Catalog of a Collection of Photographs by Gérard Allon in the Judaica Collection of the Harvard library

G É R A R D A L L O N
Catalog of a Collection of Photographs by Gérard Allon
in the Judaica Collection of the Harvard Library
Introduction
Gérard Allon:
Immigrant, Pioneer, Visionary, Mystic
by
Nissan N. Perez
Israel Museum
Jerusalem, Israel
Dispute over Photonic Representations
by
Gérard Allon
Tel Aviv, Israel
Harvard Library
Cambridge, Massachusetts
2012

A publication of The Sherman H. Starr Judaica Library Publication Fund.
Images by Gérard Allon © Gérard Allon
Figure 4 © by Israfilm Ltd.
Figure 5 © NMC United
Catalog © President and Fellows of Harvard College

TA B L E O F C O N T E N T S
FOREWORD
CHARLES BERLIN AND VIOLET RADNOFSKY 1
INTRODUCTION
GÉRARD ALLON: IMMIGRANT, PIONEER, VISIONARY, MYSTIC
NISSAN N. PEREZ 3
PHOTOGRAPHS BY GÉRARD ALLON 27
LIST OF PHOTOGRAPHS 129
INDEX BY TITLE OF PHOTOGRAPHS 131
PERSONAL STATEMENT
DISPUTE OVER PHOTONIC REPRESENTATIONS
GÉRARD ALLON 19
ACKNOWLEDGEMENTS 26
INVENTORY OF GÉRARD ALLON PHOTOGRAPHS
IN THE HARVARD LIBRARY 133
INDEX BY TITLE OF GÉRARD ALLON THEATER PHOTOGRAPHS
IN THE HARVARD LIBRARY 141

F O R E WO R D
As part of its program of documenting Jewish life and culture
throughout history, the Judaica Division has, over the last
decade, engaged in an intensive effort to develop an archive of
visual resources that document Jewish history and culture, with special
emphasis on the State of Israel. The result of this effort to date is
an archive of some 3.6 million digital images, freely accessible through
the Internet (via Harvard Library’s online Visual Information Access
Catalog, via.lib.harvard.edu).
The goals of this effort are: to provide a critical mass of visual primary
source material to complement the Library’s extensive collection of
print and audiovisual Judaica; to enhance the Judaica Collection as an
interdisciplinary research resource, and to encourage and facilitate
scholarship that transcends traditional formats; to give access to an
array of primary source materials that are not readily accessible to
scholars, if at all; and to preserve for present and future scholars primary
source materials that otherwise might eventually be lost.
The Israel component of the Judaica visual resources online archive
already has a wide range of photographs (digital copies or “born digital”
images): historical photographs from the Central Zionist Archives and
the Jewish National Fund archive; photographs documenting people,
places and events in Israel by Ya‘akov Agor, Yitshak Amit, David Haris,
Boaz Lanir, Reuven Milon, and Eldad Rafaeli; photographs of life
in kibbutzim in Galiliee (Kineret, Kefar Giladi, Masadah, Ha-Zorea,
Ginosar, En Gev), by Naftali Oppenheim, Yigal Ashuah, Peter Merom,
Azaria Alon and others; photographs documenting Israeli culture
(especially theatrical performances), by Ya‘akov Agor, Gérard Allon,
Gadi Dagon, Israel Haramaty, Eyal Landesman and Yossi Zwecker; and
photographs documenting Israeli material culture by Israel Haramaty
and others.
The 3.4 million digital images of photographs are complemented by
some 200,000 images of Israeli posters and ephemera dealing with all
aspects of Israeli life and culture including theater, dance, music, art,
politics including national and municipal elections, religious and social
life, and commercial advertisements. The collection also includes
digital images of Israeli art materials (Ben Uri Museum, Studio Malka
Haas, and the Lionel Reiss Collection) and architectural plans (Ben
Uri Museum and Lipa Yahalom – Dan Tzur Collection). In addition to
the Israel-related images, the collection also includes images of Judaica
materials dealing with Jewish life elsewhere, most notably posters,
ephemera, and historical photographs.
