In their new devised play Yes but No, Yael Ronen and her intrepid ensemble take the aftermath of #MeToo personally. They face themselves as victims and as perpetrators, discuss attacks, sexual abuse, explore desires and boundaries, get to the bottom of their own fears and mindfucks, and search for sincere communication in private parts.
The most important thing is to be honest, right? Surely we can talk openly about everything? Or can’t we? But one should know exactly where the line between honesty and harassment lies, what’s appropriate, what one’s allowed to say and what not. Above all, one should know how to find out about all that.
Where fantasy and reality, state of emergency and everyday life, desire and fear of casualties meet, language reaches its limits and it becomes difficult to »talk about it«. And when someone does speak, then it’s often as a catcall on the street, as a comment at work, always following the lines of the patriarchy from top to bottom. But how does the treatment of shame, fear and lust change offline in times of #MeToo’s online revolution? And although the theatre loves conflicts and encourages an analysis of societal structures, the ensemble dares to attempt something unusual: visions. They set out to put new forms of cooperation to the test – with the audience as well. And where language fails, music begins, with songs specially composed by Israeli superstar and relationship expert Shlomi Shaban.
Trigger warning: This play discusses amongst other things abuse and sexualized violence.
Photo: Foto Esra Rotthoff