Yael Ronen

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Yael Ronen, October 2014

Yael Ronen ( Hebrew יעל רונן) [ jaʕɛl ronˈɛn ] (born September 16, 1976 in Jerusalem ) is an Austrian - Israeli theater director and author . In the German-speaking theater she is considered "a kind of general secretary for world conflicts". and "Master of de-escalation comedy". Since the 2013/2014 season she has been in-house director at the Maxim-Gorki-Theater in Berlin, but also works for the Schauspielhaus Graz , since the 2015/2016 season for the Volkstheater Wien and since the 2016/2017 season for the Münchner Kammerspiele under the directorship by Matthias Lilienthal .

Life and professional history

Yael Ronen is familiar with the theater: Her mother Rachel Hafler is an actress, her father Ilan Ronen has been director of the Israeli National Theater Habimah in Tel Aviv since 2004 , her younger brother Michael Ronen is also a director.

During her two years of military service in Israel, she was a cultural correspondent. She then studied at the Studio HB in New York City playwriting and drama, the seminar Hakibbutzim College of Education in Tel Aviv three years directing . She started working as her father's assistant director. She has been writing and staging plays in Israel and increasingly abroad since 2002. In Germany she became known with the play Plonter .

She lives in Berlin and has so far staged in Israel, in German-speaking countries, but also in other European countries. She was married to actor Yousef Sweid until 2015 and has a son with him.

Artistic work

Working method

In Yael Ronen's more recent works, the text is not given for the actors, but rather it is created in a group process. For example, the material for the Third Generation scenes comes from observations made by the members of the ensemble on the street, on the bus or in shops and from the conversations they had with one another. The life stories of the actors and actresses flow into Ronen's stage texts; the plays are a combination of reality and fiction.

“For example, the perfectionism of the Germans contrasts with the rudeness and humor of the Israelis. I am always looking for groups that challenge each other. This results in fruitful work. "

- Yael Ronen

Most of the time, the texts are not finished until shortly before the premiere, the language is "straightforward and suitable for everyday use".

Orit Nahmias, September 2012

The actress Orit Nahmias has been represented in almost all of Yael Ronen's productions at the Maxim-Gorki-Theater and is seen as the director's alter ego . Yael Ronen partly casts the roles in her pieces “against the line of origin”: Orit Nahmias played the Polish non-Jew Yadwiga with a blonde Gretchen braided hairstyle.

subjects

Yael Ronen's pieces mostly have a current background. They are dedicated to complex, conflict-ridden topics such as the relationship between young Israelis, Palestinians and Germans or people who come from the former Yugoslavia. Positions are shown, but no simplifying solutions are presented. Even if there is no happy ending, there is hope of understanding in their theater projects. Yael Ronen is one of the few directors who works with Israeli and Palestinian actors, often with multinational groups.

“For me, everything revolves around three topics: First, the question of what it means to live as a woman in this society, second, what it means to be an Israeli and have to deal with the politics of this country, and third, the question of the power of the theater. "

- Yael Ronen

Couple relationships and gender roles play a big role in most of Yael Ronen's plays. This can be seen in the pieces he created himself, such as Erotic Crisis , but also in pieces based on literary models such as Enemies - the story of a love (2016) based on the novel by Isaac Bashevis Singer . In the production, Ronen focuses on the "relationship chaos" and drives the Singer image of women "cross-cultural and boulevard-sparkling into the cliché: What would men be without women!"

Implementation in your own productions

Humor and emotions play a major role in her productions.

“No question about it: the Austrian-Israeli director Yael Ronen is the funniest woman in German-speaking theater. She is Tina Fey on the stage, Amy Schumer in development. No matter how difficult a topic - from the Middle East conflict to genocide to the current refugee crisis - which, thanks to its dry humor, would not be zoomed in with all its contradictions. Ronen's strength is to anchor big, politically controversial questions in small, personal stories. "

- Karin Cerny

According to Stefan Hilpold in Theater heute , every "ounce of morality (...) a large portion of joke, every banality a surprising volte." Since her play Third Generation / Third Generation from 2008, the principle of this director has been: " Yael Ronen goes where it hurts. And joke about it. The Holocaust is always present in one way or another. ”The actors also use them“ against the mark of origin ”. For example, Israeli Orit Nahmias played the Polish non-Jew Yadwiga in 2016 Feinde - the story of a love with a blonde Gretchen braided hairstyle.

A generic name of its own has already been proposed for Yael Ronen's theatrical style, which picks up on subtle, current issues. The dramaturge Irina Szodruch characterized Ronen's technique as follows: “The actors become characters, what they experience becomes a scene - it's exaggerated, combined with other parts of their life or someone else's biography, expanded, changed, paired with Yael Ronen's fantasy. “The director is considered to be the“ quick breeder of the theater ”. Her pieces were described in an article in the Süddeutsche Zeitung in 2017 as "the most original" that you can currently see at German city theaters. "

Director of the Exil Ensemble at the Gorki Theater

Together with Shermin Langhoff and Sebastian Nübling , Yael Ronen heads the two-year model project Exil Ensemble at the Maxim Gorki Theater in Berlin, half of which is funded by the German Federal Cultural Foundation and the German Class Lottery Foundation . The aim is to develop ways of integrating refugee artists permanently into the German ensembles . A group of seven actors and performers who fled Afghanistan, Syria and Palestine will have permanent full-time positions at the Maxim Gorki Theater for two years until autumn 2018. This ensemble should develop two of its own productions each season and generally prepare for work on German stages. In April 2017 the Exil Ensemble presented its first premiere at the Maxim Gorki Theater, the Germany project Winterreise .

Works (selection)

Plonter (2005)

In this play, a conscript in the Israeli army refuses to take up his duties. Plonter means confusion, confusion, entanglement . Clichés are broken: In the first picture, a Palestinian couple is visiting a Jewish family. This invitation was planned as a gesture of international understanding. But because the guests do not want to adapt to the hostess' victim cliché, there can be no happy ending. Like many other pieces, this one is based on experiences Yael Ronen made in her own environment. For the first time, she worked on a piece here with a group of actors from different nations.

Antigone (2007)

In Yael Ronen's adaptation of the Sophocles material , unlike in the original, the catastrophe has already happened when the piece begins. So it lies outside the aesthetic. Already the opening thesis of the piece

“A lot is monstrous. But nothing more
monstrous than man. "

- Yael Ronen : Antigone

shows that this text is about the basic substance of man. It is true that Antigone's brother Haimon believes that he has found in his sister an accomplice against the realm of the state embodied by Father Creon. He will end up as a suicide bomber. But she “does not want to change the state, she withdraws her faith.” Sophocles' gods no longer exist in this play.

Third Generation / Third Generation (2008)

The basis is the story of a German, an Israeli and a Palestinian family between Berlin and Jaffa in the years 1939 to 1949. Two generations later they meet again and grapple with memory, guilt and the roles of perpetrators and victims, with a high one Level of self-irony.

The Day Before the Last Day (2011)

Different places, different times, lasting themes: the discussion about identity, belief and religion is the focus in Berlin today and in a Jerusalem of the year 2071.

Hakoah Vienna (2012)

On behalf of the Israeli army, the soldier Michael Fröhlich is supposed to give lectures in Europe in order to improve its image. In Vienna, the psychotherapist Michaela Aftergut approaches him because she found love letters and a photo of Michael's grandfather among the papers of her deceased grandmother. The search for clues reveals that the love affair between the two grandparents came to an end when Michael's grandfather emigrated to Palestine in 1936, also because he had ended his life in Vienna. Michael finds out that his grandfather played soccer for the Jewish sports club Hakoah Vienna.