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It is our hope that, as resources permit, we will be able to issue catalogs
of some of these materials in order to better acquaint the scholarly community
with the Library’s online Judaica resources. Our first such publication
is this catalog of the work of Gérard Allon, one of Israel’s leading
photographers. The catalog focuses on Allon’s works documenting Israeli
theatrical performances, the largest component of Harvard’s Gérard
Allon collection. We are very pleased that the catalog is introduced by
Nissan N. Perez of the Israel Museum, followed by a personal statement
by the artist himself. The Library’s Gérard Allon collection has some
73,000 digital images of Allon’s work, as well as a large sampling of his
work in prints and contact sheets prepared by the artist himself.
That Harvard has been able to develop its online collection of Israeli
photographs is due to the sympathetic understanding and magnificent
cooperation of the various photographers and archives who permitted
us to make digital copies of their photo archives (of negatives/
prints or of original digital photographs), and who provided the accompanying
documentation. The online archive of these images is a
tribute to their great talent and highlights their vital contribution to
the recording and preservation of Israeli culture. We are truly grateful
to all of them. We are equally grateful to those individuals who have
over the years provided the Library’s Judaica Division with endowed
Judaica Book Funds, the income from which supports all aspects of
the Judaica Collection, including the development of Judaica online
visual resources.
It is a pleasure to express our gratitude to those who have made the
publication of this catalog possible: first and foremost, Gérard Allon,
whose gracious cooperation and generosity of spirit over the years
has enabled us to develop this virtually complete archive of his works;
Nissan N. Perez, who provided the introduction to this catalog; Sherman
H. Starr, Class of 1946, who provided the Judaica Division with
the Sherman H. Starr Judaica Library Publication Fund, income from
which funds this catalog; Dr. Shmuel Levenvirth and the staff of Dantec
Ltd., the Israeli high-tech company that has worked with the Judaica
Division for many years in digitizing and putting Israeli
photographs online; Daniel J. McCarron, Director, Educational
Graphics Group, WordTech/Flagship Press, for his work on the printing
of this catalog; Kenneth E. Carpenter, for his editing of the introductory
essays; Charles S. Fineman, for his translation from the
French original of Gérard Allon’s personal statement; Vardit Samuels,
Library Assistant in the Judaica Division, for her assistance in editing
and text preparation; Hadassa Schwartz, Littauer Hebraica Cataloger
in the Judaica Division, for her assistance in revising the
cataloging data for the inventory; and Elizabeth Vernon, Lee M. Friedman
Judaica Technical Services Librarian in the Judaica Division, for
compiling the inventory of Gérard Allon’s photographs in the Judaica
Collection and for assisting in all stages of this project.
CHARLES BERLIN
Lee M. Friedman Bibliographer in Judaica
Head, Judaica Division
VIOLET RADNOFSKY
Littauer Hebraica Technical and Research Services Librarian, Judaica Division
HARVARD LIBRARY
CAMBRIDGE, MASSACHUSETTS
21 MARCH 2012
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I N T RO D U C T I O N
Gérard Allon: Immigrant, Pioneer, Visionary, Mystic
N I S S A N N. P E R E Z
Gérard Allon is without doubt one of the most prominent figures
in contemporary Israeli photography. Already an accomplished
photographer when he arrived from France in the
1970s, he has increasingly made his presence felt. He was and still is
one of the central figures in the development of camera art, and
through a most natural and organic process he has led it to current
parity with the highest international standards. He has applied photography
in such areas as video, cinema, and holography, where his
constant searching and experimentation have often spearheaded developments.
To understand Allon’s role, it is necessary to look first at
the general state of photography in Israeli society.
