Third Issue

Foreword of this issue

Our Third Edition With More News And Specials Like Yes Theatres work in general, this third edition of Yalla Masrah is devoted to promoting theatre and drama in Palestine. Yalla Masrah updates its readers on the projects and activities that Yes Theatres artistic staff, administrative team, trainees, graduates, and participants have carried out over the past six months. We, at Yes Theatre, feel that the Hebronite community is now more aware of the importance that theatre plays in fostering both individual and communal empowerment and in strengthening the Palestinian identity and culture. Yes Theatre is keen on delivering the Palestinian voice to the whole world through creating networks and partnerships with all of the local and international theatres and organizations. Furthermore, Yes Theatre carefully selects its works and implements its programs to meet the communitys needs. We like to think that the people who work in Yes Theatre are doing their best to implement programs that involve children, youth, university graduates, social workers, and the society at large. The theatre is also keen on strengthening its relationship with the Ministry of Education and its directorates in Hebron through theatrical works and drama workshops designed especially for school children and their teachers.
Yazid Zahdah Yes Theatre Chairman

Yalla Masrah Main Office Editor in Chief Raed Shyoukhi Editors Ing. Mohammad Issa, Hala Tamimi, Sevtap Oezkutlu Print and Design Pixel Design and Advertising (Shadi Abu ajamieh) 0599315259 / 022211012 Contact Us
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Hebron / Al Mahawer, Opposite the Al Hussein International Stadium Tel. 2291559

Theatre
Hebron / Al Mahawer, at Beit at-Tifl al Filastini, Tel. 2213115

e-mail: yes.theatre@gmail.com website: www.yestheatre.org

Our News
This year, Yes Theatre hosted visiting artists from Germany, Sweden, and France who each conducted interviews with students, consulted artistic staff or simply enjoyed our performances. During the summer vacation, Yes Theatre created the plays He Said Yes, Little Lantern, and Gaza-Hebron-Gaza with 45 students as part of our Kids 4 Kids, which is supported by a consortium of donors consisting of the Dutch NGO War Child, Kinder USA, and the Dutch Stichting Kinderpostzegels Nederland (SKN). Graduates of the Yes4Youth Training Program 2010 assisted during the rehearsals, conducting entire drama workshops of their own under the supervision of the Yes Theatres artistic staff, and facilitating all performances and the following discussions with audiences. Little Lantern by Ghassan Kanafani was directed by Mohammed Titi; He Said Yes based on Berthold Brechts He Said Yes/He Said No was directed by Ihab Zahdeh; and Gaza-Hebron-Gaza, based on The Gaza Monologues, was directed by Raed Shyoukhi. Each play was performed ten times to an audience of school children. In July, three artists from Compagnie GAA and from Cooprative Associative Arc-en-Ciel from France held a Forum Theatre workshop for the graduates of the Yes4Youth Training Program 2010. In July, Hala Tamimi joined Yes Theatre as Administrative Assistant, and from July to September, Wala Qaisseyeh interned as Child Protection Ofcer. In collaboration with the Dutch NGO War Child, Yes Theatre held a preliminary workshop designed to outline YTs child protection policy. On August 3rd, the Yes Theatres specialized library on theatre and drama and the Yes4Youth Training Program were ofcially opened in cooperation with the German World Peace Service (WFD). The opening was attended by many local and international guests, and scenes from the three Kids4Kids-plays were performed. A graduation ceremony for the graduates of the Yes4Youth Training Program 2010 was held. On August 14, 2010, Palestine TV conducted an interview with Eng. Mohammad Issa, the Administrative Manager of Yes Theatre, about YTs projects and activities. In September and October 2010, Yes Theatre participated in the Children Culture Caravan Tour of Germany and Austria with the play Playing in al-Fawwar Refugee Camp. www.kinderkulturkarawane.de. The play was performed in Ingelheim, Hamburg, Zwickau, Berlin, Heidelberg, Schwerin, Chemnitz, and at the renowned Jungle Theatre in Vienna. In addition, the four young performers from Fawwar refugee camp, Mohammad Abusal, Mohammed Teeti, Muath Aldersbashi and Waad Badawi, together with their theatre trainers Mohammed Titi and Ihab Zahdeh, implemented a series of drama workshops and visited schools, and cultural centres. In October, Yes Theatre participated in the World Education Forum with the play Gaza-Hebron-Gaza. Upon special request and with the support of the Qattan Foundation, the play In the Place based on Waiting for Godot by Samuel Becket was performed ve times this year. The play was directed by Ihab Zahdeh and performed by Mohammed Titi and Raed Shyoukhi. In October, Abigal Lordon from Formation Advance et Itinerante des Arts de la Rue held a street theatre workshop for the graduates of the Yes4Youth Training Program 2010.

Meet Us
Mr. Yazid Zahdah Chairman of the Board

Eng. Mohammad Hasan Issa Administrative Manager

Raed Hijazi Shyoukhi Actor / Drama Teacher

Muhammed Attiya Titi Actor / Drama Teacher

Ihab Fayez Zahdeh Actor / Drama Teacher

Hala Omran Tamimi Administrative Assistant

Hamam Muhamed Abdallah Amro Technician

Uli Schieszl Consulting project management WFD Project Coordinator

Sevtap Oezkutlu Artistic Consultant WFD Project Coordinator (WFD)