“Vienna around 1930: A young Jew dreams of a life in Tel Aviv. Tel Aviv 2012: This man's grandson dreams of becoming an Austrian citizen. Both have to find their identity in a time of violence and the impending war. The background for this story is the famous historical soccer team Hakoah Vienna, from whose ranks young men set out to build the state of Israel.

The story we tell is about two generations of the same family, about emigration, national feeling, football and masculinity. "

- Yael Ronen

In this piece, secrets are revealed, and previously hidden sides of people come to light: Michaela takes on her Jewish identity, Michael feels his Austrian roots and Michaela's husband Oliver discovers his homosexuality. Serious topics are presented to the audience with a lot of self-irony and wit.

No Man's Land (2014)

The real story of Osama and Jasmin is the basis of this piece: The Israeli Jasmina emigrates to Austria in order to obtain asylum for Osama, who is not allowed to leave Palestine. Other storylines also show people in areas of tension between different nationalities.

Common Ground (2014)

This piece is based on a trip by the ensemble, which includes five actors from the former Yugoslavia, one German and one Israeli, to Bosnia. In encounters with family members and professionals, emotions break out. Especially in the confrontation between Jasmina Music and Mateja Meded it becomes noticeable what existential biographical change the political conflict resulted in: Both grew up without their fathers; one is a suspected war criminal who shows no remorse for his actions, the other was killed in a pogrom in Bosnia. The focus is on the subjects of perpetrators and victims, forgetting, memory and forgiveness, prejudice and blind spots in perception.
This play was highly praised by the critics: “The result is a touching theater evening that almost itself becomes a historical event through the vicarious reconciliation of war children.” The trade journal Theater heute classified Common Ground as one of the productions of 2014 .

“Ronen's research shows unspectacularly what happens when the coordinate systems in the heads rearrange and tilt against each other - and rearrange the world in a hostile manner. And recalls how quickly post-Yugoslav normality [has] disintegrated on European soil and has dissolved into ethnic slaughter. Which in turn the next generation has to integrate into their worldview. Because without common ground, however fragile, it doesn't work. "

- Franz Wille

Erotic Crisis (2014)

In contrast to earlier pieces, Erotic Crisis is not devoted to a serious political topic, but to private life: It's about sex in long-term relationships and being single, even and especially when it does not take place or is perceived as bad. The play shows "the domestic bedroom of two heterosexual city-couples and a convinced single woman" and lives from the "precise and evaluation-free view of the experiences of those involved".

"The theater is like a dark room in which you can penetrate the subconscious of 600 people."

- Yael Ronen

Community (2014)

The play takes place in the Schauspielhaus Graz in 2018. As a result of an economic crisis, the theater was closed for financial reasons. A small group from the ensemble tries to defend itself and, also with the involvement of the audience, to form a community of solidarity. Aspects of the professional reality of actors and the question of “what kind of community in the theater (even worse: in the city theater!) Can be possible at all” are examined. But the value of theater for society is also addressed. The play ends with the evacuation of the theater by the police.

The Kohlhaas principle, freely based on Heinrich von Kleist (2015)

Yael Ronen does not use the biographies of the actors here, but rather the novella Michael Kohlhaas by Heinrich von Kleist as a "dramatic skeleton" which she transports into the present and splits into two Kohlhaas figures that meet in the course of the play: a Berlin cyclist, dealer and inventor, who is covered over and over with dirt by a BMW driver while ruthlessly overtaking, and the witnesses of the accident, a Palestinian sheep cheese dealer who was classified as a collaborator by the Israeli secret service and who had applied for asylum in Berlin.

With a lot of action, humor and entertaining moments, a “protest movement potpourri with a high recognition and corresponding amusement factor” is shown. In the opinion of Eva Behrendt from Theater heute , the attempt to “… place the Kohlhaas principle in global contexts with different legal conceptions […] lose focus on the core conflict of Kohlhaass: Is the legal system such, if it is not for everyone equally is binding? And if you say goodbye to it like Kohlhaas and just become immoderate [...], don't you inevitably resemble what you actually want to fight? "

The Situation (2015)

"The Situation - that is the vague name in which Palestinians and Israelis in the Middle East describe the complexities of their decades-old conflict." A new Middle East is emerging in Berlin: Many people from Israel and Syria moved here because of the conditions in their home countries live in Neukölln next to long-established German Palestinian and Lebanese families. There are “paradoxical encounters”. The basis for the play were the actors' biographies related to the Middle East conflict. In a German and integration course, which forms the loose framework, six actors from Israel, Palestine, Germany and Syria meet, overwhelmed by the situation and despite everything, fighting for a good life. At the turning point, after 90 minutes of “liberated, laughed at political cabaret”, the German teacher comes out as a migrant from Kazakhstan , a masterpiece of integration , but still without an answer to the question that determines the whole piece: Who am I? The evening ends with examples of the impossible, "that sometimes happens" and a "There is still hope for us."

Tobias Becker led this piece to the verdict: “Ronen's productions offer perhaps the best political cabaret that can currently be seen in Germany, but they offer even more: Pathos.” For Christine Wahl, Ronen's theatrical style is already a trademark: “Ronen stays with Ronen and is guaranteed to hit one of her clever hooks in the end, because clever humor is probably really the most effective means of relieving conflict. ”Jens Schneider called The Situation in an article in the Süddeutsche Zeitung “ an outstanding production, a powerful piece ”. In 2016, The Situation was awarded an invitation to the Berlin Theatertreffen and the Mülheimer Theatertage . The Situation was a guest at the Bregenz Festival in Simmer 2017 .

Lost and Found (2015)

The siblings Maryam and Elias and their (ex) partners come together again after a long time in the apartment of their childhood - to organize the funeral of the father of the two. The family model is being scrutinized, and new concepts are in demand. Then the group received a call from a cousin who had fled Iraq and asked to be picked up at Vienna's Westbahnhof. War, flight and a new beginning challenge the hipsters. “It's the small, personal contradictions that carry the evening; the sympathetic health food store egomaniacs cheat their way through life, in which there is often no clear, politically correct path. ”The piece illuminates“ the contradictions and excessive demands of a big city environment that has been well established in its clear conscience. Helping is a good thing - it's just that the timing isn't right. ”It's about the“ ambiguities and ambiguities when trying to lead a morally acceptable life, if not a good one. ”Ronen manages to be“ dismayed kitsch ” avoid this by negotiating the events surrounding the arrival of the refugee "with the same ironic lack of seriousness as the luxury problems before."

The plan was Lost and Found on behalf of the director Anna Badora as a piece about young people who are in the holy war draw. But an actress at the Volkstheater suddenly received a call from a cousin from Iraq who had arrived at Vienna Central Station and needed help. Yael Ronen also incorporated biographical information into the conception of this piece.

In 2018 the play was continued with do-gooders at the Vienna Volkstheater.

Denial (2016)

As the title suggests, the piece deals with the repression and denial of suffering and violence in everyday family and social life.

When Michael Jackson opens the first chapter of the play as a prime example of a displacer, the audience's knowledge of his unhappy childhood is called up and the idealized world on stage is revealed as an illusion through laughter. In episodic scenes, the characters, three women and two men, open the door to their trauma for the audience : Jimmy ( Dimitrij Schaad ) reports on how he was subjected to sexual violence as a child. Marian ( Maryam Zaree ) asks her mother for the first time about the long ago common escape from Iran and learns that the parents were in prison in Iran , the father did not kill himself because of the expected daughter, the mother presumably tortured and in the pregnant belly was kicked, had to give birth to her blindfolded daughter there. Dorit ( Orit Nahmias ) shares a terrible discovery with the audience: her father professionally murdered Palestinians, and what was labeled a “Roman bath” on a sign was once a Palestinian village that her father probably razed. Olivio ( Oscar Olivo ) describes a coming-out full of repressions in the Dominican milieu of his hometown New York City , while behind him the mother flares up as a cheerful Carmen-Miranda double. Shaydem ( Çiğdem Teke ) and Marian, a lesbian couple with a child, travel to Turkey for their cousin's wedding and have to deny their relationship there. Again and again, cultural differences are mentioned as the cause and justification for repression.