Photography in Israeli Society
Life in Israel is marked by a great number of factors, some historic,
others surfacing as a result of the complex national, social, economic,
and geopolitical situation. From the indelible memory of the Holocaust
to the day-to-day concerns of political, social, and security issues
(personal and national), the reality of contemporary Israel creates
a haunting and challenging environment in which living (surviving?)
has become an ever-present challenge. To create art can at times seem
to be a gratuitous and futile act.
How then do artists (also as citizens) come to terms with this distressing
reality that encompasses undiscerning violence, insecurity, social discrimination,
political instability, and other illnesses common to most
contemporary societies? Their cumulative work proposes a wide choice
of alternatives, from first-hand active involvement in the life of their
country, to a total and conscious escapism. The well-defined and refined
personal approaches as well as the diversity of the distinctive strategies
and points of view, reveal a partial, yet up-to-date image of contemporary
Israeli photography and video art, and consequently of life in Israel.
The output of Israeli artists is charged with a wide range of implications
as to the complexity of life in the country. Israeli art reflects deep preoccupations
and is laden with energies, beliefs, tensions, hopes and prayers,
sorrows and joys, trust and suspicion, through which the ghosts from the
past and the present can only be felt partially.
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What characterizes contemporary Israeli art, and especially photography
and video, is that today’s artists try to increase public awareness
of each and every aspect of life in Israel. By inciting the viewer to reconsider
opinions and attitudes, they try to further action towards creating
a better and more just society. Given the actual situation, this
sounds utopian, but a fragment of optimism is absolutely necessary,
and artists are fulfilling their duty by pointing out wrongs and injustices,
while also still leaving open the possibility of a better future. For
most of these artists their works bear witness to their involvement in
the life of the country and to their commitment to improve both the
reality and the image of their homeland. In an environment where past
and present, the personal and the political are inseparable, Israeli
artists are endowed with the unique gift of transforming the art of living
into living art. Their contribution is not only to photography or the
arts, but to the building and functioning of Israeli culture in general.
Because of both physical and cultural distance, contemporary Israeli
photography and video remain to some extent peripheral on the international
scene. Even when they are featured in high profile venues
such as the Venice Biennial, they are still in a state of constant dialogue,
frequently in tension, and at times in conflict with universal trends. In
their attempt to become part of the mainstream and in step with contemporary
international trends, they very often create a most fascinating
synthesis of cosmopolitan values and of local cultural, social,
and political contexts.
In Israeli society, which is undergoing deep change and frequent crises,
the arts express the nation’s identity crises: the ethnic/religious, the
ideological, the national. In addition, Israelis are torn between myths
and remembrance, with each of these spheres inhabited by its own
ghosts. As Israeli society matures, religious and national myths are
being reconsidered in a modern perspective, leading to the breaking of
many traditional taboos. This in itself implies an often painful discontinuity
with past identities. Moreover, both nationally and individually,
Israel is burdened by the weight of memory: the Diaspora,
the Holocaust. The myth of the survivor, the many wars endured, and
the staggering number of casualties Israel has mourned, are still not
distant enough for objective consideration. In view of these heavy historic
burdens, many artists feel obliged to take a kind of inventory of
the irreparable in their work, but the traces of these social, political,
cultural, and economic factors are not always easily discernible. While
some artists tackle these subjects directly, others embed them in their
work through tangential implication, and yet others, totally ignoring
them, seek refuge in the personal and the imaginative.
The issues of memory and identity at various levels are ever present
in Israeli photography and video, even more so than elsewhere in the
world, given the country’s relatively short history and its brief duration
of cultural formation. Myths and historic and religious facts and
legends reside alongside the political reality. The new generation challenges
and reassesses these traditional notions, slaughtering many
“sacred cows” in the process. Powerful aesthetic statements are made
in the quest for artistic self-determination. In many instances the
viewer’s task is to discover not only the nature of the subject depicted,
but its significance too. From this point on, everyone can build his
own story drawing on the connotations drawn from the final image.
Israeli art, then, should be examined in relation to specific and current
geopolitical, social, and cultural conditions as well as through
the perspective of borders and the battle for territory, of war and terrorism,
conquest and occupation. These factors are inherent in the
arts in Israel.
