 2010 to 2013. He has collaborated with directors such as Roger Vontobel, Sebastian N\u00fcbling, Jan Klata, and Jan Neumann. In 2011, he was awarded the Bochum Theatre Prize, and was honored at the NRW Theatretreffen Festival as Best Young Actor. From 2013 to 2019, Dimitrij Schaad was a member of the Gorki Theatre\u2019s ensemble.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The digital revolution that\u2019s making our lives easier is full of promise \u2013 it\u2019s the end of the decision-making drama. At the same time, the tech euphoria with its unlimited possibilities will ask big questions about being human. Yael Ronen designs a world in which the characters have to confront the challenges of the next [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":2964,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[6,20,12,19,29],"_links":{"self":[{"href":"https:\/\/exposure.dramaisrael.org\/2023\/wp-json\/wp\/v2\/posts\/2961"}],"collection":[{"href":"https:\/\/exposure.dramaisrael.org\/2023\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/exposure.dramaisrael.org\/2023\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/exposure.dramaisrael.org\/2023\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/exposure.dramaisrael.org\/2023\/wp-json\/wp\/v2\/comments?post=2961"}],"version-history":[{"count":0,"href":"https:\/\/exposure.dramaisrael.org\/2023\/wp-json\/wp\/v2\/posts\/2961\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/exposure.dramaisrael.org\/2023\/wp-json\/wp\/v2\/media\/2964"}],"wp:attachment":[{"href":"https:\/\/exposure.dramaisrael.org\/2023\/wp-json\/wp\/v2\/media?parent=2961"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exposure.dramaisrael.org\/2023\/wp-json\/wp\/v2\/categories?post=2961"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exposure.dramaisrael.org\/2023\/wp-json\/wp\/v2\/tags?post=2961"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}