Archive for February, 2010

Strada Centrala din Focsani - sursa www.artline.ro

Ramasesem pe culoarul vagonului, sa tin usa deschisa intre ploestenii. Nu erau de statura inalta, cel putzin ca mine 175 cm. ci mai marunti si doamna mai rotofee.Se misca mai greoi. El reuseste sa urce (prima treapta era destul de sus) si mai veneau doua, pana la culoar. Domnul intinde mana spre sotie, dar nenorocire. Mecanicul, face semnul de plecare, trage sirena, si in suieratul ei, trenul porneste lent. Doamna cauta mana sotului, o prinde, fara putere. Ei disperati, ca si mine. Trenul mareste viteza, lumea de la ferestre si cea de pe peron, vede   scena, se trage semnalul de alarma. Trenul se opreste. Se aduna toti spre noi. Seful garii, oameni straini si un sergent al politiei. Ne inhata  si ne duce in birou. Se telefoneaza imediat la Politia orasului si se  vorbeste cu cineva de la biroul Sefului  Sigurantei, un Comisar Sef . Cei trei  “acuzati “  sed ingandurati pe o banca. Cam dupa 20 de minute,se deschide brusc  usa si cu gura cat o sura, intra tipand Seful Sigurantei. Am zambit  si m-am calmat. Era domnul Lapusneanu. In  urma cu un an, transferat cu sotia (evreica) de la Timisoara li s-a rechizitionat  una din cele mai bune camere si anexe de pe lista Primariei. Era in casa noastra. Oameni linistiti, Ea, o femeie tanara, s-a lasat, chiar cu multumire si respect in a asculta sfaturile  gospodaresti date de mama mea. El linistit. Nu ne-au deranjat, chiar la folosirea salii de baie cu anexele si in bucatarie. L-a ajutat pe tata, sa plece cu mama, la consult la Prof. Parhon, in  Bucuresti, in al carui tratament endocrinologic se afla. Aveau nevoie de autorizatie  speciala. Pe un ton categoric, a ordonat Sefului garii, sa faca un Proces Verbal scurt, sa fie semnat si restul e treaba si grija lui. Am iesit, cu capetele plecate, ploiestenii ingandurati. Ne-am suit in  trasura cu care venise, si intreaba :” Domnule Doctor, va duc intai pe Dvs. acasa?

Liceul 'Unirea' din Focsani - sursa www.viatadeliceu.ro

Insotitorii mei, n-au stiut ce sa creada. Au inteles ca ei trebuie sa-i faca un dar banesc. La revedere, in fatza casei noastre. Nici n-am povestit imediat, toata aventura. Era joi. Sambata dimineata la ora 8, trebuia sa ma prezint  la un regiment din garnizoana Focsani, la capatul orasului. Am fost punctual. Mai erau, cred  inca numerosi concentrati, poatespre 100. Evrei puri. Un plutonier ne-a ordonat sa facem un care si in mijlocul lui,cu vocea baritonala, ne-a anuntat ca vom avea de pregatit un aerodrom, cu doua benzi – decolare, aterizare, de dimensiunile….Trebuia sa curatam iarba si balariile si apoi sapaturile, sub supravegherea lui si a doi tehnicieni, unul neamt si un roman. Cum Armata Rosie, venea ca un tavalug, spre apus si nu era departe de granitele Romaniei, Statele majore ale armatelor, au decis sa construiasca o linie de  aparare cu transee si intarituri in cotul Carpatilor (ca in 1916, cu lozinca ” Pe aici nu se trece “), probabil cu alte forte de munca judaice, gratuite. Aerodromul era pentru aviatia germana, aproape de front si puteau veni – pleca, aproviziona cu benzina si munitii (erau prevazute). Am primit unelte – lopeti, sape, harlete, seceri – pe care le-am depozitat intr-o magazie, urmand ca luni, la 7,30 sa fim preszenti. Duminica am cautat sa-mi pregatesc un echpament de munca (nu  prea  aveam ceva deosebit), dar am rezolvat “costumul si incaltamintea” adecvate.Deodata, in jurul orei 10, sirenele de alarma suna fara pauza. Adapostul, ca la multe case era un sant in gradina, cu o banca din lemn, rudimnentara si ca acoperis, o rogojina.Am coborat cum am putut (se facuse in pamant o mica treapta, Am sustinut parintii) si s-a auzit zgomotul unui bombardament. Pe cer, nori negri de fum. Terenul viitorului aerodorm era de nefolosit. Legaturile telefonice intrerupte, n-am  putut vorbi cu sotia si sa-i spun ca in 2 - 3  zile ne revedem.  Asa s-a terminat concentrarea si eu termin povestirea.