Word from Word Peace Service WFD Yes Theatre in Berlin

Amazing! Impressive! Powerful! These were the reactions in Berlin and other German cities after the play Games in a refugee camp, performed by an ensemble of four Yes Theatre artists from Hebron. In the context of the Kinderkulturkarawane project (En: children culture caravan) and with the support of World Peace Service (WFD), the young actors spent about six weeks in Germany and Austria, accompanied by their tutors and directors Ihab Zahdeh and Muhammed Titi. The organization Kinderkulturkarawane enables young artists from all over the world to present their plays in Germanspeaking cities. Mohammad S. I. Abusal, Mohammed N. M. Teeti, Muath Y. A. Aldersbashi and Waad J.M. Badawi gave their imagination full scope and fascinated their audience from the very beginning to the end. With their delight in playing, their enthusiasm and enormous stage presence, the four actors succeeded in overcoming all cultural and linguistic barriers. During their tour, the young artists gave both students and adults an understanding of daily life in a Palestinian refugee camp a topic most of the visitors have never dealt with. Presenting a mix of dance, music and youth subculture combined with biographic experiences and Palestinian history, the young artists did not only inform but entertain their audience at the same time. Attentive silence in one scene, relieved laughter in another: manifold reactions to an outstanding performance. The performances ended with vivid discussions: while adults were interested in political and historical background information, students asked the artists about their daily life, their hopes and wishes for the future. We, the staff members of the World Peace Service, did not only enjoy a great performance in Berlin, but also had the opportunity to get to know some of the project coordinators and young participants of our partner organization from Hebron. Since 2009, WFD has been supporting the Yes Theatre in its objective to serve the community with meaningful plays and to give children an opportunity to cope with their fears and traumatic experiences in a creative, constructive way. Even under difcult circumstances Yes Theatre provides activities empowering girls and boys to develop their self condence and to escape daily violence. Together, we implement the Yes4Youth project which offers training to young professionals working with children in theatrebased techniques, thereby contributing to a positive change in society. For us, it was an honour and pleasure to meet representatives of the Yes Theatre and to welcome them in Berlin. During lunch at the WFD ofce, all of our employees got to know the actors and program coordinators. Firsthand, we experienced the energy, hope and devotion all members of the project put in their work. Their strong determination to continue such an important work is impressive. Apart from their performance on stage, Mohammad, Mohammed, Muath and Waad were given the chance to take part in various activities during their stay in Berlin. Visiting schools, youth clubs and young theatre groups, they met other children of their age and had the chance to exchange ideas and experiences of completely different ways of living. Equipped with cameras, the young actors also went on a tour through a small part of Berlin. Taking pictures of the surroundings, playing football on green eld and admiring the river Spree owing through the city: new impressions in an atmosphere free of tensions and, most signicant to the young actors, with freedom of movement. We hope that the experiences in Germany gave new impulses and new strength to the work of the Yes Theatre and we are looking forward to welcoming more members in the future.
Maja Augustinovic (WFD-intern)

Hebron Under Occupation, Part 3

the rst two parts of this series are available in the previous editions The rst non-local Jewish settlers began colonizing Hebron shortly after Israels military occupation of the Palestinian West Bank and East Jerusalem began. The rst Israeli colony Kiryat Arba grew right to the East of the city of Hebron, and from there, the extremist Baruch Goldstein came to the Abraham Mosque carrying death with him. On 25.2.1994, Goldstein massacred 29 people during Ramadan prayer and injured many more. After the massacre, the Israeli occupation army seized control of the entire mosque and since then, it periodically prevents Muslims from entering it. The mosque was divided into two parts, turning the largest part into a synagogue that only Jews are allowed to enter and leaving only a small section to Muslims. Israeli soldiers repeatedly enter the section of the building that is reserved to Muslims and open it up for Jewish visitors, Muslims, however, are never allowed into the rest of the building. In February 2010, the Israeli Prime Minister called the Abraham Mosque, the Bilal Mosque in Bethlehem (Rachels Tomb), and the walls of the old city of Jerusalem Jewish cultural heritage. This re-ignited the anger of Muslims as these sites have been known by the whole world as historical religious sites open to members of all religions and safeguarded by Muslims for thousands of years. The Palestinians continue to struggle and ght to save the sanctity of the religious and historical sites all over their country.

Figure Of This Issue

Themes of Plays Should be Educational and Relevant to the Palestinian Reality For this edition, we choose to introduce a pioneer of the eld of education in Hebron as our Figure of This Issue. Our guest, the rst woman to serve as Director of the Directorate of Education in Hebron, is seriously committed to raising the quality of education and has, in the past two years, introduced a series of innovative changes to the educational sector. Yalla Masrah interviewed Ms. Nisreen Amro: How would you describe the working relationship between the Directorate of Education in Hebron and Yes Theatre? The Directorate of Education has a distinguished relationship with all the local organizations in a way that serves the educational process without conicting with the Ministrys strategy and work methodology. I can see that Yes Theatre has been a key agent in enhancing the role of educational theatre in the Governorate of Hebron. Do you have an objective plan or certain vision in place regarding the strengthening of the role of drama in schools as extra-curricular activities? Our strategy to strengthen the role of drama in schools has several facets. In elementary schools, drama is now being implemented as an educational tool in regular school lessons as part of the curriculum. We consider drama a highly effective educational tool that fosters personal development through physical and cognitive stimuli. More than any other, perhaps, the aspect that makes theatre such an asset to educational processes is its capacity to grant students a safe space to explore and recognize their feelings and thoughts, and to experiment with expressing them in different modes. Students frequently explore and develop their own talents through theatrical processes. The Palestinian Ministry of Education and Higher Education is now concentrating on employing drama as a teaching method in schools, and this has contributed to changing prevalent conceptions of theatre to the extent that is now acknowledged as a signicant educational tool that is replacing traditional teaching methods. Theatre can not only be employed to address conicts on the individual or social level and to stimulate positive conict resolution, but is also an effective tool to illustrate school material to students. We encourage teachers in the Hebron Governerate to employ drama in their teaching and therefore offer regular training programs in teaching drama to our teachers. Do you think that the acquisition of skills enabling the teacher to employ drama in his or her classroom helps raise the quality of the teaching process and the interaction with the students, and do you think that it helps raise the quality of education in
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Ms. Nisreen Amro, Director of the Directorate of Education in Hebron:

schools? The use of theatre and drama in school education facilitates positive teacher-student interaction. In addition, I think drama-based tools help empower the teacher and strenghten his or her self-condence, as they can be used as a highly effective education tool that students generally react very favorably to. Drama helps bridge the gap that often exists between the student, the teacher, the principal, the supervisor, and the parents, and help them grow closer. Apart from that, employing drama can serve a range of purposes, including: Recognizing and help overcome behavioral disorders that some students suffer from (- to the extent that we sometimes invite social workers to join drama workshops for them to learn from the process). Strengthen self-condence. Enhance the ability to recognize the feelings of others. Encourage to explore not only opinions, but also talents in a safe environment. Promote team spirit and partnership. Foster positive teacher-student interactions. Train self-condent decision-making under stress through simulations of various emergency scenarios. Promote strategies of conict-resolution. Encourage students to explore and to learn from their environment Encourage respect towards the opinion of others. Enhance listening skills. Facilitate more profound comprehension. Promote complementary and interdisciplinary learning. Connect course material to reality. Attract participants attention. Stimulate reection. Strengthen national and cultural identity and social ties. Develop the imagination of participants. Cater to the differences of the participants and their potential special needs. What do you think of the plays performed annually by Yes Theatre for students, the topics selected, professional quality, the educational aspect of the presentations ... etc.? Yes Theatres work is professional, respectable and in continuous progress. I sincerely hope that all institutions working in the elds of drama for children progress in a similar way. In general, I think that the themes of the plays should be educational and relevant to the Palestinian reality and in accordance with Palestinian values and not touch on religion. A word for the students, parents, teachers and Yes Theatre? In discussions, parents whose children have participated in drama and theatre-based activities report observing positive change in their childrens behavior and expression. Drama exists in every single house without people being aware of this. If parents want to know more about drama, I advise them to attend classes in which drama activities are conducted. As for students, I advise them to participate in classes that employ drama, and then, to compare between traditional teaching methods and drama-based teaching methods. Teachers, I would sincerely encourage to consider drama-based activities in their teaching, and to involve students in planning their extra-curricular activities. Drama-based activities can last only ve minutes, half an hour, or continue daily over a period of several weeks. Ms. Nasreen Amro, Um Mohamed, thank you very much, with our respect and appreciation for your outstanding efforts. Thank you and I wish you further progress and success

Reflections Confession
I was walking in the desert, thirsty and hungry. The heat was intense and the place harsh. I saw a mirage that I followed, walked to I hurried to it, but found nothing. This was my life if my savior did not come to rescue me, hold my hand, help me, inspire me, stand by me My precious mother was a light in my path. The desert changed into a beautiful garden full of owers, pretty colors and great trees. I walk and see a lit path, I nd myself in beautiful places made by mother I love you, Mother, and no one else has a place like yours in my heart For your love is the highest in the universe
Bushra Abu Saymeh Participant in Yes4Youth program, 2010; Assistant Director of He Said Yes

Our trip to Germany

When we traveled to Germany and Austria to perform our play: Playing in al-Fawwar Refugee Camp, we visited many German and Austrian cities. After each play performance, there were discussions and each time, the audience asked more questions about our live in the Fawwar Camp and the situation we live in, and they seemed impressed by our resilience and love for life in spite of the harsh conditions and the suffering which the military occupation inicts upon us. What drew our attention the most there were the huge markets, high buildings and great architecture in these two countries, and whenever we went to a hotel or to tourist-, historical- or archaeological sites, we were always welcomed very warmly. When we visited schools in Germany, we were greeted by children full of smiles, they were that happy about our visit, and in spite of the language barriers, we played with each other, because playing knows no borders or barriers. In the end, I would say that our experience in Germany and Austria was unforgettable, and I thank the Yes Theatre family that allowed us to make this trip, which lasted for forty days.
Mohammed Nidal Titi, participant of Playing in al Fawwar Refugee Camp

I come out for you my enemy, from every house, neighborhood and street My memory took me to past days in which the heart lurched thousands of times. You are provoked by the story, you sweat, your saliva dries, you swallow it over and over, dryness envelopes your mouth. Your hearing is hijacked; your mouth is open as though you are in a battleeld. You ght, you dodge, and the sound of bombing roars around you. You are hanging behind a microphone which carries the news to you on a continuous basis Days when we were used to spiritual sustenance through the newscasts, enticing songs today I follow these songs with a terrible shock, for they taste different; you hear them with a closed mouth and with a memory lled with despair. The national song today comes at you with a delicious avor, in accordance with the language of an era full of cosmetic surgery. A singer comes to you with no adornments and wearing a dress of dignity, but her resonating body does not hide its dancing reality. Another one comes out at you from under the ashes of the battleeld, victorious, carrying weapons and taking risks, gambling on the stupidity of those watching him The making of songs has become a commodity of our times, you see them ready after each war and massacre. They wrap your fate in shining paper, strong throats and swaying bodies that, when you see them, you remember a tight body and honeyed words, a body that you elude in your dreams, like the hunter eludes a bird.
Noura Salah