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After over a hundred years of tumultuous existence in the Near East,
and sixty years of independence as a state, the multifaceted Israeli society
is still in conflict with itself, its identity, and its self-image, and this
condition necessarily deeply marks the local artistic creation. While
navigating between the acute memory of the Holocaust and the intricate
contemporary issues of security, including the unbearable living
conditions of the population in the territories and the separation wall
that is being built, artists seem to draw an inventory of the irreparable.
For contemporary Israeli artists, issues of human rights, racism, and
humanism are extremely concrete, even more so than for artists in
Western countries for whom these issues tend to be more theoretical,
more in the realm of “romanticism.” In the harsh reality of today’s Israel—with
the fear of the future, the faltering peace process, the entire
population in constant friction with the Palestinian nation, the threat
of terrorism that is an integral part of daily life—there is little room for
romanticism. The periodic wars, obligatory military service for much
of the population, and the constant threat to the existence of the nation,
leave little latitude for theory and philosophy. These burning issues
that preoccupy every citizen are even more vital to the artist.
Despite the inevitable traces of this situation in the artists’ work, in
many instances a first reading of their work does not reveal these concerns.
Each of these artists expresses his or her vision in a different—
overt or subdued—form. While some may tackle these issues in a
straightforward fashion, many others consciously avoid them and find
refuge in their imagination and inner world.
The multitude of tendencies and the unsettled pluralism are a symptom
of Israel’s undefined local culture. From its very beginning, Israel
has been essentially an immigrant society where a plethora of cultural
and artistic streams have converged from all over the world. This
environment did not favor the formation of a well-defined artistic tradition.
Although today’s Israel has ceased to be a country of immigration
in the traditional sense, it is still a melting pot. Nevertheless, it
now has also developed a strong and relatively well-established local
culture and artistic tradition that is robust enough to absorb and overpower
sporadic influences brought by immigration, with only some
mild side effects. Today, Israel still devotes major time, thought, and
energy to exploring the question of national identity through symposia
and philosophical discussions. There is no clear-cut answer as
to what constitutes Israeli national identity; and although over half a
century has passed, one still defines it through a process of elimination,
that is, by enumerating what Israeli identity is not.
Each language is a unique means of experiencing and expressing consciousness,
and each is culture-specific. It often happens that in order
to convey a specific idea or message, a combination of different languages
seems to be the most effective way. As a result of the geopolitical
situation, and of being the melting pot of a large variety of
cultures, Israel has invented a certain number of colloquial Hebrew
expressions such as korach hametziut necessity of reality or ein brera no
alternative, and many slogans such as am bematsor a nation under siege
or am besakanat hakhada a nation in danger of extermination, which
have become synonyms for Israelism and express the state of emergency
and urgency that prevails in the country. Today’s Hebrew also
clearly mirrors the younger generation’s search for identity, a new identity
that, having broken with the ethos of the heroic past of the pioneers,
is torn between two worlds. On one hand is the presence in the
Near East, to which the locally born generation feels it belongs, and
on the other hand is the everlasting desire to belong to the West. For
example, one of the most popular expressions used by the younger
5

generation—yalla bye (OK, good-bye)—is a combination of Arabic
and English in total disregard of Hebrew. This slang is symptomatic of
the mood and attitude of the new generation. As a result, contemporary
Israeli artists are still engaged in dealing with myths and coping
with memory-breaking norms and consensus, paving the road to the
future which is our today, our here and now. The refrain from the recent
rock hit “We Are a Screwed Generation” is just another indication
of the state of mind of the younger generation of local artists.
