A wordless puppet show for adults. A performance about the power of life and the power of death, with nature as a witness to human drama.

An old man, feeling that his life is coming to an end, retreats into the forest to find a place to die. There, he meets a young boy who has lived in the forest his entire life. The old man carries with him a heavy burden of past regrets, longing, and the fear of what he feels in his bones is about to happen. The boy, deeply connected to his environment, revels in the joy of nature and the flow of the moment. The forest around them hums and breathes, frequently changing – light and shadow, warm and cold – offering both danger and sanctuary, a realm for play and solace.

Photo by: Yair Meyuhas

Yehoshula depicts a relationship undermined by external influences, without words, through movement, masks, and visual images. At the heart of the play is the tension between a woman, full of rage and frustration, who refuses to accept reality, and her husband, who seeks peace, tries to maintain the existing order, and clings to simple everyday life. This gap between the two, between the desire for change and the desire to hold on to what remains, is the focus of the drama. Through physical theatre and visual puppetry, the play expresses the individual’s sense of helplessness in the face of great forces: social, political and emotional, which threaten to suck him into an inevitable vortex.

Yehoshula’s unique visual language, with universal themes of love, struggle and crisis, make it relevant to any audience, regardless of language or culture. The absence of text allows viewers to connect with it intuitively and directly, and to ponder: Is it possible to escape reality, or is the struggle against it futile?

Photo by: Natasha Shakhnes

The Science of Certainty asks how we know who we are in the world, and where our confidence and determination in our personality come from, using advanced technological puppetry. A robotic system that stretches Lycra in different directions, alongside lighting and sound work. The doll is a patient who meets with its therapist once a week, until one day the price goes up. Following the puppet’s abandonment and anxiety and the therapist’s difficulty of charging more, they embark on a journey to understand who they are in the world. The play includes songs, texts, and the French psychoanalyst Jacques Lacan as a guest.

Photo by: Daniel Pakes

A bible lesson turns into a puppet show, an ars poetic confession, and a series of thoughts about Jewish-Israeli reality. A fringe-theatre creator finds himself in a midlife crisis, teaching bible in high school. The two worlds, the subversive and the pedagogic, create friction and collision, and the biblical scenes mix with the daily life of an Israeli classroom, intertwined with the students’ stories, and the teacher’s personal life.

The show deals with a range of personal and collective conflicts: religion vs. secularity, the significance of acquiring knowledge in the digital age, sexuality and violence in the lives of teenagers (and in general), intimacy in an alienated reality overloaded with virtual experiences, disintegrating family ties, relations between various sectors of Israeli society, and more.

The performance also explores the attempt to maintain a sense of routine – educational and otherwise – while the echoes of war hover in the background, reverberating through the classroom walls and the characters’ lives.

Photo by: Gerard Allon

“Mary and Charlie are lovers, the circus is their home, She rides the trapeze up in the air, he stands in the ring below, One night, she decides to just let go…”

How do you deal with loss?
The circus of nothingness is a meta-world where the acrobat is a floating memory, the elephants are tremors of anger, the clowns are longing, and the horses are the neigh of madness. Mary’s spirit leads Charlie through memories, emotions, and fantasy, on his way to find redemption.
More than 80 puppets, an empty circus tent and two performers seeking solace.

Photo by: Ofer Rosner