Actors Stuck in Life's Escape Room in New Absurdist Play
The new absurdist play "Those Who Wish to Leave" features actors Keren Mor and Menashe Noy trapped in a stranger's living room, with no memory of who they are, where they are, or their relationship to each other. Their struggle to escape mirrors the human condition of being confined within the narrative of their own lives, raising the question of whether they truly desire freedom once they begin to understand their situation.
Written by Maya Arad Yisraely seven years ago and first staged in Germany in 2020, the play was inspired by the author's experiences with escape rooms. Yisraely noted the absurdity of surrendering phones and being locked in, guided by a disembodied voice, to solve puzzles. She envisioned playwrights crafting the dramaturgy for such experiences, leading to a play that explores identity and the search for a metaphorical key to understanding oneself.
"The play gradually reveals aspects of identity and life stories, making their relationship increasingly complex," Yisraely explained. A political dimension is also present, with a character representing authorities to whom the protagonists may have surrendered their memories. The play's absurdist and post-dramatic elements lie in the choices presented to the characters and the ambiguity surrounding the external forces influencing their situation.
Directed by Zvi Sahar, known for his innovative "Puppet Cinema" technique combining film, photography, and puppetry, the production utilizes a closed-circuit camera system. This allows for simultaneous events in multiple locations on stage, with the audience witnessing the narrative unfold in real-time. Sahar has previously collaborated with Arad Yisraely on other plays.
Sahar described the work as contemporary absurdism with elements of drama, comedy, and poetry, requiring actors capable of embodying these diverse layers. He praised Mor and Noy's performances, highlighting their artistic depth, communicative skills, and sharp instincts. The actors physically manipulate props and cameras, projecting images onto a white stage, effectively becoming storytellers, technicians, and set designers within a self-created puppet theater.
Sahar emphasized the play's enduring relevance, noting that the ambiguous figure of "the authorities" could represent media, politics, or even internal struggles. Mor found the material challenging yet captivating, appreciating its enigmatic and poetic nature. She described the collaborative process as one of gradual understanding, where initial confusion gives way to meaning as the performance progresses, with Noy providing crucial support when she feels lost.
