{"id":18907,"date":"2012-04-21T21:28:45","date_gmt":"2012-04-22T04:28:45","guid":{"rendered":"http:\/\/www.midnighteast.com\/mag\/?p=18907"},"modified":"2012-04-28T03:10:48","modified_gmt":"2012-04-28T10:10:48","slug":"krapps-last-tape-itim-ensemble","status":"publish","type":"post","link":"https:\/\/www.midnighteast.com\/mag\/?p=18907","title":{"rendered":"Krapp’s Last Tape – Itim Ensemble"},"content":{"rendered":"
\"\"<\/a>
Doron Tavory in Krapp's Last Tape\/Photo: Gadi Dagon<\/figcaption><\/figure>\n

From the first low electric rumbling in the dark, to the last denial \u2013 \u201cNo, I would not have them back\u201d – as the old man\u2019s days unwind, the Itim Ensemble production of Samuel Beckett\u2019s Krapp\u2019s Last Tape<\/em>, is a profound experience of the senses and emotions. Translated by Dori Parnes, adapted and directed by Rina Yerushalmi, inspired lighting by Avi Yona Bueno (Bambi), music by Avi Belleli, costume and set design by Yehudit Aharon, and video by Nimrod Zin \u2013 all come together as one vision, and Doron Tavory delivers a performance that batters the heart.<\/p>\n

Closely following Beckett\u2019s meticulous stage instructions almost to a fault \u2013 then breaking wildly free, Yerushalmi presents the one-act play: on a \u201clate evening in the future\u201d Krapp, \u201ca wearish old man\u201d sits with the recordings he has made, documenting his life, listening, rewinding, skipping forward, going back, reflecting on \u201cthe stupid bastard I took myself for thirty years ago\u201d and recording this moment in some future present.<\/p>\n

Doron Tavory embodies the role, his visage and bearing transformed into that of an old, rather frail man. As the play opens, he sits at a table, staring at the reel-to-reel tape recorder, stern and severe, and perhaps sad in his scrutiny; eyes gazing out into the dark before him. Moving slowly and deliberately, without uttering a word Tavory conveys a lifetime in a series of simple repeated actions: jingling his keys, taking a small folded paper out of one pocket and turning around in his hands before placing it back in another pocket \u2013 everything he does has been done before many times.<\/p>\n

With the solemnity and exact timing of a clown, he peers into a drawer, tenderly strokes a banana, or absent-mindedly licks his fingers and wipes them on his shirt front. A hymn to the inconsequential, a celebration of minute detail; a dark figure rimmed in light as he pours another drink, a poet of nothingness. His voice ragged and worn, he delights in the word \u201cspool,\u201d repeating it, lips curling out like the petals of a flower.\u00a0 Listening to the voice of his past self, brimming with vigor and confidence, his eyebrows lift, the corners of his mouth turn down.<\/p>\n

Tavory\u2019s performance is riveting, he has so many different grins and grimaces that one would need to invent a vocabulary to describe them all: the bitter wedge of pie as one corner of the mouth lifts in a crooked grin; the slight tuck-in at the corner, the full-out over-turned bowl of a frown, the barest indication of a fleeting smile, the rosebud of a mouth sliding up into a sly mischievous smile at one corner. Grinning, grieving, angry, bemused, seductive, he ventures through the dark terrain of death and desire, moments and memory.<\/p>\n

Krapp\u2019s Last Tape<\/em> by Samuel Beckett
\nTranslated by Dori Parnes
\nAdapted and directed by Rina Yerushalmi
\nPerformer: Doron Tavory
\nMusic: Avi Belleli
\nLighting Design: Avi Yona Bueno (Bambi)
\nCostume and Set Design: Yehudit Aharon
\nVideo: Nimrod Zin<\/p>\n

Check for future performances on the Cameri Theatre site<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

From the first low electric rumbling in the dark, to the last denial \u2013 \u201cNo, I would not have them back\u201d – as the old man\u2019s days unwind, the Itim Ensemble production of Samuel Beckett\u2019s Krapp\u2019s Last Tape, is a profound experience of the senses and emotions. Translated by Dori Parnes, adapted and directed by […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-18907","post","type-post","status-publish","format-standard","hentry","category-theater"],"_links":{"self":[{"href":"https:\/\/www.midnighteast.com\/mag\/index.php?rest_route=\/wp\/v2\/posts\/18907","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.midnighteast.com\/mag\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.midnighteast.com\/mag\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.midnighteast.com\/mag\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.midnighteast.com\/mag\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=18907"}],"version-history":[{"count":0,"href":"https:\/\/www.midnighteast.com\/mag\/index.php?rest_route=\/wp\/v2\/posts\/18907\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.midnighteast.com\/mag\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=18907"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.midnighteast.com\/mag\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=18907"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.midnighteast.com\/mag\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=18907"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}