Gica.

I have never seen such long lines at the Art Museum in Tel Aviv. When about a decades ago the second intifada broke and led to sky-rocketing insurance prices, which added to political reasons resulted in the Israeli Museums to be pushed at the periphery or simply taken out of the international circuit of art shows, the museum in Tel Aviv wisely decided to focus on Israeli art. The result is that many major shows of Israeli artists were organized in this decade and the success of this last exhibition which was more the result of the public reaction than of art critics feedback or an orchestrated PR campaign demonstrates that the art loving audiences in Israel react to what they perceive as fit to their tastes and can eventually sustain the public part of the museum activity.

Zadok Ben-David explaining his works to guests in the exhibition

Zadok Ben-David was born in Yemen in 1949 and his parents immigrated and brought him to Israel in the same year. He studied Fine Arts at Bezalel in Jerusalem, at the Reading University, and at the Central Saint Martin’s College of Art and Design in London. He lives in the UK for many years.

Out of the Wood

His style seems to be a continuous dialog between form and material, between human silhouettes and vegetation forms. The material that he uses for the bigger works is iron (cut with laser for the bigger dimensions works), but you need to get closer to realize the weight and mass, as the impression created by contemplation is of a delicate two dimensional philigrams, reminding more the Indonesian shades theater characters and sets than traditional European sculpture.  If sculpture is traditionally conceived as being about filling the space with forms, the style and techniques that Ben-David developed seem to challenge the tri-dimensional view of objects in search of volatility, of lack of weight and volume.  One can say that the real material of Ben-David’s recent works is shadow.

(video by joshasen)

The power piece of the current show is an installation that catches a 150 square meters room (my estimation) – a bed of sand where thousands of miniature plants, trees, flowers that represents a different world created by the artist.There are no two identical pieces of vegetation in this huge garden, and Ben-David is said to have built each piece as a realistic representation of real-life vegetation.

The dimensions and shape of the work create an interesting relation between the viewer and the art objects. We are used to be dwarfed by some sculptures, relate as equal to other, or bend to watch with attention an individual miniature. Here, when you enter the room the field is at your feet and the first sensation is of bird view. Seen from the entry the field is black. Then, when you start walking around colors and perspective change likw you walk in time through the seasons cycle. In order to see the details you need to lie and watch close to the sand field, as you do when in the mid of nature you lie on grass and watch wild life.

Are you Talking to me?

The dialog between man and nature seems to be the principal focus of Zadok Ben-David’s exhibition nowadays. The idea of planting flowers and other plants as art in the sand may also be read as a paraphrase of the myth of making the desert blossom. Non-confirmed rumors heard from people in the line say that the exhibition is the first that will take Ben-David’s works to many other places in the world in the coming years. To all friends who will have the opportunity to see his art in a museum close to their place I recommend not to miss it.

The artist’s web site can be accessed at http://www.zadokbendavid.com/.

The Web site of the Tel Aviv Museum of Art can be accessed at http://www.tamuseum.com/

Prietenul meu doctorul Gica Manescu mi-a permis sa preiau o prima parte dintr-un exceptional text memorial care relateaza din experientele sale din perioada celui de-al doilea razboi Mondial. ‘The Catcher in the Sand’ este onorat sa ii gazduiasca scrierile