From Palestine to Greece

The goal was to present our cause to the world in the best way, through theatre. To show others that the Palestinian is like anyone else and has the right to live like everyone else, that we are not the backwards clichs that we are so often portrayed as. Art was our tool The Ministry of Education and Yes Theatre were our meeting place. 13 male and female students between 14 and 16 years old were trained under the supervision of the qualied teachers Amer Khalil and Ihab Zahdeh. We students were creative and developed a play that reected ourselves. The most beautiful thing about it was its sincerity and that it came straight from our
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hearts. We hoped that it would reach the hearts of the world as well. The plane took us to the country that, to some, was the birthplace of civilization, Greece, to deliver our message. We ew for the rst time; what a strange, beautiful feeling, a mix of dream and reality! All of us wondered, is this a dream? Or is it a reality? Finally the plane landed in Greece and we took the bus to the place where we would stay for seven whole days. It was the rst time we saw the sea, ever Yes, the rst time, for although in our country, we are only a few miles away from the sea, we could never exert our right to see it. We discovered that a two hour trip to Greece was much easier than visiting the sea in our own country. We saw a bright, amazing beauty and realized that beauty has no religion, homeland or language. Days passed until the decisive moment came, the moment of presenting our cause, and we stood on stage, carrying on our small shoulders the pain of our country and our people. We had no option but to succeed, so we tasted success and also victory after some of the audience came to us, encouraging us for what we presented. One of them asked with wonder and amazement in his eyes: Do you really live like that? We returned to our homeland with great longing, full of pride and dignity From this end we began.
Asala Salhab 15 years old Participant in Kids4Kids Program, 2009

to heart
They warned me from you and I warned myself but I love risk Be my ve seasons: love, longing, yearning, respect and faithfulness And I will be your only season all year Do you accept one season in return for ve??? I am not an angel; do not be deceived by me Its just that I try not to be like others. My favorite song is your voice. I may need to die to forget Apologize to your lover and the level of love will rise between you. In the presence of the eyes, all words are silent For no words are more profound, beautiful or wondrous that those said by your eyes and heard by mine. Do not see all men in me for I see you in all women When I look at you, I see myself Do you allow me to use your airport just once and land without takeoff?? Be great to me as a mother kind as a sister sweet as a friend smiling as a grandmother and a wife with a lovers passion
Raed Shyoukhi

My story
This is my story and I hold the keys to it My story is sad without a shelter Would he who has inhabited my heart accept it or reject it? My life is meaningless because I live on the chords of his heart. Is there a way for me to live in his heart, stay in it? Or will I stay like this, between the shore of love and a bitter taste without any warning or excuses? Will my heart keep waiting for this? Waiting for his alluring gaze, his gaze full of love for me My love for him is to the deepest end, but will he be mine? I will wait for him till the end of time and the furthest place but will I be his?
Amal Ighrayyeb Participant in the play: Gaza Hebron Gaza

Where are you, my father??

On the rst day of January it was very cold and the snow was falling heavily She was stumbling in her walk, with her coal black hair, small black eyes, dirty clothes and torn shoes A lonely orphan in the street, sewing and selling small pieces of cloth following the orders of a merciless, hard-hearted man who beat her severely if she returned to him with anything left unsold. No one bought anything from her that day because of her disheveled look and dirty clothes. She was afraid to go home and be beaten by that merciless man. People went home and families began to prepare New Years celebrations, setting their tables with all kinds of delicious food and drinks. Left alone in the street, the little child walked up to a garbage pail and began searching in it for food. She found nothing except rotten remains. When she began shivering from the cold, she remembered that she had pieces of cloth and took out a black piece from her worn cloth basket. She stared at it and saw herself eating a piece of bread with warm tea. Just then, the strong wind swept the piece of cloth from her hand. The child took out another piece and began staring at it, this time, seeing herself opening her fathers New Years gift to her but again, the strong wind whipped the piece out of her hand. The girl took out the last piece in her cloth basket and peered at it intently to see her father giving her his hand tenderly and saying: Come with me, my child, come to where there is no cold and no rain, and come to the warmth, love and tenderness. The child answered her fathers call and went The next morning, people walking by saw a thin, pale, frozen little girl lying next to the garbage pail with three small pieces of cloth scattered around her
Ranin Shyoukhi Participant in the play: Gaza Hebron Gaza

My son the martyr

When Palestine bloomed into the hope of youth, youth scented with owers and jasmine, unforgettable through the years The occupier came, loaded with death, bullets and tanks A young man was murdered and a rose wilted a star fell a bird fell from the sky He was buried under the earth A mother screamed A tear fell The sky opened and the angels received a new martyr The word martyr causes pain in my chest And ignites the embers of anger in my heart A handsome martyr who did not exceed twenty He bade life farewell with a smile He watered the soil of Palestine Said goodbye to life and welcomed a new one He moved the conscience of the world This is my son on the ground His blood is oil that lights a glowing lamp His face radiates like the moon on a dark night The stars bid him farewell and he sees the face of his eternal sovereign Lord. Glory to the living God who does not die
Rinal Naseeb Shyoukhi Participant in the play: The Little Lantern

In a small room
I was sitting alone in my narrow dark room with its single window, and, amid the gray walls, sad ideas started coming to my mind, I began thinking sadly about what the human does to his fellow human. There is the selsh man who wants to own the whole world and does not want to share it with anyone else, not even with those closest to him. The irony is that, when this man ever found himself in need of assistance, he addressed all of humanity seeking its help, but when he nally got what he wanted, he became a vicious monster ready to prey on anyone who stands in his way, even if it happened to be the same person who had offered him aid and helped him get where he is right now This is life and this is the world
Raja El Zaro Participant in the play: Gaza Hebron Gaza

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Stay away from her

It began when he told me that he wanted to see me to talk about something. I did not give it much attention, at rst, I thought there was no need to worry, but he had sounded somewhat serious. Still, I went to his caf and waited for him to nish the damn card game which he always called gambling, even though they never played it to gamble. I waited for a long time, it felt like a full day until I was sure that I not only hate playing cards, but also the people that play them. I lost count of the cups of coffee and tea that I drank while sometimes watching TV and at others the card players He kept sneaking glances at me from time to time, and not just him, really, but the person sitting close to him, too. I began to worry. So every time he looked at me, I lowered my head. But then I felt like a coward, like a mouse running away from a cat. Finally, the game came to an end, just when I did, too. I could no longer sit, nor stand. Everything inside me was beating so fast as if I had spent the past two hours running. And then, he motioned with his nger to a corner for us to sit in. I got up and we plunged into a period of silence that felt like an eternity. And when he began to talk, he told me he couldnt talk to me in front of people. I couldnt bear to wait any longer, I was again gripped by fear, only this time, it was stronger, fear, together with confusion and cowardice. He started walking and I started walking behind him, my legs shaking, moving forward and then backward again. When we nally stopped in a remote corner near a container lled with waste, he simply said: Stay away from her
Mohammed Titi Artistic Staff / Yes Theatre