On Deutschlandradio Kultur , Tobi Müller spoke of a clever comedy, Ute Büsing judged that the piece was “made convincingly. But: Massive. ”It was critically noted that the focus of the repressed lies too much in the family area and that the political and social aspects are neglected. But Georg Kasch was of the opinion that the search for the political in the private shows how genocide and other disavowed atrocities are possible through repression. While in earlier plays Yael Ronen presented an internal reason for why the characters are on stage together with a journey together ( Common Ground ) or a German course ( The Situation ), here she dispenses with a narrative framework and only allows a change of costume the change in character or properties become clear. This, according to the criticism, has the effect that actor and role merge strongly, the evening at times reminds of “a sketch parade” and gets out of hand. The opinion at the end of the piece, an LSD trip into the all-reconciling universe, elicited a divided echo.

Several complaints were made that the play was “untheatrical”, and that the actors were often standing at the ramp and speaking to the audience. Often the parents would tell their children the repressed stories in fictional phone calls, video projections would be played, but there was almost nothing scenic. The emotional climax is too far ahead. But Denial also shows very impressive moments that are typical for the director. An example of this is the scene in which Marian reveals her secret. By merging the fictional and the biographical reality of the actors, Ronen manages to arouse the suspicion in the audience that Marian's mother is sitting in the audience and is hearing her daughter's desperate questions for the first time. In this scene, the audience looks at the back of the actress and the slightly blurred projection of her face onto the strip of paper hanging down from above. The play's maximum tension, according to Franz Wille in Theater heute , is reached when Marian's face “slowly loses its composure, when [Marian] works her way through the painful questions until she almost has to stop and at the end of it all with hers Mother apologizes for only daring to speak to her about it in this piece. ”Despite his comedic craft, tough grabs and a lot of confusion between text and biography of the people on stage, Yael Ronen was able to release the audience's feelings, especially the dark ones, in the end . A scene with Schaad as a ventriloquist was particularly well received by the critics .

Point Of No Return (2016)

The first Munich production by Yael Ronen was originally intended to deal with relationships in the digital age. But during the rehearsals the attack in Munich occurred in 2016 . The event had a profound effect on the ensemble, which resulted in the fear and horror triggered by the act becoming the subject of the piece. Now it is shown "how the terrible reality is combined with fears and misunderstood expectations and calls for even more terrible scenarios". The actors' reactions to the events become the subject of the play; The actors convey to the audience that they were playing roles in the serious situation on the day of the attack and that they were concerned about their impact as actors. For example, Wiebke Puls , who was in a theater performance with her children at the time of the crime, had her offspring painted in the face of the threat as a “strong statement that we choose art even in times of violence, hatred and death” and was happy that hers The idea was so well received by the other viewers.

The Süddeutsche Zeitung praised the piece's revealing humor and saw it as an important contribution against the hysteria. It was noted negatively that the director “does not rely on the power of satire”, but uses a “flat moral club”: One actor gives a lecture “across the board [...], which statistically represents a greater danger than global terror - Namely, pretty much everything. ”Christine Dössel said that the evening“ may joke too briskly over the dark depths of the topic […] and criticized “political over-correctness and discursive arbitrariness”, but praised that the piece “through the dissolution of many things There is also something liberating about fear in laughter ”.

Winter trip (2017)

This first piece developed by Yael Ronen and the Exil Ensemble was premiered in April 2017 at the Maxim-Gorki-Theater in Berlin. In preparation for this, the artists went on a bus tour with Yael Ronen through German landscapes to explore German essence, German rituals and stories. They visited ten cities in Germany, Austria and Switzerland in order to be able to convey to the audience how they perceive the long-established residents, their customs and their way of living together.

In the play, the German Nils Bohrmann wants to show his colleagues “romantic and classic Germany” on a bus tour of Dresden , Weimar , Munich , Mannheim and Hamburg , and a stop is also made in Zurich . But reality shows a different picture of Germany: In Dresden, the ensemble has to go through a Pegida demonstration on the way to the hotel , and one of the architects of the Buchenwald concentration camp near Weimar later built prisons in Syria that the regime still uses today.

The audience received the piece at the premiere with “enormous cheers and shouts of bravo”. There was also a lot of praise from the critics: “Ingenious, with powerful emotionality and the original use of various stylistic devices such as drama, singing, dance, video, visual arts”, the life of the refugees in Germany is shown, “often amazingly funny, but also very thoughtful". Christine Wahl praised the “offensive disarmament joke” typical of Yael Ronen, the “master of de-escalation comedy ” , Tobi Müller spoke of “successful comedy ” and “good tabloid dialogues”. But there were also critical voices: there was “little togetherness” and “the individual stops on this winter trip to Germany more or less solidified into generalities”.

Roma Army (2017)

The piece, developed together with Roma and Romnja , was praised by the critics as a “powerful evening of self-empowerment” for a minority, and the hidden scene set by the Roma artists Damian Le Bas and Delaine Le Bas was particularly praised. Ulrich Seidler spoke in the Berliner Zeitung of a "rollercoaster of styles and playing and speaking attitudes" in the Roma army , but viewed the importance of national pride in the play critically.

Good People (2018)

This piece, developed at the Vienna Volkstheater , is a continuation of Lost and Found from 2015. A reality soap sponsored by Red Bull is supposed to be in the apartment of blogger Maryam, who meanwhile has a child with her gay friend Schnute the title do-gooders are rotated. Together with Maryam's brother Elias, his girlfriend Klara and the Iraqi cousin Yousif Ahmad, the three form "a loose clan, a world-cultural cellular association". Yousif's application for asylum was rejected and the reality soap is to be used as a platform to raise public awareness of his fate.

The standard wrote of "appropriate [m] applause for courageous theater at the moment: without any claim to eternity, but with high practical value.", The Süddeutsche Zeitung found the play to be "less well-made than its predecessor". Some things seem “quite coarse. But the gags ignite, and the bluntly offensive gesture of the performance has something refreshing. "

A Walk on the Dark Side (2018)

At a family celebration, “a complex web of addictions, lies and open wounds” is exposed, “in which everyone plays more than just one role”.

Yes But No (2018)

Yael Ronen and her ensemble bring “the whole spectrum of the #MeToo debate onto the stage”. Georg Kasch called the piece in the Berliner Morgenpost "a charming musical with strong arguments" with "anecdote monologues, arguments, funny arguments". Coexistence is understood as a “negotiation and learning process”, and this can be directly experienced by the audience: After the performance, the audience tries out under supervision in small groups what it feels like to say no, like respect for other people's needs can be lived. Ulrich Seidler complains in the Berliner Zeitung that the play relies too much on consensus, which would mean the death of the theater.

Genesis. A starting point. (2018)

Motives and events of Genesis are the starting point for a survey: The “omnipotence and loneliness of God, the absence of the female position in the biblical creation story” and monotheism are put to the test, the creation myths of other cultures are examined. True to the director's style, on the basis of the ensemble's personal experiences, the unfamiliar in the own is revealed “just as relentlessly as generously”, “Longing for holiness and traumatically absent fathers are (ge) important topics that the evening revolves around." in the roles of God, Adam, Eve, the serpent, Cain and Abel.