Focsani, gara veche - sursa www.railwayfan.ro/

Era la inceputul lui iunie 1944. Intrasem in vacanta scolara, cu speranta de pace, liniste si timpuri noi (filmul cu Chaplin, il vazusem de mult). Plecasem cu sotia la Bucuresti, unde era familia ei, refugiata din Iasi. N-aveam deptul la calatorii, fara autorizatii speciale. De unde ? Locuiam in  Focsani, eu ocupandu-mi timpul ca profesor de stinte-naturale la Liceul evreiesc, Sotia, cu lectii de engleza, particulare (avea o licenta valabila de la Londra ). Prin tatal meu, am gasit un bun cunoscut al lui, podgorean, capitan in rezerva, mobilizat la un birou al armatei, in Focasni (imi  amintesc  numele lui – Hainarosie). El isi imbunatatea contul bancar cu curse in masina lui, spre Capitala, cu solicitanti evrei..Legatura mi-a facut-o un cunoscut, un tanar, care avea o pravalioara cu de toate. Pentru suma de…. pleca noaptea la Bucuresti, dimineata se aproviziona cu ce nu se gasea (sapunuri bune, pasta de dinti, lame de ras, socolata, biscuiti, smochine, curmale, lamai, cafea, si cate alte maruntisuri.) Avea distribuitorii lui si dupa pranz, intoarcerea. La controlul; pe sosea, soldatii il salutau pe capitan si ridicau bariera. Asa am plecat si noi,contra cost.   La scurta vreme, am primit un  telefon de la mama (tatal meu era grav bolnav, avea doar 59 ani , la 60 l-am pierdut) ca mi-a sosit un ordin de concentrare la munca obligatorie  si in caz de neprezentare, dat disparut,  ma va inlocui tata. Era o formula de neacceptat. Am decis sa plec singur (aveam, Buletin pentru Focsani). Am telefonat ca sosesc a doua zi. Hainarosie nu era. In zori, cu tramvaiul am ajuns la garaB aneasa, de acolo plecau trenurile, deoarece gara de Nord fusese bombardata la 4 august. Am luat un bilet de clasa I – a si  in compartiment, am scos ceva de citit. Pana la Ploesti am fost singur. Acolo a urcat o pereche – in jur de 35-40 ani. I-am recunoscut. Ploiesteni, el dentist, care ca si altii, au fost nevoiti sa se mute in Focsani. Tot  fara autorizatie de drum. Ca ei, si multi altii, a devenit focseneana familia avocatului Librescu, al carui fiu,Liviu, de vreo 11 – 12 ani, mi-a fost elev, ca atatia altii. El este acela, care ca Profesor Universitar in USA,  a impiedicat cu corpul sau, sacrificandu-se, stand in usa inchisa, ca  sa nu patrunda in sala de curs, un criminal, un apucat de amok. Pe viitoarea lui sotie, fica unui stomatolog, am cunoscut -o ca fetita (a devenit si ea medic stomatolog)  si am condolat-o la aflarea vestei triste. Locuia in Israel.

A urmat oprirea trenului, in gara Buzau. Prin geam am vazut, ca in ultimul vagon s-a suit o echipa de comtrol. Militari si 2 civili. Noi am pornit-o spre capatul de inceput al trenului, din vagon, in vagon. Am coborat si am mers in mod normal, de-a lungul trenului, spre ultimul vagon, inainte ca echipa de control sa coboare din primul. A fost o tactica bine judecata. Dar, spre ghinionul nostru, socoteala de acasa nu s-a potrivit cu cea din targ. Trenul fiind lung, peronul cu ciment n-a mai cotrinuat si o bucata de drum, am pasit pe pamant cu iarba. Nu era nici o greutate. M-am cocotat repede pe scari si am tinut usa deschisa sa urce si ceilalti.
Ma opresc aici. N-a fost usor pentru mine  sa scriu   si  poate nici pentru cititorii interesati. Cum maine e Purim, si imi amintesc si istoria, voi  scrie in continuare . E ca un film cu intrerupere, cand vine esentialul  si raul e invins. Deci

Va urma

A group of friends of mine must be gathered while I am writing this notes near the Cismigiu garden in Bucharest to watch this film. I tried to organize for myself some kind of synchronous viewing, let us see if our impressions got close.

source http://www.imdb.com/title/tt0057935/

This is the first film of Satyajit Ray that I have seen, and probably one of the first if not the first non-westernized Indian films. Most of my previous viewings like the wonderful Monsoon Wedding by Mira Nair were made by directors who live and created in Hollywood. This wonderful film made in 1964 is even more a revelation, as its director is a master, contemporary and at the same level as the best directors of his generation.

http://www.youtube.com/watch?v=XNfkJuakM7I

(video from koriwala)

