{"id":510,"date":"2017-05-15T07:40:32","date_gmt":"2017-05-15T07:40:32","guid":{"rendered":"http:\/\/www.clipa.co.il\/%d7%90%d7%95%d7%93%d7%95%d7%aa\/"},"modified":"2021-11-15T12:15:32","modified_gmt":"2021-11-15T10:15:32","slug":"about-2","status":"publish","type":"page","link":"https:\/\/clipa.co.il\/en\/about-2\/","title":{"rendered":"About"},"content":{"rendered":"\n

The Ensemble<\/span><\/h2>\n

Clipa Theater was founded in 1995 by actor and musician Dmitry Tyulpanov (Russia, 1966-2015), and dancer, director and choreographer Idit Herman (Israel, 1971).<\/span><\/p>\n

The two performers created a unique performative language, combining theater, dance, design and music: a brilliant duet resulting in a Total Theater; characterized by having complete control over all aspects of a show: movement, use of space, set design, costumes, sound, lighting and direction \u2013 all of which are fundamental artistic tools of expression, combined with the performing artist\u2019s abilities.<\/span><\/p>\n

Clipa Theater can be defined in many different ways. Its name (meaning \u201cshell\u201d, \u201cpeel\u201d) tells of a husk, wrapped around several identities, creators and theatrical experiences. Each of the creators\u2019 shows is its own world, and no show is like the other. Out of awareness of the international field of performance, Clipa carries on canonical traditions, while pushing the limits concerning aesthetics and the familiar language. Simultaneously, it constantly responds to the political and social status in Israel.<\/span><\/p>\n

Clipa changes its skin to fit the zeitgeist, and is always up-to-date with the ever-changing world of performing arts. This is a futuristic theater that will not stop examining the new and intriguing trends in its field, and will attempt to invent new ones. The Clipa theater changes the viewer\u2019s experience, pushes the boundaries of what can be called \u201ca show\u201d and calls for action \u2013 on stage and off.<\/span><\/p>\n

It\u2019s impossible to talk about Clipa without mentioning the importance of imagination. Whether it be twisted, extravagant or simply wild \u2013 it\u2019s always intended to provoke thought, to bewilder us and to change the way we perceive the world.<\/span><\/p>\n

Clipa has contributed much to the development of visual theater in Israel, and is considered the leader in its field. Over the course of its existence, Clipa created dozens of shows, and has cooperated with numerous major cultural institutes and figures in Israel and the rest of the world.<\/span><\/p>\n

Awards:<\/span><\/p>\n

1996 \u2013 Sternfeld award for theater, for the show \u201cClipa\u201d<\/span><\/p>\n

1997 \u2013 First place, \u201cGvanim\u201d dance festival, for the show \u201cAngel\u201d<\/span><\/p>\n

1999 \u2013 Best fringe show, Israel\u2019s theater awards, for the show \u201cWanted\u201d<\/span><\/p>\n

2001 \u2013 Most important theatrical event of the year, according to \u201cYediot Aharonot\u201d readers, for the show \u201cDeus Ex\u201d<\/span><\/p>\n

2003 \u2013 Rosenblum award for theater, for the group\u2019s accomplishments in the field<\/span><\/p>\n

2003-2006 \u2013 The excellence in culture fund\u2019s choice award<\/span><\/p>\n

2008 \u2013 Most important street theater performance of the year, polish \u201cTheater\u201d magazine, for the show \u201cSalto Mortalle\u201d<\/span><\/p>\n

2009 \u2013 Landau Prize of the Israeli Lottery Culture Council \u2013 Theater Director category<\/span><\/p>\n

2012 \u2013 Winner of the competition for contemporary choreography plan of the Korean cultural ministry.<\/span><\/p>\n

Vision<\/span><\/h2>\n

We appreciate the honesty of movement, rather than that of the spoken word.<\/span><\/p>\n

We think performing is the ultimate lie.<\/span><\/p>\n

We believe that our time on stage is closer to reality than any other time.<\/span><\/p>\n

The art of performing is the sense, the moment, the magic \u2013 the \u201cthing\u201d which happens between a performer and viewer. It occurs in a time and place, and in relation to the two. It emphasizes the way the performer acts, moves and creates visual imagery in front of the crowd.<\/span><\/p>\n

The performing arts are free from the boundaries of a plot, and are best understood as a poem. It applies to all senses. It is always a one-time-only event.<\/span><\/p>\n

The Clipa ensemble believes in a \u201cTotal Theater\u201d experience, and in original creation of all aspects of each show. The audience\u2019s experience begins with entering the theater, which is a part of the show.<\/span><\/p>\n

We believe that a performing artist must master a few different crafts. The actors in the ensemble are actors and dancers, and some are also composers and players. They specialize in different crafts and create the sets, props and costumes for the shows.<\/span><\/p>\n

Work ethics in the ensemble is characterized by complete creative freedom, alongside personal discipline and awareness. The actors believe in creating as a way to grow and personally develop themselves, and in the power art has to change our reality. The artists of Clips are in constant search for the balance between their own personal creation and being a part of a group.<\/span><\/p>\n

We think the stage has lost the ability to represent the reality we face each day. We choose to give new meaning to difficult topics, and push and blur the boundaries between performance and reality, or even personal truth.<\/span><\/p>\n

We explore and challenge the part of the beholder, and the crowd\u2019s involvement in each show.<\/span><\/p>\n

As Israeli artists, we constantly face the question regarding the artist\u2019s place in society. That is why we choose to offer imagery of the current state of events, revealing questions and alternatives.<\/span><\/p>\n

Clipa theater aspired to create using a unique language and a method. Both of which are always changing. Our way of working and creating is characterized by \u201cpeeling\u201d the established method. The ensemble\u2019s way is that of change.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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