The piece received mixed reviews from the critics. On Deutschlandfunk, Sven Ricklefs praised humor and great seriousness as well as the “courage to be pathos of large images” and “at the same time the necessary disrespect to find surprising variants for sacred myths”. In the Süddeutsche Zeitung, on the other hand, the piece was described as "extremely under-complex, in some scenes even outrageously banal". There was unanimous praise for the set by Wolfgang Menardi . It consists of two huge panes, the upper one a mirror, which allows a quasi divine perspective of the figures on the lower pane. "Beguiling images that send out strength and proud pathos."

Third Generation - Next Generation (2019)

Ten years behind her play at the Schaubühne Third Generation / Third Generation , Yael Ronen brought a play onto the stage in which German, Israeli and Palestinian actors of the third generation after the Shoah and the founding of the State of Israel also bring together the " fictionalized versions of yourself ”.

Christine Wahl from the Tagesspiegel praised the status quo being "downright depressing and clear-sighted"; "Which in the Ronen cosmos means: precise to death, exact to despair." The Süddeutsche Zeitung noted that comedy was "a bitter affair in this ghost train of identities." The role played by Dimitrij Schaad was consistently highlighted in the reviews. His largely passive behavior over long stretches of the play leads towards the end in the monologue of a “right-wing populist detonator”; it is the “version of a sometime is good talk that is adapted to today's social conditions ”.

Rewitching Europe (2019)

The basis for this piece was not the biographies of the team members, but a plot about the actress Ruth Reinecke . She has allegedly found an ancient figurine through which she now comes into contact with the ancestors. And the younger colleagues Lea Draeger , Orit Nahmias , Riah May Knight and Sesede Terziyan take part in the menstrual blood rituals to save the world. In this piece, too, according to several reviews, the irony typical of Yael Ronen can be felt. However, with the trenchant Land for Israel-Palestine conflict or the Yugoslav Wars could Rewitching Europe not keep up.

(Revolution. A guide to surviving in the 21st century. (2020)

The pointed view of the year 2040 is inspired by the societal diagnoses of the Israeli historian Yuval Noah Harari . Its 21 lessons for the 21st century show how the developments in biotechnology and information technology are fundamentally shaking our lives and our (self) certainties. The Netherlands are flooded, eleven million people in Central Europe are on the run, in Germany 60 percent of jobs are now occupied by machines. All the glaciers have melted, and Fridays for Future has turned into a terrorist organization out of desperation over what has happened, carrying out a cyber attack on Frankfurt Airport .

The Tagesspiegel spoke of a quick, intelligent evening. The verdict on Nachtkritik.de was largely positive : Despite an “occasional superficial smoothness” and a certain didactic attitude with which the production slows itself down, this evening proves that the theater “reproduces the winking magic better than any artificial intelligence can, with which enthusiastic committed players meet the big questions of being human. ”In contrast, Peter Helling said on NDR that the version of the future presented on stage has long been overtaken by the present.

Productions

  • 2002 Picasso's Wives by Yael Ronen, Herzlia Theater Ensemble.
  • 2003 The goodlife guide / The Guide to Good Life by Yael Ronen, Israeli National Theater Habimah , Tel Aviv and Be'er Scheva Municipal Theater.
  • 2004 Happy New Year to the Farmers in the North by Yael Ronen, Tel Aviv Fringe Center.
  • 2005 Plonter by Yael Ronen and Ensemble, Cameri Theater, Tel Aviv; awarded the Rosenblum Prize of the City of Tel Aviv; many guest performances worldwide, e.g. B. at the Stuttgart Europa-Theatertreffen, 2006; at the 7th International New Drama Festival in the Schaubühne am Lehniner Platz , Berlin, 2007; Theater Ulm , April 10, 2008.
  • 2005 Rosenkrantz and Güldenstern are dead
  • 2005 The Crazy One
  • 2006 Isabella / Izabella by Yael Ronen, Be'er Scheva Municipal Theater.
  • 2006 Witchcraft by Yael Ronen, Itim Theater Ensemble, Cameri-Theater Tel Aviv
  • 2007 Travel Guide to the Good Life by Yael Ronen, scenic reading, arranged by Barbara Weber , F. I. N. D. 7 - 7th Festival of International New Drama, Schaubühne am Lehniner Platz , Berlin.
  • 2007 Antigone , arrangement by Yael Ronen, based on Sophocles , in German by Nina Steinhilber, ( Staatsschauspiel Dresden , premiere on December 12, 2007); Participation in the Radikal jung festival at the Munich Volkstheater , 2008.
  • 2008 Nut Case by Yael Ronen, Israeli National Theater Habimah, Tel Aviv.
  • 2008 Tykocin / Bat Yam by Yael Ronen, Wrocławski Teatr Współczesny, Breslau .
  • 2008 Third Generation / Third Generation by Yael Ronen and Ensemble, coproduction by the Schaubühne am Lehniner Platz , Berlin, and the Israeli National Theater Habimah, Tel Aviv; First performance at the Theater der Welt festival in Halle, commissioned for this festival; numerous guest appearances.
  • 2009 The Day Before the Last Day by Yael Ronen and ensemble, co-production by the Schaubühne am Lehniner Platz, Berlin, and the Israeli National Theater Habimah, Tel Aviv, world premiere.
  • 2012/2013 Hakoah Vienna , by Yael Ronen and ensemble, ( Schauspielhaus Graz ), world premiere October 13, 2012; 2014/2015: Season transfer to the Maxim-Gorki-Theater : 2015/2016: Takeover of the Volkstheater Wien
  • 2013/2014 Niemandsland , by Yael Ronen and Ensemble, Schauspielhaus Graz.
  • 2013 The Russian is someone who loves birch trees by Olga Grjasnowa (Maxim-Gorki-Theater), Berlin, world premiere.
  • 2014 Common Ground , Maxim-Gorki-Theater, Berlin, world premiere; Guest performances and a. at the Residenztheater (Munich) in October 2014 and in June / July 2016 at Theatertreffen in Beijing, Shanghai and Warsaw; Participation in the Stuttgart Europa-Theatertreffen (SETT), organized by Theater tri-bühne , in November 2014.
  • 2014 Erotic Crisis , Maxim-Gorki-Theater, Berlin, world premiere.
  • 2014 Community of Yael Ronen and Company, Schauspielhaus Graz , world premiere.
  • 2015 The Kohlhaas Principle, freely based on Heinrich von Kleist , Maxim-Gorki-Theater, Berlin, world premiere May 23, 2015
  • 2015 persuasion , Volkstheater Vienna
  • 2015 The Situation , by Yael Ronen and Ensemble, Maxim-Gorki-Theater, Berlin, world premiere on September 5th, 2015.
  • 2015 Lost and Found , by Yael Ronen and Ensemble, Volkstheater Vienna, world premiere on December 18, 2015.
  • 2016 Feinde - the story of one love, by Isaac Bashevis Singer , Maxim-Gorki-Theater, Berlin
  • 2016 Denial, by Yael Ronen and Ensemble, Maxim-Gorki-Theater, Berlin, premiere on September 9, 2016.
  • 2016 Point of No Return by Yael Ronen and Ensemble, Münchner Kammerspiele, world premiere on October 27, 2016.
  • 2017 Winterreise by Yael Ronen and the Exil Ensemble, Maxim-Gorki-Theater, Berlin, world premiere on April 8, 2017.
  • 2017 Roma Army by Yael Ronen and Ensemble, Maxim-Gorki-Theater, Berlin, world premiere on September 14, 2017
  • 2018 Do-gooders by Yael Ronen and ensemble, Volkstheater Vienna, world premiere on February 11, 2018
  • 2018 A Walk on the Dark Side by Yael Ronen and Ensemble, Maxim-Gorki-Theater, Berlin, world premiere in April 2018.
  • 2018 Yes But No . A discussion with songs by Yael Ronen and Ensemble, Maxim-Gorki-Theater, Berlin.
  • 2018 Genesis. A starting point. by Yael Ronen and Ensemble, Münchner Kammerspiele, world premiere on October 28, 2018.
  • 2019 Third Generation - Next Generation by Yael Ronen and Ensemble, Maxim-Gorki-Theater, Berlin, world premiere in March 2019.
  • 2019 Rewitching Europe. by Yael Ronen and Ensemble, Maxim-Gorki-Theater, Berlin, world premiere in November 2019.
  • 2020 (R) evolution. A guide to surviving in the 21st century. by Yael Ronen and Dimitrij Schaad, Thalia Theater , Hamburg, world premiere on February 29, 2020.