In contrast to Western countries, Israeli artists actively engage in political
debate as an antidote to indifference and resignation. Their creations
sometimes include only subtle subversive messages, yet often
the artists employ a rhetoric of shock. While relentlessly scrutinizing
life in the country, Israeli art, including photography and video, holds
up a cruel mirror to the country and the society. The questioning of
national values comes as a reminder and a reproach to the average citizen’s
stereotyped views. This accounts for one of the distinguishing
traits of artistic creation in Israel: at a moment when in many Western
countries mainstream artistic creation is strongly influenced by political
correctness, Israeli artists, critics, and most of the artistic establishment
consider it their prime duty to be militant, or downright
“politically incorrect.” In a country where state emergency regulations
are regularly extended without question and military censorship still
applies, this almost seems like an act of heroism.
The lens-based arts in Israel have developed independently of the
mainstream arts, and they have been viewed in Israel, as elsewhere, to
some extent as the enfants terribles of the arts. However, photography
and video have almost reached the end of their crusade for recognition.
Warmly embraced by all, artists and critics alike, they have a new position
as influential modes of expression, whose ramifications are felt
in all creative fields. Not only have photography and video in Israel
produced a considerable number of artists using the media to the
fullest, a new generation of educated and sophisticated consumers read
and understand them in the most contemporary manner.
More than all other art forms, photography and video essentially aim
to create mental images that affect the viewer. The multifaceted works
of contemporary Israeli artists touch on a large variety of issues, but
their most dominant and important faculty is the lucid and incisive
look they direct toward our land and life. In examining the changing
and scarred landscape and society, they confront us with a most caustic
critique of our values and social environment. They offer a constant
reevaluation of our collective knowledge and of the
understanding of our nation and our culture in the face of common
misconceptions and preconceived ideas. They are a most courageous
attempt to foster the heightened consciousness that can enable us to attain
a viable future.
Gérard Allon: The Artist
The transformation of the camera arts in Israel began in the summer
of 1975 with a juried exhibition in Tel Aviv entitled Through the Lens
of Immigrant Photographers. Held under the auspices of the Ministry
of Education and Culture, the exhibition included six artists selected
by a jury: one of them, the then-unknown Gérard Allon. To include
him was an act of almost prophetic clairvoyance, since both as an artist
and a photographer, Allon was destined to play a most important role
in the renewal of the art in Israel, above all in the field of commercial
and fashion photography. Together with a handful of other young photographers
active at the time (among them the immigrants Yosaif Cohain
and Neil Folberg, and Israelis educated abroad, such as Hanan
6

Laskin, Avi Ganor, and Micha Kirshner), Allon was instrumental in
bringing much-needed foreign influences into the insular bubble of
local photography. He belongs to the younger generation of camera
artists who have established new standards and have brought Israeli
photography to the highest international standards.
Gérard Allon—originally Alloun—was born in Casablanca, Morocco,
in 1949. His great-grandfather, on a trip from Jerusalem, had
married a rabbi’s daughter in Morocco and settled down there.
Allon’s father, a self-taught engineer specializing in concrete, had
studied in the Alliance school and consequently was extremely open
to French culture. His mother (née Zemour) was of Algerian origin
and so held French citizenship, which the decree of Crémieux had
awarded to Algerian Jews in 1870. In 1956, the family moved from
Morocco to Algiers, where they joined the mother’s family. However,
as a result of the instability that led to Algeria’s decolonization
and independence, the family immigrated to France and settled in
Paris where Allon attended the Lycée Jean-Baptiste Say in the sixteenth
arrondissement. He later studied linguistics and French literature
at the University of Lille.
At seventeen Allon got hold of the family’s Exacta camera and also a
16mm movie camera. From then on his career was determined. He
immediately began experimenting with the visual possibilities of these
new tools, and just a few years later he found employment as assistant
director for the cinema and for French television.
The student revolution of May 1968 in Paris and its aftermath left a
strong and lasting mark on the individuals of Allon’s generation. For
Allon, who had captured the events with his camera, it shaped his social
and political awareness (Figure 1).
Figure 1: Paris insurrection, 1968.