Articles

Theatre of the last decade: Theatre that simulates the experiences and aspirations of youth
Theatrical art in Tunis and the Arab World at the beginning of the last decade was characterized by the diversity of experiences and visions, through the emergence of new techniques that differed from the techniques and experiences of the theatrical movement in the seventies of the last century. Many important shifts took place in theatre in general in recent years, whether in terms of performance, techniques or the level of performance on the stage, or the texts of plays themselves which began to reect the concerns of current realities and the core of their aspirations. Previously, classical and not-classical plays alike used to offer the spectator ready templates. Although the craftsmanship and the precision that were applied to the designing of props and the stage developed signicantly, the experiencing of watching a theatre performance was nonetheless much like a reading of the play itself. During the performance, the plot of the play was merely reenacted exactly as it was written, without any of the sudden interruptions or changes in the movements or statements of the actors that are promoted, for instance, in the experimental or Brechtian theatre, as it is sometimes termed according to the propagator of this theatrical renaissance. The latter is considered a distinctive theatre enriched with various visions and aiming to establish an intimate embrace with the theatrical space, reducing it to intellectual and technical dimensions not covered in the theatre of the seventies. However, we are now witnessing radical changes that have taken place in the theatre during the last decade, where performances of different types, whether dramatic, comic, experimental, musical or other forms of theatre now exhibit a profound care for the concerns of youth in our current reality, and that simulate their hopes and aspirations, highlighting this evidently in a quest to develop concepts and means of service to the theatre to give it its best form in each period. The theatre of the last decade remained very close to what is happening within nations and peoples, putting forth their concerns in a unique manner and delving into their innermost depths to enable them to express their worries freely and without restrictions. This is in order to break the connes of the classic model, although it is considered an important human heritage. It is denitely not a complete cut with what is classical but is an invitation to re-formulate it in an artistic manner that responds to the aspirations of the new renaissance theatre and thereby contributes to creating a creative theatrical generation able to establish a new theatre away from direct education, dry politicization and crude rhetoric It is a serious attempt to digest the spirit that pioneering theatre artists
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worked hard to form, and here lies the renewal of the initiative not to digest the details of their labor and not to transfer their work in a scholastic manner rather, to seek tirelessly to dismantle their creativity in order to rebuild it within the data, circumstances and times of our current environment. To be sure, data from diverse sources has been instrumental in establishing a theatre that holds new dimensions and ideas through the concerted efforts among various team members, working as one body to make the creative work a success, in addition to the interdependence of the various parties. For example, the director is no longer the commander who is assigned the role of leadership and who directs the actors according to his own whim only; the situation has changed in our current period to place the director in a close relationship with the plays text, the theatre hall, actors and props according to their need, of course, and the pursuit to bring out this abstract model into a real existence in a different spirit, which makes us play the role on stage for its close connection to ourselves and our thoughts. All this ultimately makes us knock the door and lay the foundations for a new theatrical renaissance that accommodates young peoples ideas and hopes for the future, addresses their concerns and treats them in a noble artistic form. All of this leads us to more giving and opening broad horizons for young people, urging them towards serious work. Perhaps the plethora of training courses is the best incentive to learn new concepts and techniques, in addition to the diversity of ways of receiving information in our days, where there are many institutes of performing arts, as well as numerous visions, experiences and approaches that are no longer hostage to a text of a play that they embody in its entirety on stage In addition, there is a multiplicity of festivals that focus their attention specically on the domain of theatre and open competitions in writing and setting up acting troupes, as well as performing many plays in several prestigious art centers based on modern means of communication and what they offer in terms of speed of promotion of information and urging the other to keep up with performances How we really dream of an exceptional youth theatre with its own vision and aspirations A theatre to accommodate the human reality with all its concerns a theatre that tries with all the love to create a unique, comprehensive theatrical experience A theatrical space where our dreams grow and doors are opened wide to us to freely express our views and hopes, far from what could hinder the completion of this dream
Noura El Majthoub Writer / Tunisia

Theatre and Critics Opinion

Critics have argued that the stage exists for the sake of art and some have said that the theatre exists for the entire community or life. Those of the rst opinion said that theatre exists for the sake of art because it is a medium of art, while those of the second opinion said that theatre is for life because it reects the phenomena and problems existing in society. Both opinions are correct, in my view, but by virtue of my experience with Yes Theatre, I refuse to separate between the two opinions because the Yes Theatres plays that I helped create combine the two. The actor and actress is creative, engages people with her or his acting, and lives what he or she acts to the extent that we, as the audience, believe we are witnessing expressions of her or his true personality - and this because, for the duration of the performance, the actor/actress truly assumes the character they act. To elaborate my point further, I would say that theatre exists for the sake of art because the stage sheds a light on issues derived from reality in an artistic way. The writer, when writing the play, has
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an idea of the characteristics of the characters in the play and the director employs creative imagination to direct the work in the most beautiful manner. The actor, of course, acts his role and assumes it as though it were his true personality, not just to satisfy the audience but because he loves and believes in what he is doing and knows that theatre is contains message that must be delivered to people. This elevated message raises the stance of theatre and this is what I have specically seen in the works of Yes Theatre. Yes Theatre sheds light on issues and problems that are taken directly from our communities and that we live and see daily and that sometimes create suffering for us. This leads to my nal point, where I conclude that it is impossible to separate and claim that theatre existed only for arts sake or only for the community, because theatre does not separate between the art and community but works from within the community for the community with an artistic vision.
Bushra El Atrash Participant in Yes4Kids Program, 2010 Assistant Director, The Little Lantern

No comment

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Nugget of wisdom
A small rabbit saw an eagle relaxing lazily on the branch of a large tree, so he asked him: - Can I do what youre doing and sit comfortably without work? - Of course, my dear bunny The rabbit lay snuggly down and closed his eyes lazily, forgetting the world and all in it. A fox passed by and no sooner had it seen the rabbit than it jumped on him and devoured him. The moral of the story - You cannot not-work unless you are one of the privileged on the higher branches.