Nominations and Awards

Exhibitions

literature

German texts from pieces by Yael Ronen

Books

Essays, articles, interviews

  • Kilian Engels, C. Bernd Sucher (ed.): Political and Possible Worlds: Tomorrow's Directors . On the Radikal Jung Festival in April 2008, pp. 52–61, 8, ISBN 978-3-89487-613-5 .0
  • Barbara Burckhardt: Love is a strange game. At the Maxim Gorki Theater in Berlin, Yael Ronen differentiates very clearly between man and woman in Isaac Singer's novel 'Feinde - die Geschichte einer Liebe', while Marianna Salzmann's 'Meteoriten' transforms the confusion of gender identities into normality. In: Theater Today . No. 6, June 2016, pp. 26–28.
  • Wolfgang Kralicek: Searching for clues in the penalty area. Yael Ronen, Hakoah Vienna. In: Theater Today . 2013, No. 2, pp. 57–58.
  • Peter Kümmel: The life of the volcanoes . In: Die Zeit , No. 36/2011.
  • Colette M. Schmidt: My grandfather never wanted to ask for a passport. In: Der Standard , 6./7. October 2012.
  • Dirk Pilz: The sky is crumbling. The birth of tragedy out of the spirit of denial: Yael Ronen stages her version of Antigone at the Dresden State Theater. In: Kilian Engels, C. Bernd Sucher (Ed.): Political and possible worlds. Tomorrow's directors . Henschel, Berlin 2008, ISBN 978-3-89487-613-5 , p. 59.
  • Christine Wahl: At the We-Basis. Elfriede Jelinek's “Die Schutzbefohlenen” in Bremen and Freiburg, Yael Ronen's Graz “Community” and Thomas Freyer's NSU crime thriller “My German German Land” in Dresden. In: Theater Today . No. 2, February 2015, pp. 10-13.
  • Nurit Yaari: Juifs et Arabes sur la scène israélienne. In: Yod. Revue des études hébraiques et juives. 14/2009, pp. 283-301.
  • Yaeli loves genocide. Conversation between Yael Ronen, Michael Ronen and Eva Behrendt. In: Theater heute , March 2014, pp. 26–30.
  • Yael Ronen on Berlin. Conversation between Yael Ronen and Verena Mayer In: Süddeutsche Zeitung . No. 13, 17./18. January 2015, p. 54.
  • Orit Nahmias : Laudation for the award of the International Theater Institute prize to Yael Ronen