The setting of the story is in Calcutta’s high society of the end of the 19th century, in a period of social and national conflict that is all the time on the background but is not really the center of the story. Based on a story by Rabindranath Tagore, almost all the conflict happens in the house of the wealthy journalist and newspaper owner Bupathi, which is filmed with refinement in all its details by the master camera of Subrata Mitra. My feeling after the first scenes was that I am watching a play by Ibsen or Chekhov transplanted in a different continent and this feeling was induced not only by the one set staging but also or especially by the strong character of the principal character, Bupathi’s beautiful wife Charulata. We immediately feel her loneliness, her need to connect with people, her emotional capacity which he represses by watching the human landscape of the street. When Buphati brings his younger brother and aspiring poet Amal in the house, the two will become involved, in a never consumed forbidden relationship that is intense and discreet. As proving or acting openly according to sentiments is not part of the culture the characters belong to, Charulata will prove her sentiments by demonstrating her creative and intellectual qualities, in a world and a time dominated by men.  The ending may look like a melodrama, but it’s perfectly plausible.

(video from blackfoliage1)

Charulata is acted by Madhabi Mukherjee in a flawless and sensible performance that reminds Yasujiro Ozu‘s preferred actress Setsuko Hara. It is not however the only aspect that reminded me the Japanese master. The vibration of nature in ‘Charulata’ complements and amplifies the feelings of the heroes, same as in Ozu’s movies. The reliance on actors to describe feelings to the most subtle of the nuances, the delicacy and dignity of the relations, the quite storytelling and the control of story time seem all to belong to the same school of cinema that puts actors and camera work in the center of the art of film making. Ray’s cinema has more of a social and historical context though, at least in this film. There is also a key difference in the camera work approach. While both directors control the art of framing and build beautiful and memorable scenes, there is much more dynamics in Ray’s camera movement, with daring shots that represent much more the characters view of the world than the director’s view as at Ozu.

‘Charulata’ was for me one of these revelations of a new world that happens once in a awhile in the life of a cinema lover. One more proof that good cinema transcends genres and film schools, and succeeds at best when it talks directly to the hearts of the viewers.

More details and reviews of the film can be found at http://www.imdb.com/title/tt0057935/

It’s Purim time again. As the saying goes Not each day is Purim my take is that we should get into the mood and start the celebrations.

One of the best views of the Purim is on the streets of the Israeli cities, with kids of all ages dress for the carnivals and parties.

(video from NTDTVIL)

Here is a more traditional PurimShpiel in an American yeshiva

(video from mackaroni12)

… and a lesser traditional interpretation.

(video from hypersemitic)

Hag Purim Sameah, a Happy Purim to everybody!

Adriana Ausch mi-a permis sa preiau acest text despre Eroica lui Beethoven si concertul la care a asistat la Boston sub bagheta lui James Levine. Ii multumesc.

————

Simfonia a treia de Beethoven o cunoastem sub numele de Eroica si se pare ca a fost dedicata lui Napolen si pe manuscrisul original apare “Intitulata Bonaparte”. Povestea devine oarecum   neclara dupa spusele prietenului lui Beethoven, Reis , compositorul planuia sa se mute la Paris dar date fiind relatiile incordate dintre Austria si Franta o simfonie intitulata Bonaparte nu era corecta din punct de vedere politic.

source: http://en.wikipedia.org/wiki/Ludwig_van_Beethoven

Parti ale simfoniei fusesra compuse in 1803 dar intreaga opera a fost publicata in 1806 cu totlul” Simfonica Eroica per festigiare il Souvenire di un grand Uomo

http://www.youtube.com/watch?v=FFltqVS8d9I

(video by magic5227)

“Eroica”  cu o tumultoasa  si extra lunga prima parte in forma de sonata . Sonata are o forma bine stabilita:

Expozitie:
tema A
tema B
incheiere
Dezvoltarea temelor
Recapitulare:
Tema A
Tema B
Coda

Partea a doua este vestitul mars funebru care cu utilizarea extraordinara a contrastului dintre sunet si pauze creaza un efect de suspense

(video by mariamuse)

Partea a treia, scurta si intitulata Scherzzo (pentru prima oara intitulata asa in istoria muzicii) o miscare rapida in contrast cu miscarea a doua.