This issues riddle

A man was sentenced to death although his lawyer had proven his innocence. The judge had sentenced him to death in revenge for a personal dispute. After a desperate appeal by the lawyer, the judge offered the following: he would write the word execution on a piece of paper and the word innocent on a second piece, and the defendant would have to choose one of them. The lawyer saw the judge writing execution on both papers, so he whispered something to the defendant, and when the letter chose one of the papers, he was found innocent and was saved from death What did the defendant do?? Send answers by e-mail to the theatre: yes.theatre@gmail.com or hand them in personally at the theatre: Hebron, Al Mahawer, opposite the Al Hussein Sports Stadium.

Solution of last issues riddle:

Remember that the investigator approached the window and opened it, which indicates that the window was closed. So is it possible that the person who committed suicide closed the window after jumping out of it? Of course not Winners of cash value (NIS 100) each for solving the riddle of the last issue are: Khuzama Zein El Abidine Awawdeh, 13 years old, Ghazi Mohtaseb primary school for girls. Moath Baher Qabaja, 14 years old, Tarqumiya Martyrs primary school for boys. Mira Nael Zaytoun, 14 years old, Yaqoubia primary school for girls.

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** My experience with Yes Theatre was in the drama of theatre if I can put it that way. I came to Yes Theatre like others who wanted to study drama and practice it in their work and in their daily lives. I realize today that before my experience at Yes Theatre, my idea of theatre and drama was vague and somewhat missed the mark. This changed particularly when I had the chance to be one of the trainers in the Yes Theatres Kids4Kids program and through my experience as the Assistant Director of the play: He Said Yes, which we developed with a group of children of 12-14 years old. In the rst few weeks of rehearsal, we got to know each other, played, laughed, broke down all the barriers between us, imagined, acted and improvised And then we came out with a play and I realized how much the children had changed for the better; by the end of the rehearsal period, they were no longer shy and they were more able to express themselves, the ice was broken between them and their surrounding community and they became aware of their place in it as an active member. Their appreciation of time itself changed, they realized the importance of teamwork, and lastly, they learned that it is no shame to say No to what we dislike and Yes to what we like I now look at myself; at how apart I felt when I rst walked into this theatre and how I feel like a member of its family, now. I began to realize that nothing is impossible if you have the will and determination and everything can change except for God Almighty. I know now that everyone I meet has a door through which I can reach through to him During my time with Yes Theatre, I felt angry, happy, I felt scared But in the end I feel very happy for the change that I can see in myself and in others.
Bushra Abu Saymeh Assistant Director of the play: He Said Yes

** At the start of the summer holiday I was looking for a project to ll my spare time, any project, really, without appreciating how valuable my spare time actually is, but when I participated in the Yes Theatres Kids4Kids project, I had fun and felt that I was benetting from it at the same time. For the rst time, I became aware of the value of my own existence. I also realized that I have a goal, which I can achieve. I had the chance to be part of a group of girls that worked together on the play Gaza Hebron Gaza, united in one team spirit, and I can clearly notice how much of an impact this experience had on me. I feel much more condent in myself and was able to overcome my insecurities, which many other Palestinian girls share. I have known the meaning of deprivation and vulnerability, and nonetheless, from weakness we create strength Allow me to say that art creates miracles in a simple and interesting way
Ibtihal Ghazi Qaoud Participant in the play: Gaza Hebron Gaza

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** I learned that standing on stage in front of hundreds of people isnt scary and that getting up on the stage isnt shameful Quite the opposite it needs courage, strength and bravery. Being on stage made me more condent and taught me not to despair and to break down barriers, if I need to, to continue what Im doing
Rinal Naseeb Shyoukhi Participant in the play: The Little Lantern

** Yes Theatre is a place that was able to bring together a group of girls who were in need of empowering and a boost to their self-condence. At Yes Theatre, the girls learned to think and search for new ideas through drama games that challenged us to come up with new ideas. At Yes Theatre, we practiced a kind of cooperation that created love and strengthened friendship among the participating girls, so that each of us started to rejoice for her friends happiness and grieve for her sadness. The play focused on the Palestinian childs, the way of his thinking and resistance, especially the children of Gaza who have tasted bitterness Finally, I thank Yes Theatre and all those working in it.
Lubna Abu Omar Participant in the play: Gaza Hebron Gaza

** I was searching for something special, something different to do during the summer holidays. I looked around and did not nd anything nicer than joining Yes Theatre. I joined and became part of a group of students who rehearsed a set of monologues written by children from beloved Gaza, together, we developed the play: Gaza Hebron Gaza as a gift to our fellow Gazan children. In those beautiful days that I spent in my theatre group, I forged friendships that its impossible to forget. I now feel that I have taken a big step ahead in my life, that I have more of a sense as to where I would like to head, and that my self-condence has increased.