Web links

Commons : Yael Ronen  - Collection of images, videos and audio files

In German language

In French

In English

Individual evidence

  1. ↑ a b Mounia Meiborg: survival in continuous temporary. Humor is when you laugh anyway: Yael Ronen turns Isaac B. Singer's novel “Feinde - die Geschichte einer Liebe” into a good tabloid comedy with a Holocaust background at the Gorki Theater in Berlin. In: Süddeutsche Zeitung , March 15, 2016, p. 12.
  2. ↑ a b c d e Christine Wahl: Oh, how German we feel. Refugees are looking for romantic Germany - and they find: Pegida and polyamory. Yael Ronen and the new exile ensemble are staging a disarmingly comical winter trip at Gorki . April 10, 2017 ( tagesspiegel.de [accessed April 14, 2017]).
  3. ↑ Yael Ronen: Art happens . In: chrismon , 02/2015, pp. 40-41.
  4. ↑ Christine Dössel: Hello, Hybrid. The city theater fright Matthias Lilienthal takes over the Münchner Kammerspiele. And how! In: Süddeutsche Zeitung . May 8, 2015, p. 21.
  5. ^ Announcement from the Habimah Theater on Ilan Ronen , accessed on August 5, 2014.
  6. ↑ a b Dirk Pilz: The sky is crumbling. The birth of tragedy out of the spirit of denial: Yael Ronen stages her version of Antigone at the Dresden State Theater. In: Kilian Engels, C. Bernd Sucher (Ed.): Political and possible worlds. Tomorrow's directors . Henschel, Berlin 2008, ISBN 978-3-89487-613-5 , p. 59
  7. ^ A b Kilian Engels, C. Bernd Sucher (Ed.): Political and possible worlds. Tomorrow's directors . Henschel, Berlin 2008, ISBN 978-3-89487-613-5 , p. 110
  8. ^ Message from the Gorky Theater on Yael Ronen , accessed on August 5, 2014.
  9. ↑ Nina Scholz: Stage - Audience Therapy. In: freitag.de. March 11, 2016, accessed November 8, 2016 .
  10. ↑ a b Georg Kasch: Yael Roden feels reminded of home in Neukölln. In: Berliner Morgenpost , March 14, 2014; accessed on August 5, 2014
  11. ↑ Christina Haberlik: Director Women: A man's job in women's hands . Ed .: Deutsches Theatermuseum , Munich. Leipzig, Henschel 2010, ISBN 978-3-89487-663-0 , p. 174
  12. ↑ a b c Text of the Schauspielhaus Graz on No Man's Land ( memento of October 8, 2014 in the Internet Archive ), accessed on August 5, 2014.
  13. ↑ a b c d e f g Stefan Hilpold: Good entertainment. In Vienna, Herbert Fritsch deals with Molière, Yael Ronen with the refugee crisis and Antú Nunes with Joseph Roth. In: Theater heute , No. 2, February 2016, pp. 22–25.
  14. ↑ Fabian Wallmeier: "Theatertreffen? That doesn't sound glamorous". In: rbb-online.de. May 22, 2016. Retrieved October 3, 2016 .
  15. ↑ Barbara Burckhardt: Love is a strange game. At the Maxim Gorki Theater in Berlin, Yael Ronen differentiates very clearly between man and woman in Isaac Singer's novel 'Feinde - die Geschichte einer Liebe', while Marianna Salzmann's 'Meteoriten' transforms the confusion of gender identities into normality. In: Theater Today . No. 6, June 2016, p. 27.
  16. ↑ Anne Peter: Your war is far too chaotic. Criticism on nachtkritik.de, March 14, 2014; accessed on August 5, 2014.
  17. ↑ Christina Haberlik: Director Women: A man's job in women's hands . Ed .: Deutsches Theatermuseum , Munich. Henschel, Leipzig 2010, ISBN 978-3-89487-663-0 , p. 176
  18. ↑ a b Barbara Burckhardt: Love is a strange game. At the Maxim Gorki Theater in Berlin, Yael Ronen differentiates very clearly between man and woman in Isaac Singer's novel 'Feinde - die Geschichte einer Liebe', while Marianna Salzmann's 'Meteoriten' transforms the confusion of gender identities into normality. In: Theater Today . No. 6, June 2016, pp. 26–28.
  19. ^ A b Karin Cerny: Yael Ronen premiere in Vienna: A terribly nice family. In “Lost and Found” at the Vienna Volkstheater, western sensitivities collide with the life of a refugee from Iraq. Director Yael Ronen proves that the most explosive material can turn into an easy evening . Spiegel Online , December 19, 2015; Retrieved December 19, 2015.
  20. ↑ a b Franz Wille: Playing life. Theater and biography in Berlin: Milo Rau completes his European trilogy with 'Empire', and Yael Ronen searches for traces of repression and denial in 'Denial'. In: Theater heute , No. 10, October 2016, p. 14.
  21. ↑ Verena Mayer: Hip, but warm. The Israeli restaurant scene is flourishing in Berlin. The new pubs are especially popular because they know how to combine dining and partying in a relaxed way. In: Süddeutsche Zeitung, No. 47, 25./26. February 2017, p. 64.
  22. ↑ a b c Federal Cultural Foundation - Exil Ensemble. In: Kulturstiftung-des-bundes.de. June 1, 2017, accessed August 5, 2016 .
  23. ↑ a b c d Refugee actors find exile at the Gorki Theater ( Memento from July 21, 2016 in the Internet Archive )
  24. ↑ Gordon Welters: Turning Traumatic Arrivals Into Art: Exiles Form a Theater Troupe. In: nytimes.com. Retrieved May 6, 2017 (English).
  25. ↑ Gerd Brendel: The Middle East conflict as stage material. The playwright Yael Ronen from Israel. Deutschlandradio Kultur, April 5, 2007; accessed on August 5, 2014.
  26. ↑ Yael Ronen: Antigone after Sophocles . In: Kilian Engels, C. Bernd Sucher (Ed.): Political and possible worlds. Tomorrow's directors . Henschel, Berlin 2008, ISBN 978-3-89487-613-5 , pp. 122-145
  27. ↑ Dirk Pilz: The sky is crumbling. The birth of tragedy out of the spirit of denial: Yael Ronen stages her version of Antigone at the Dresden State Theater. In: Kilian Engels, C. Bernd Sucher (Ed.): Political and possible worlds. Tomorrow's directors . Henschel, Berlin 2008, ISBN 978-3-89487-613-5 , p. 54
  28. ↑ Yael Ronen: Antigone after Sophocles . In: Kilian Engels, C. Bernd Sucher (Ed.): Political and possible worlds. Tomorrow's directors . Henschel, Berlin 2008, ISBN 978-3-89487-613-5 , p. 123
  29. ↑ Dirk Pilz: The sky is crumbling. The birth of tragedy out of the spirit of denial: Yael Ronen stages her version of Antigone at the Dresden State Theater. In: Kilian Engels, C. Bernd Sucher (Ed.): Political and possible worlds. Tomorrow's directors . Henschel, Berlin 2008, ISBN 978-3-89487-613-5 , p. 57
  30. ↑ Third generation. In: schaubuehne.de. October 1, 2016, accessed October 2, 2016 .
  31. ^ Dor Glick: Yael Ronen - an Israeli director refutes prejudices. Goethe Institute; accessed on August 5, 2014.
  32. ^ The Day Before the Last Day. In: schaubuehne.de. October 1, 2016, accessed October 2, 2016 .
  33. ^ Message from the Schauspielhaus Graz on Hakoah Vienna ( memento of February 3, 2015 in the Internet Archive ), accessed on August 5, 2014.
  34. ^ Wolfgang Kralicek: Searching for clues in the penalty area. Yael Ronen, Hakoah Vienna. In: Theater heute , 2013, No. 2, p. 57
  35. ↑ Mounia Meiborg: Hello world! The post-migrant Gorki Theater in Berlin is the stage of the year. In: Süddeutsche Zeitung , No. 298, December 29, 2014, page 11.
  36. ↑ Franz Wille: The normal fragility of the world. What is the world What does normal mean? What does critical theater mean? Answers to big questions from Karin Henkel, Signa, Katie Mitchell, Frank Castorf, Yael Ronen, Wolfram Höll, She She Pop and Alain Patel. In: Theater heute , Jahrbuch Reale Utopien, special issue 2014, pp. 124–130.
  37. ↑ Franz Wille: The normal fragility of the world. What is the world What does normal mean? What does critical theater mean? Answers to big questions from Karin Henkel, Signa, Katie Mitchell, Frank Castorf, Yael Ronen, Wolfram Höll, She She Pop and Alain Patel. In: Theater heute , Jahrbuch Reale Utopien, special issue 2014, page 128.
