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Jan. 18, 2008
Notes from the underground
Theatre gives troubled Israeli youth a chance to succeed.
SIMON GRIVER ISRAEL PRESS SERVICE
Yitshak Cohen attended 11 different schools from seventh grade onwards and was thrown out of the army after being transferred from unit to unit.
"I've always found it difficult to settle," the 21-year-old confessed. "But here at the Basement Theatre I feel totally committed. I've been coming here for nearly a year and a half and I love it. It's always been my dream to be an actor."
Cohen is one of 12 young adults, aged 17-22, from difficult backgrounds, who have received a new lease on life as acting students at the Basement Theatre – many of whom receive scholarships from the Jerusalem Foundation. Located beneath a large derelict house in Jerusalem's fashionable German Colony, the theatre is providing a unique last chance to talented but troubled young Jerusalemites.
Hagai Aharoni, director of the theatre, stressed that the program is first and foremost about instilling excellence in acting and only after that about helping young people at risk.
"We make no compromises in what we demand of our students," he insisted. "Even though they come from problematic backgrounds and many have criminal records, we feel that they could all become fine actors, capable of taking on lead roles in quality drama. If they starred in ads and soap operas to make some big money, though, we'd understand.
"We are unique in Israel," added Aharoni, "and there are only a few such drama schools around the world. We take in students who have not even finished 12th grade and would certainly not be accepted by more conventional drama schools."
Located beneath a hostel for teenage girls-at-risk owned by the Ministry of Welfare and run by the Einav nonprofit organization, the Basement Theatre building comprises a series of large basement rooms used as studios and a theatre. The building itself was constructed in the 19th century by the German Templers and today is owned by the Government Housing Administration.
"If we could renovate this building," explained Aharoni, who has extensive experience in fringe theatre production, "I think it would not only raise the self-esteem of our students but also serve as an attractive arts venue for music and drama in the city."
Liat Rosner, spokesperson for the Jerusalem Foundation agreed. "Above and beyond our scholarship support of the students," she said, "the Jerusalem Foundation is hoping to find the funds to transform the basement into an attractive theatre. We think that such a place, in such an ideal location, has the potential to become a viable business which ploughs the profits back by supporting youth and young people at risk."
The 12 students of the Basement Theatre are currently in their second year of learning and are required to study at least 12 hours a week for two years.
This includes acting techniques, scriptwriting and performing both scenes the students have written themselves and classic dramas.
"We began with 20 students, all referred to us by the social services," recalled Aharoni, "but eight quickly dropped out. The 12 who have remained are very dedicated and hardworking, as well as talented."
Yefim Rinanberg, who teaches at the theatre, thinks that the students in the program have impressive potential. "Not only do they pick up the basic acting techniques quickly," he said, "but they also have an extra something that young people from so-called 'good homes' lack. They have lived through so much more and this gives them a greater and more thrilling inner power, which is reflected in their acting."
The anguish that the students have experienced is expressed in a play they wrote together in the first year of the program. Entitled One Man's Family, the play includes scenes from each of the student's lives and has been performed by the Basement Theatre throughout the country.
Mendy Bakish, 18, who has a criminal record, was reluctant to divulge details. When asked about the section of the play that relates to his life, however, he happily tells the story, which illustrates the therapeutic nature of acting.
"In the play, I argue with my mother about everything," said Bakish, who lives at a residential school in Jerusalem. "She won't let me go out and won't give me money. So, in the end, I steal money from her and go out and buy drugs."
Bakish, who was not accepted for military service, always wanted to appear on stage in a combined acting/dancing role.
"Since enrolling at the Basement Theatre," he explained, "I get up in the morning and, for the first time in my life, I feel that things have meaning and that I have a sense of direction."
Cohen expressed similar sentiments. "I have so much energy," he said. "And now I have something to channel it into. The Basement Theatre has given me a sense of purpose and vision. I really believe in my own potential and the potential of this theatre. Give me a paintbrush, paint and work tools and when the acting classes are over, I'll invest every spare moment in renovating this place."
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