(video by SONNABEND)

Partea a patra, Finalul care recapitulea temele principale ascultate  devine la un momnt dat o tema cu variatiuni si miscari fugale (diferite melodii in acelasi timp)
Totul se incheie intr-o triumfatoare coda destul de alungita …

Aceatsa simfonie foarte lunga se cinta de obicei la inceputul uni concert altfel spectatorii isi pierd rabdarea. pentru orchestra este un efort extraordinar de concentrare si energie fizica. Am fost obisnuita cu inregistrarile dirijorilor germani cu contraste romantice si forta multa…este una din  piesele care definesc un dirijor (ca orice altceva scris de Beethoven). In plina criza si iarna  un concert cu doua simfonii de Beethoven umple sala pina la refuz la Boston Symphony pe Huntigton Avenue….mi-a trebuit mult timp sa gasesc parcare si si mai mult timp sa ma lupt cu traficul de simbata seara sa ajung de la mine de-acasa in centrul Bostonului. N-am avut timp sa ma schimb de dimineata de la 8:00 cind am inceput sa predau si vintul atit de tipic in centrul orasului mi se strecura sub jacheta de-mi taia entuziasmul muzical….

(video by saitbey)
James Levine, dirijorul de la Boston Symphony cu miini micute si cap caraghios cu par vilvoi s-a asezat intr-un scaun sa dirijeze…cu sanatea subrezita de o cazatura de pe podium si cancer, ambitia lui Levine este sa direjeze toate simfoniile lui Beethoven…..a sasea si a saptea au fost zilele trecute. Acesta este un momet istoric….

Bagheta se ridica si mai bine de doua ore am redescoperit in Beethoven nou….de fiecare data e nou si surprinzator, dar obisnuita cu ascutisurile romantice ale dirijorilor germani, dantela si eleganta versiunii lui James Levine m-a surprins …ba mai mult, orchestra avea un sunet de nedescris, o unitate si o energie retinuta si o acurateta inteligenta si controlata a sunetului incit mintea si urechea intrau intr-o rezonanta aproape mistica….N-am ascultata Beethoven in sala de concert de foarte multi ani, ma multumeam cu CD-urile extraordinare…oh, bineinteles nu exista nimic mai presus in catharsis ca un spectacol “live”…

(James Levine - source: http://www.metoperafamily.org/metopera/about/whoweare/levine.aspx)

Sala a bubuit (ma rog, cit de poate la Boston….ca nu e Italia…:)) am iesit in vint cu zimbetul cit bilboard-ul de vis -a vis cu Alvin Aley Balet in citeva saptamini….ma aud strigata, si brate entuziaste in jurul meu, un cird de vre-o 10 parinti ai caror copii erau in clasa la ora 8:00 dimineata , ma intreaba, discuta, despicam firul vorbei si al extazului, se hotarasc pe loc sa ia cursuri de muzica, de eurhythmics si sa le predau si lor ce predau la conservator….cu cuplu din China, unul din Franta, doua din Elvetia si unul din …Boston…

Nu mai simt nici vantul, nici mainile amortite de dimineata la pian , nici gatul uscat de aproape 10 ore de predat…magicianul Levine si cardul entuziast, spuma sunetelor si vaga senzatie ca poate stiu care-mi este rostul…

Cu ocazia centenarului masterii lui Django Reimhardt postul de televiziune Mezzo a prezentat cateva concerte cu unii dintre urmasii sai muzicali. Calea deschisa in anii 30 de catre Django si Stephane Grappelli cu a lor Quintette du Hot Club de France este urmata si dezvoltata astazi cel mai bine de catre trio-ul violonistului francez  Didier Lockwood, cu Martin Taylor partener la chitara.

(video by adi1292)

Nascut in 1956 la Calais, Lockwood a fost inspirat in tinerete de Frank Zappa si colaborarea sa cu Jean-Luc Ponty, pentru a fi apoi descoperit si scolit de Grappelli insusi. Repertoriul si cautarile sale muzicale se intind de la underground-ul anilor 70 pana la jazz manouche.

(video by Lorgnonmelancolique)

Concertul prezentat de Mezzo a fost filmat la festivalul de jazz de la Marciac. Din trio-ul lui Lockwood alaturi de Taylor mai face parte si contrabasistul Jean Philippe Viret. In concert Lockwood i-a invitat pe scena pentru duo-uri electrizante pe alti doi colegi violonisti – Fiona Mombet si Costel Nitescu.