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Finally, I dont forget the light of this road, my great teacher Mr. Raed Shyoukhi, to whom I give all my thanks and appreciation for his efforts with us.
Raja El Zaro Participant in the play: Gaza Hebron Gaza

** They came forth, participated and discovered the creativity within them, for here are the owers of Palestine presenting the bright picture of the Palestinian girl in a place which prepared the setting for them to show their talents and abilities, with people that taught them love and hope, hard work, cooperation, optimism about life and much, much more under the harsh conditions of custom and tradition. Yes It is Yes Theatre, the place we love from all our hearts and love those who trained us in it. Thank you Thank you very much, even though thanks are much less than what you have given us and words fail to express the extent of my love and thanks to you.
Shahd Amro Participant in the play: Reems Dreams, 2009

** It is a river owing in our veins It is the theatre It is Yes Yes to life and we do not say no to life But we will say yes and we do not say yes quickly or as a reaction to something Yes to freedom, yes to the power that we learned from the theatre Yes to courage We will not despair so long as we are at the theatre.
Aseel Hilmi Shyoukhi Participant in the play: The Little Lantern

** I am a child with many hobbies, but I didnt practice my hobbies except in one place named Yes Theatre, where I practiced my
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hobbies through drama games that my friends and I played with our teacher Raed Shyoukhi. He used to train us and teach us how every game has an objective which increases our focus, self-condence and empathy. The result of our rehearsals was a play: Gaza Hebron Gaza in which we embodied the suffering of Gazas children. We performed several times to the general public and students under the supervision of Mr. Raed Shyoukhi. We have not forgotten the children of Gaza and the rest of Palestinian people who suffer abuse and poverty. Finally, I thank Yes Theatre and all those who work in it.
Shahd Abu Munshar Participant in the play: Gaza Hebron Gaza

** Theatre ... It is a simple word but it means a lot to those who took part in it with all their talents, for theatre means beautiful acting, courage, freedom of expression and mastery of laughter that releases people from their worries and takes them to a happier world. For me, this was the rst time that I participated in a theatre process, and I am very happy I did for I learned a lot through my experience at Yes Theatre. My friends and I had a great time and discovered talents that we were not aware of. When performing in front of people, I felt strong and courageous and tried to perform my part in the play in the best possible way felt so as to reach the hearts of the many. I encourage every girl who feels talented in some way to participate in one of Yes Theatres programs and I am condent that she would end up as happy with her experience as I am. I do not forget to thank our trainer Raed Shyoukhi for his effort with us.
Raghd Kostero Participant in the play: Gaza Hebron Gaza

** Yes to freedom Yes to expression Yes to getting to know one another Yes to caring for the people you love and who love you Yes to creativity Yes to boldness Yes to showing your talents and abilities Yes to thinking Yes to joy No to wounds Yes to entertainment Yes Yes Yes Yes to Yes Theatre
Ranin Shyoukhi Participant in the play: Gaza Hebron Gaza

** Theatre gave me faith and condence in myself and made me discover that I can do a range of things that I thought I wasnt able to do. I became more active and more focused, and, most importantly, I became better in my studies in school and formed new friendships that I am proud of. I would recommend every child to participate in the activities of Yes Theatre and I advise every father to send his child to Yes Theatre for he or she will become stronger, more self-condent, more hopeful in life and more respectful to others
Muhammed Raed Shyoukhi Participant in the play: He Said Yes

** Theatre a word that reminds me of the beautiful days I spent there with my friends, for they were great days for me, vibrant with life, vitality and energy. I will never forget the days I spent in this theatre with my friends. I thank Mr. Raed and Yes Theatre for this nice opportunity that they gave me to express my latent talents that I wasnt aware I had. It was really a beautiful experience Words go on and my words remain between the lines, unable to express all that comes to my mind.
Iman Abu Omar Participant in the play: Gaza Hebron Gaza

** Yes Theatreencouraged me and lifted my spirits, helped me raise my voice high in the community, made me stand in front of the public, gave me condence in myself and allowed me make new friends with whom I played great drama games that enhanced our memory, optimism and vitality We acted in the play: Gaza Hebron Gaza and dedicated it to Gazas children, for we will not forget the children of Gaza who have lived under the tyranny of siege Finally, I thank this theatre and all those working in it. Thank you.
Amal Ighrayyeb Participant in the play: Gaza Hebron Gaza

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My experience with Yes Theatre Affecting and being affected Bushra Al Atrash
My time at Yes Theatre provided me with a completely new experience. I consider myself lucky because I not only had the chance to participate in the Yes4Youth Training Program for Theatre Animators 2010 and learned basic techniques of theatre and drama and how to employ them when working with children; after graduating from the Training Program, I also had the chance to assist one of our trainers, Mohammed Titi, in one of the plays of the Kids4Kids program. In cooperation with the Ministry of Education, Yes Theatre produces theatre plays during the summer holidays that are performed by children themselves. Last summer, the rehearsals were split in two parts: The rst part consisted of a month-long drama workshop, where the children were playfully prepared for the second part of the project the actual rehearsal of the play through a range of drama games. Under the supervision of Mohammed, I had the chance to plan and implement the drama workshop with the children myself. This was the most valuable experience at Yes Theatre, to me. First, I realized with delight that because I was the one doing the drama games with them the children in my group really loved me. Then, I took pleasure in applying the skills I had just attained during the training to planning and implementing the daily drama sessions with the children, and carefully assessed each session afterwards to draw lessons from. As the children took well to the course outlines that I planned and to the way I implemented them, I was able to experience a great chance of achievement on an almost daily basis. This continued in a different way when I coordinated the performances of our play The Little Lantern by Ghassan Kanafani and moderated the discussions with students in the audience after each performance. It was very rewarding to observe how much our production apparently meant to other children, to what extend it triggered their critical reection, and to hear range of lessons they each drew out of it.
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Throughout all the phases of the program, I could literally watch the participating children grow more self-condent, more active, and at the same time, more patient, particularly when it came to waiting silently for their turn off-stage. If I think about how shy and insecure many of them seemed in the beginning and how difcult it was for some to even introduce themselves to the group, their development seems in such a short time seems exhilarating. Based on my own experience, I can only stress what a great activity theatre is for children, and I wholeheartedly encourage parents to come to rehearsals or performances and consider sending their children to future activities. I am very grateful to Mohammad Titi for granting me the chance to gain this invaluable experience as his assistance. It was through the Kids4Kids program, really, that I my sense of belonging to Yes Theatre grew most notably. In the end I can only thank Yes Theatre and hope that I will have the chance to continue working with them in the future, because I fully believe in theatre education for children. This is my own little success story which I will never forget and which, I hope, will only continue