  38. ↑ Wolfgang Behrens: Discourse Theater XXX. Erotic Crisis - Yael Ronen and ensemble shed light on love life in times of YouPorn criticism at the Gorki Theater Berlin on nachtkritik.de on September 13, 2014, accessed on September 21, 2014.
  39. ↑ Irene Bazinger: Sex is not a solution either. Lust, lacquer and leather: Yael Ronen stages Erotic Crisis at the Maxim Gorki Theater in Berlin. In: Frankfurter Allgemeine Zeitung . September 15, 2014, p. 13.
  40. ↑ Mounia Meiborg: Experimental test arrangement . The first two premieres of the new season at the Gorki in Berlin make the new spirit of the celebrated theater clear. In: Süddeutsche Zeitung . No. 212, September 15, 2014, p. 11.
  41. ↑ Eva Behrendt: I am not a luxury. Soul exploration of the Lau generation: Falk Richter's “Never Forever” at the Schaubühne; the men's ballet “Fallen” and Yael Ronen's “Erotic Crisis” at the Gorki Theater. In: Theater Today . No. 11/2014, Berlin, pp. 16-19
  42. ↑ Yael Ronen: Art happens In: Chrismon (magazine) . 02/2015, p. 41.
  43. ↑ Leopold Lippert: On the hamster bike. Community - Yael Ronen constructs a (theater) dystopia of the near future in Graz. , Night Review December 20, 2014. Retrieved December 21, 2014.
  44. ^ Christoph Leibold: Theater about the theater. Yael Ronen's “Community” in Graz. Deutschlandradio Kultur, December 21, 2014. , accessed on December 21, 2014.
  45. ↑ Christine Wahl: The Kohlhaas Principle on the Gorki: Attack of the Rache Raven. in: Der Tagesspiegel, May 25, 2015, accessed on May 25, 2015.
  46. ↑ Eberhard Spreng: Kohlhaas at the Gorki-Theater Laughs broken, what breaks you. In: Deutschlandfunk, May 24, 2015, accessed on May 25, 2015.
  47. ^ Ulrich Seidler: Freely based on Heinrich von Kleist "The Kohlhaas Principle" in the Gorki Theater. In: Berliner Zeitung, May 25, 2015, accessed on May 25, 2015.
  48. ↑ André Mumot: Kohlhaas principle at the Maxim Gorki. A world in a fury of justice. In: Deutschlandradio Kultur, May 23, 2015, accessed on May 25, 2015.
  49. ^ Anne Peter: The Kohlhaas Principle - Yael Ronen and her ensemble at the Gorki Theater in Berlin think about Kleist's novellas for the present. Kohlhaas Global. In: nachtkritik.de, May 23, 2015, accessed on May 25, 2015.
  50. ↑ Eva Behrendt: When the level of anger rises. Middle class tristesse and angry bourgeoisie: Yasmina Reza's Bella Figura at the Schaubühne, Yael Ronen's ensemble project The Kohlhaas Principle at the Gorki Theater in Berlin. In: Theater heute , No. 7, July 2015, p. 30.
  51. ↑ Barbara Burckhardt: Parkour of the misunderstandings. Yael Ronens '' The Situation '' at the Maxim Gorki Theater moves the Middle East to Neukölln . In: Theater heute , No. 10 October 2015, p. 30.
  52. ↑ a b Description of the play by the Maxim Gorki Theater on The Situation ( memento from September 18, 2015 in the Internet Archive ), accessed on July 11, 2015.
  53. ↑ Peter Laudenbach: The good life. Between relationship boulevard and political documentary: Yael Ronen stages 'The Situation' in Berlin. In: Süddeutsche Zeitung . , No. 205, September 7, 2015, p. 13.
  54. ↑ a b Barbara Burckhardt: Parkour of misunderstandings. Yael Ronen's 'The Situation' at the Maxim Gorki Theater moves the Middle East to Neukölln . In: Theater heute , No. 10 October 2015, p. 31.
  55. ↑ Tobias Becker: Migration Theater: In a Palestinian village called Neukölln. In: Spiegel Online . September 7, 2015, accessed September 14, 2015 .
  56. ↑ Christine Wahl: “The Situation” at the Gorki Theater. The grammar of hostility. Der Tagesspiegel, September 6, 2015; accessed on September 7, 2015.
  57. ↑ Jens Schneider: Trend: increasing. Newcomers, tourists, refugees: Berlin is attracting more and more people. Can the capital take it? About the growing pains in a still poor metropolis. In: Süddeutsche Zeitung , 27./28. February 2016, p. 12.
  58. ^ Announcement on the invitation of The Situation to the Mülheimer Theatertagen muelheim-ruhr.de; accessed on March 2, 2016.
  59. ↑ Program of the Bregenz Festival 2017 ( Memento from July 31, 2017 in the Internet Archive )
  60. ↑ Christoph Leibold: Lost and Found 'in the Volkstheater Star director Yael Ronen is a guest in Vienna. deutschlandradiokultur.de, December 18, 2015; Retrieved December 19, 2015.
  61. ↑ a b Volkstheater: First performance Gutmenschen . Retrieved February 3, 2018.
  62. ↑ a b c d e Tobi Müller: Yael Ronen's “Denial” in the Gorki Theater - actors unleashed in front of a psychological art backdrop. In: deutschlandradiokultur.de. September 9, 2016, accessed September 10, 2016 .
  63. ↑ Deutschlandradio - audio archive. Retrieved September 10, 2016 .
  64. ↑ a b c d e f g h i j blueprints of repression. Retrieved September 10, 2016 .
  65. ↑ a b c Premiere Denial by Yael Ronen in the Maxim Gorki Theater. In: ondemand-mp3.dradio.de. Archived from the original on September 10, 2016 ; accessed on September 10, 2016 .
  66. ↑ Audio Denial - The world premiere at the Maxim Gorki Theater. In: ardmediathek.de. September 4, 2016, archived from the original on September 15, 2016 ; accessed on September 10, 2016 .
  67. ↑ a b Klaus-Dietmar Gabbert: Looking away and suppressing: Yael Ronen's “Denial” premiered. In: schwaebische.de. September 8, 2016, accessed September 10, 2016 .
  68. ^ A b c Alexander Altmann: The amok run in Munich becomes theater material. In: merkur.de. October 26, 2016. Retrieved November 10, 2016 .
  69. ↑ a b c World premiere of “Point Of No Return” in Munich. In: sueddeutsche.de =. October 28, 2016, accessed August 3, 2020 .
  70. ↑ Christine Wahl: Bad conscience on a high level. New pieces by Yael Ronen, Laura Naumann and Fritz Kater struggle with themselves, the world and failing visions. World premieres in Munich, Memmingen and Bonn. In: Theater heute , No. 12, December 2016, pp. 24–27.
  71. ↑ Christine Dössel: Münchner Kammerspiele - What the theater does with terror. In: sueddeutsche.de . October 28, 2016. Retrieved November 10, 2016 .
  72. ↑ a b Theater: Cheers for the "Winterreise" at the Maxim Gorki Theater. In: zeit.de . April 9, 2017. Retrieved April 14, 2017 .
  73. ↑ Tobi Müller: "Winterreise" at the Maxim Gorki Theater - On a cultural class trip. In: deutschlandradiokultur.de. April 8, 2017. Retrieved April 14, 2017 .
  74. ↑ Ulrich Seidler: "Winterreise" at the Gorki Theater: bizarre, repulsive, German cliché neuroses. In: berliner-zeitung.de. April 14, 2017. Retrieved April 14, 2017 .
  75. ↑ Ina Beyer: The expedition has only just begun: “Winterreise” at the Maxim Gorki Theater - Kultur Info - SWR2. In: swr.de. February 5, 2016, accessed April 14, 2017 .
  76. ↑ Start of the season at the Maxim Gorki Theater: Don't tell me who I am. In: tagesspiegel.de . Retrieved March 14, 2019 .
  77. ↑ Ulrich Seidler: Season opening at Gorki: Yael Ronen's “Roma Army” was celebrated ecstatically. In: berliner-zeitung.de. September 15, 2017. Retrieved March 14, 2019 .
  78. ↑ a b c Wolfgang Kralicek: You are so far, far to my right. Can this piece save the Iraqi Yousik Ahmad from deportation? Yael Ronen's bluntly offensive comedy do-gooders at the Vienna Volkstheater. In: sueddeutsche.de . February 12, 2018, accessed February 16, 2018 .
  79. ↑ a b Wolfgang Pohl: "Do-gooders" in the Volkstheater: Caffeine for the dance around the red calf. In: derstandard.at . February 12, 2018, accessed February 16, 2018 .
  80. ↑ a b A Walk on the Dark Side. In: gorki.de. Retrieved April 22, 2018 .
  81. ↑ a b Nadine Kreuzahler: Theater review: "Now let's get a little intimate!" Rundfunk Berlin-Brandenburg, September 8, 2018, accessed on March 14, 2019 .