The first few seconds of ‘Feux Rouges’ show Antoine – a mid-age Parisian insurance agent – writing a loving mail to his wife on the verge of a family vacation. The last few seconds of the movie show the couple exchanging loving smiles while driving to the South where they would pick the children from a camp to continue together the vacation. Everything goes wrong in the in-between.

‘Feux Rouges’ starts as a relationship drama ad turns into a thriller and a wrong-turn movie. It is inspired by a novel of the Georges Simenon, and as many of Simenon’s novels the characters are far from being great communicators. The lack of communication, the routine and maybe the differences in social positions make of Antoine an unhappy husband who is ready to spoil the start of the vacations by heavy drinking while on road. Much of the movie happens on the road, and the gradual tension building picking with the disappearance of the wife Helen strikes a cord of uneasiness and even claustrophobia – great achievement for a film filmed on highways and roads with the sky almost permanently on view. As in many of Simenon’s novels there is a moralistic twist, and justice is made even if it is completely the result of hazard and not of the will of men. And there is a huge price to pay for this justice, which we only can guess as it happens out of the screen and story time.

(video by Celluloiddreams)

Director Cedric Kahn has learned a few lessons in thrillers from the great masters, and fist of all from Hitchcock. Antoine is wonderfully played by Jean-Pierre Darroussin as the type of character that we know from the very first moment that he will get into trouble and he indeed does all to confirm this, but it is the character of Helene played by Carole Bouquet that he relates to all the time and which is his focal point of frustration, worry and love.The simplicity of the story telling, the careful gradation of tension towards horror, the low key ending which does not solve the conflict, but just postpones it beyond the duration of the film make of this film a worth watching piece of cinema.

More information and reviews can be found at http://www.imdb.com/title/tt0365190/

‘Det Rode Kapel’ which was presented in Israel by cable TV documentary channel 8 succeeds to do what very few documentary film makers succeeded to do in the last few decades – enter the secluded space of the North Korean Popular Democratic Republic and film there. The glimpse that we get of the landscape and people of North Korea is rare, and the documentary value needs to be saluted. It is however also a deformed image, as the group of comedy artists sent in a ‘cultural exchange’ have been taken only to certain places and have been allowed to film only certain aspects of what they have seen.

(video by bingsflex)

It is in the permanent discrepancy between the mode of life and thinking of the authors and what they do on screen (and did during the visit) that resides the intriguing character of the film. In order to be allowed to make the film they had to take part in the show prepared by the North Korean authorities, to place flowers at the Leader’s monument, tp participate in an anti-US demonstration and to recite slogans on stage. It was an uneasy compromise, as we understand from the comments made off-screen. To underline the situation the author frames the film within the rules of cinematic creation written by the Dear Leader himself. Sometimes the meetings and dialogs with people in North Korea look more as absurd comedy than what happened on stage. Was it worth? An open question.

We used the last entry in this season’s subscription at the Cameri Theatre in Tel Aviv to see the ‘The Good Soul of Szechuan’ – which is already in its second season. A good performance it was indeed. Brecht’s play written between 1938 and 1940 is known as one of his typical programmatic and dialectic theater exercise,  but it’s also a text full of power and emotion, of contrasts between virtue and evil, materialism and idealism, charity and capitalism, womanhood and machismo.  As in more than one of Brecht’s plays the ending of this moralistic tale taking place in a world haunted by tired gods disappointed with what mankind has become is open and the question in the final is addressed to the audience placing in its minds the responsibility of answering whether living according to one’s moral standing is possible in a world dominated by greed.

from www.cameri.co.il

It is the second performance that I see in this season with Ola Schur-Selektar in the principal role after ‘Yentl’. It was again a double role in which she had to spend much time in man clothes disguise, which required acting and singing as well. Tonight I became definitely convinced that the Israeli stage has in Ola one of its biggest talents, an actress full of charm and power, who knows to act, to sing, and most of all to move the audiences. Ola is a star.

The second strong part of the evening was the music composed and arranged by local musician and pop star Keren Peles. Peles demonstrates with this performance (in which she does not appear) that she is a very gifted stage music composer, and she also translated the Brecht lyrics together with director Udi Ben-Moshe. Much less inspired were the sets, close to empty stages do not fit any play or directorial concept, and in this case they did not resonate with the colorful musical score and actors approach. Yet this was overall a good evening at the theater, in a season in which the Cameri  keeps the lead as the best theater in Tel Aviv.