Societys view of drama Bushra Abu Saymeh

In my community, we greatly value our customs, traditions, and certain ideas to the extent that we live in what I call a culture of aib of considering so many things socially unacceptable. It is even aib to think about why something is aib in the rst place, and to challenge why we cannot debate it. People in my community treat theatre and drama in a similar way, and the rst thing that many think of when they think of drama is a certain television series that was broadcasted during the month of Ramadan that boldly discussed a certain social problem that is considered aib. However, the question here is: why does the art of drama exist and why is it gaining recognition to the point that it might become, in future, an integral part of the school curriculum? In the beginning, drama was received much like an unwanted guest that suddenly drew a lot of attention in schools and became the topic of heated discussions that extended into the evenings. And maybe, we will soon talk about theatre and drama as regularly and leisurely as we chat about the state of the economy or of the national and its citizen..! Perhaps, one day, my mother and sisters will create a play in order to illustrate to my father the benets of changing the houses furnitureIs that really possible? Imagine!... I invite you to imagine that you are living in the woods, and around you, there are numerous poisonous snakes and lethal scorpions. Imagine yourself at risk of turning into a hearty meal for a lion at any moment And you have no weapon, no solution to escape death either through the bites and stings of snakes and scorpions or between the jaws of the lion, or dying of fear as you freeze where youre standing Think about a possible way out. Think more Are you unable to nd the answer? Well The answer is Drama

Why do we do theatre and what do we get from theatre?

Hamam Amro/ Technical Director / Yes Theatre It is difcult to answer in a single statement why we do theatre and what this wonderful art gives us, for everyone who works in theatre has their own ideas and convictions. Theatre has existed since ancient times, and as long as there is faith in change and progress, theatre will not disappear. For me, theatre is a huge art for it brings together different civilizations and tells of many of many different achievements of the human race. Theatre is social evolution. It is a battleground for the forces of creativity. It is the platform of all that is educational and informational and is the window from which we view human values and relations. Presence in theatre is generated through several elements working together towards the success of one artistic work; these elements are the structure of the plot, the actors, the message or idea of the work, language, music, light, and, nally, the performance. I hope that God helps me and you to open new horizons that suit your expectations for this art and your conception of it.

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Call for applications for a Training of Theatre A

Announcement

nimators 2011 The Yes Theatre in Hebron together with the German NGO World Peace Service (WFD) invites applicants for the second year of its training program Yes 4 Youth. Yes 4 Youth is a capacity building training program targeting teachers, social workers and animators in cultural centres working with children to help them develop their professional skills, gain inspiring practical experiences, and create useful contacts. In a period of six months, the Yes 4 Youth program will train 15 youths in the Hebron district in basic techniques from the elds of theater, drama, storytelling , theatre games and more. Duration and scope of the training: The basic training period will start on February 15, 2011 and end on August 11, 2011. As the training caters to young adults who are already working with children, the training will take place on a basis of two afternoons a week, with four hours in each. At the end of the basic training period, trainees will receive certicates from the Yes Theatre and WFD. In addition, ve trainees will have the chance to gain immediate practical experience as assistant theatre trainers during the rehearsals and performance of the Yes Theatres Kids4Kids plays. After the basic training period, Yes 4 Youth will regularly offer advanced workshops with guest trainers that will offer the fresh graduates the chance to extend their theatre-based skills. In addition, Yes Theatre will include the graduates in its future workshops and activities, inform the graduates about work opportunities, and aid them get in contact with organizations working in the cultural sector. Content of the training: The artistic staff of the Yes Theatre, together with external trainers from Palestine and abroad, will teach courses in the elds of basic acting techniques, storytelling, drama games, moving on stage, theatre of the oppressed, and more.

Yes Theatre:
The Yes Theatre was created in 2008 to support and continue the work that its artistic staff Mohammed Titi, Raed Shyoukhi and Ihab Zahdeh had been doing in Hebron for 13 years. Yes Theatre is a community theatre that mostly focuses on empowering children and youth through the tools of theatre and drama. The core program of Yes Theatre includes the Play 4 Kids project, where the artistic staff designs a play specically catered to school children from the Hebron district and performs it to school classes from the entire Hebron governorate; the Kids 4 Kids project, where theatre plays are rehearsed with school children during the summer holidays and then performed to peers, parents and teachers; drama workshops at schools; and the Yes4Youth training program for theater animators. In addition, Yes Theatre hosts local and international artists for theatre performances and workshops, and organizes and implements theatre workshops for school teacher. In cooperation with the Ministry of Education and UNRWA, Yes Theatre provides over 13,000 school children per year with the chance to visit a theatre performance, and participate in discussions and theatre games afterwards. Application Requirements: Yes Theatre welcomes applications from social workers or animators at cultural centres and organizations that work with children at the ages of 10-17. Applicants should be no older than 26. Applicants are kindly asked to submit: A CV. A recommendation letter from the cultural centre you work in. A cover letter including a short text that explains your previous experience in working with children, why you are applying to the Yes4Youth training program and what benets you hope to gain from it. The required documents should be either handed in personally at YTs main ofce in Hebron/ Al- Mahawer Street/ in front of Al Hussein Stadium, or submitted by email to yes4youth@yestheatre.org. For more information please call 2291559

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