  82. ↑ a b Georg Kasch: Love in the times of #MeToo and Chemnitz. In: morgenpost.de. September 9, 2018, accessed April 15, 2019 .
  83. ^ Ulrich Seidler: Berlin theater premieres: The pitfalls of harmony. In: berliner-zeitung.de. September 10, 2018, accessed March 14, 2019 .
  84. ↑ a b Petra Hallmayer: Creation in the mirror. Yael Ronen brings Genesis. A starting point. on the stage of the Kammerspiele. In: Süddeutsche Zeitung, October 25, 2018, No. 246.
  85. ↑ a b Shirin Sojitrawalla: News from God. Genesis - Yael Ronen and ensemble get to the bottom of their own and divine origins in the Münchner Kammerspiele. , October 28, 2018, accessed March 15, 2019.
  86. ↑ Sven Ricklefs: #Genesis at the Münchner Kammerspiele - In Search of God. In: deutschlandfunk.de. October 29, 2018, accessed March 16, 2019 .
  87. ↑ Christine Dössel: The sex of God . In: Süddeutsche Zeitung of October 29, 2018, p. 12, quoted from: Nachtkritik , accessed on March 16, 2019.
  88. ↑ a b Fabian Wallmeier: "Let me introduce you to the Schweigefuchs" Yael Ronen has her show stage hit "Third Generation" resurrected at the Maxim Gorki Theater in Berlin. The German-Israeli-Palestinian group therapy no longer seems that fresh - until Dimitrij Schaad's hour strikes. March 10, 2019, accessed April 7, 2019 .
  89. ↑ Christine Wahl: To despair exactly In the clutches of the culture of remembrance: Director Yael Ronen with “Third Generation - Next Generation” at the Maxim Gorki Theater. March 11, 2019, accessed April 7, 2019 .
  90. ↑ Peter Laudenbach: "Oh God, that feels good". Yael Ronen lets Israelis, Arabs and Germans loose on each other in "Third Generation - Next Generation" at the Maxim Gorki Theater in Berlin. March 11, 2019, accessed April 7, 2019 .
  91. ↑ a b Hexed back to the climate target. Retrieved November 28, 2019 .
  92. ↑ Peter Laudenbach: Home to the Urmutti. Esotericism against patriarchy: Yael Ronen celebrates witches of all kinds with 'Rewitching Europe'. In: tip Berlin, issue 24, 2019, pp. 56–57.
  93. ↑ Yael Ronen's "Rewitching Europe" in the Gorki Theater - Back to Mother Earth. Retrieved November 28, 2019 (German).
  94. ↑ Joke and Madness. Retrieved March 14, 2020 .
  95. ↑ Stefan Forth: (R) Evolution - Thalia Theater - In Hamburg the world is pretty much at an end, Yael Ronen and her family take it with humor. Retrieved on March 14, 2020 (German).
  96. ^ NDR: Premiere for "(R) Evolution" in the Thalia Theater. Retrieved March 14, 2020 .
  97. ↑ a b c Kilian Engels, C. Bernd Sucher (Ed.): Political and possible worlds. Tomorrow's directors . Henschel, Berlin 2008, ISBN 978-3-89487-613-5 , p. 111
  98. ↑ Third generation. In: schaubuehne.de. October 1, 2016, accessed October 2, 2016 .
  99. ^ The Day Before the Last Day. In: schaubuehne.de. October 1, 2016, accessed October 2, 2016 .
  100. ↑ Anna Steinbauer: Trust lost sisters. The Maxim Gorki Theater gives a guest performance with “Common Ground” in the Residenztheater. In: Süddeutsche Zeitung . No. 277, 2nd / 3rd October 2014, page R 24.
  101. ↑ Maxim Gorki Theater: Maxim Gorki Theater - Common Ground, by Yael Ronen & Ensemble - June 21, 2016, guest performance at Theatertreffen in Beijing. In: gorki.de. May 7, 2015, archived from the original on May 7, 2016 ; Retrieved May 7, 2016 .
  102. ^ Message from the Maxim Gorki Theater on Erotic Crisis , accessed on September 21, 2014.
  103. ↑ Sex is also not a solution In: Frankfurter Allgemeine Zeitung. from September 15, 2014, p. 13.
  104. ^ Message from the Schauspielhaus Graz ( memento from December 19, 2014 in the Internet Archive ), accessed on December 19, 2014.
  105. ^ Message from the Maxim Gorki Theater on Michael Kohlhaas ( Memento from May 25, 2015 in the Internet Archive ), accessed on May 25, 2015.
  106. ↑ Norbert Mayer: Badora brings 22 premieres at the Volkstheater. In: Die Presse.com, May 7, 2015; Retrieved May 25, 2015.
  107. ^ Communication from the Maxim Gorki Theater on The Situation ( memento from September 12, 2015 in the Internet Archive ), accessed on September 7, 2015.
  108. ^ Communication from the Vienna Volkstheater on Lost and Found . volkstheater.at, accessed on December 19, 2015.
  109. ^ Message from the Maxim Gorki Theater on enemies . gorki.de, accessed on March 12, 2016.
  110. ↑ POINT OF NO RETURN BY YAEL RONEN AND ENSEMBLE, directed by Yael Ronen. In: muenchner-kammerspiele.de. October 27, 2016, accessed March 13, 2019 .
  111. ↑ Roma Army. In: gorki.de. September 16, 2017, accessed March 13, 2019 .
  112. ↑ Yes but No - A discussion with songs by Yael Ronen & Ensemble. In: gorki.de. June 8, 2010, accessed March 13, 2019 .
  113. ↑ #GENESIS A STARTING POINT / BY YAEL RONEN AND THE ENSEMBLE // IN GERMAN AND ENGLISH, directed by Yael Ronen. In: muenchner-kammerspiele.de. October 28, 2018, accessed March 13, 2019 .
  114. ↑ Third Generation - Next Generation. In: gorki.de. March 9, 2019, accessed March 13, 2019 .
  115. ↑ Rewitching Europe. Retrieved November 13, 2019 .
  116. ↑ (R) evolution. Retrieved March 14, 2020 .
  117. ↑ Merav Yudilovitch: Yaeli Ronen nominated for Europe Theater Prize. , ynetnews.com, December 27, 2005 , accessed August 5, 2014.
  118. ↑ Mounia Meiborg: The Berlin Theater Meeting. Art has seldom questioned itself in such a way. Somehow you really have to do something. We can't help you, we have to play you: almost everyone wants to be political this year. And often come up against limits. In: Süddeutsche Zeitung . May 19, 2015, p. 12.
  119. ↑ Tobias Becker in conversation with Barbara Behrendt: A lucky year for contemporary drama ( memento from May 2, 2015 in the Internet Archive ), theaterheute.de, March 5, 2015, accessed on March 10, 2015.
  120. ↑ Dramatist Award and Audience Award 2015 - Mülheimer Theatertage NRW - Plays - City of Mülheim an der Ruhr. In: www1.muelheim-ruhr.de. June 28, 2015, accessed May 7, 2016 .
  121. ^ Neff prizes to Ronen, Reinsperger, Klein and Habjan. In: orf.at. May 30, 2016, accessed June 27, 2016 .
  122. ↑ The evaluation: The greatest honor. In: kultiversum. The culture platform. Retrieved August 25, 2016 .
  123. ^ Nestroy Prize 2016: The Nominations . Press release of September 27, 2016, accessed on September 27, 2016.
  124. ↑ orf.at - Frank Castorf receives Nestroy for life's work . Article dated September 27, 2016, accessed September 27, 2016.
  125. ↑ ITI Germany: ITI Prize. In: iti-germany.de. Retrieved April 2, 2017 .
  126. ↑ CD: News. In: Süddeutsche Zeitung, No. 58, March 10, 2017, p. 15.
  127. ↑ derStandard.at: European Theater Prize to Isabelle Huppert and Jeremy Irons . Article dated October 27, 2017, accessed November 29, 2017.
  128. ^ Deutsches Theater Berlin: Deutsches Theater Berlin - Autorentheatertage 2017. In: deutschestheater.de. June 24, 2017. Retrieved March 14, 2019 .
  129. ^ Deutsches Theater Berlin: Deutsches Theater Berlin - Autorentheatertage 2018. In: deutschestheater.de. June 23, 2018, accessed March 14, 2019 .
  130. ↑ Christina Haberlik: Director Women: A man's job in women's hands. Ed .: Deutsches Theatermuseum , Munich. Leipzig, Henschel 2010, ISBN 978-3-89487-663-0 , pp. 173-175.
  131. ↑ Colette M. Schmidt: My grandfather never wanted to ask for a passport. accessed on August 5, 2014.
  132. ^ Nurit Yaari: Juifs et Arabes sur la scène israélienne. , accessed August 5, 2014.
personal data
SURNAME Ronen, Yael
ALTERNATIVE NAMES Ronen, Yaeli; Ronen, Ya'el
BRIEF DESCRIPTION Austrian-Israeli theater director and author
DATE OF BIRTH September 16, 1976
PLACE OF BIRTH Jerusalem