By the time he moved to Israel in 1974, Allon, as a French citizen,
already had well defined political views relating to France; but he left
those behind in France. He was no Zionist or political activist, and
he approached Israel without a religious or political agenda. Doing
so may have made his encounter with Israel, the local culture and
the artistic scene, even more of a turning point in his life and his
photographic/creative career. Once in Israel, Allon went from being
an unknown entity in a big country, to an innovator and trend
setter in his new home.
Gérard Allon’s interest in the camera image has never been stand-alone
or monolithic. For him, photography has always been part of a comprehensive
visual ensemble, which included all forms of visual expression,
as well as the cinema and the stage arts of theater and dance.
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Allon’s variety of interests is most certainly the result of his moving from
one country to another. Despite the inherent difficulties, migrating to a
new cultural and visual environment broadens one’s horizons and deepens
a person’s understanding of life, thus enriching the creative arsenal.
Besides the revolution of ’68, the general cultural atmosphere of France
of the 1960s and 1970s influenced Allon. The liveliest cultural and
artistic fields at the time were literature (prose and poetry), philosophy,
cinema and theater, and traces of all can clearly be discerned in
Allon’s artistic creations throughout his career. When asked who most
influenced his work and thought, Allon is usually unable to come up
immediately with references, but he then slowly begins to enumerate
names and styles in a variety of domains—Kafka, Borges, Sartre,
Camus, Artaud, Beckett, Ionesco—always adding that these influences
were time-limited or even specific to a certain moment in his life.
These names help explain the surrealistic qualities of many of his creations
in various fields of activity. Naturally, at some point, the young
Gérard did try his hand at writing poetry and short stories, but his
heart has always remained in the realm of the visual. In the strictly
spiritual domain, Emmanuel Levinas’s philosophy, thought, and ethics
and his humanistic approach to Biblical texts was critical. Levinas’s
writings, along with Gershom Scholem’s work on the Cabala, influenced
Allon to create several thematic series directly connected to Judaism,
such as “Genesis” and the Passover Haggadah.
In painting, Allon cites Goya, Braque, the German Expressionists and
Kiefer, while in cinema he refers to Tarkowsky and Bergman, the years
of Jean Rouch’s cinéma vérité, and subsequently Jean-Luc Goddard.
They left a deep imprint on his thought, work, and creation. Several
decades later direct traces of the typical visual vernacular of cinéma
vérité, associated with the more contemporary technologies of video
art, are clearly visible in his 2004 documentary Naomi’s Corset and in
his latest film Fragments.
In the field of photography Allon mentions a long list of artists, many
of them predictable, such as Muybridge, Man Ray, Dorothea Lange,
Bill Brandt, Cartier Bresson, and Robert Frank. Again, each of these
connects to a specific moment in his life and career. However, these
influential photographers were not models that he copied directly.
They were, rather, sounding boards with whom he still conducts a visual,
artistic and creative dialogue. Through staged photography,
which he practiced extensively throughout his practice, Allon came to
appreciate and admire Jeff Wall’s work much later in his career. In fact,
from the very beginning most of Allon’s work is characterized by the
use of photographic “mise en scène,” which is in line with most contemporary
modes of creation in the field. His creations in all fields,
from commercial imagery to personal mystical projects, rely on the
intentional creation of parts of the scene, which are then destroyed
once the set-up has been recorded photographically. What remains is
naturally a “visual memory” fixed in the final image.
Although Allon initially felt very much at ease in France and integrated
into French society, his immigration to Israel at age twenty-four was
to a large extent the result of the disillusionment he felt with what he
calls “the aborted ‘revolution’ of ’68.” It awakened in him difficult questions
of identity. He initially came to Israel to seek distance and gain
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perspective on himself and his life in France. However it quickly became
evident to him that his place was in Israel, and his stay turned
primarily into a quest for roots and identity. It was the internal feeling
of extraneousness and alienation that he hoped Israel might be able to
resolve. In fact, he came in order to ask questions, to learn and to absorb,
rather than to change and influence.
The moment of Allon’s arrival in Israel was a critical one for the nation.
Israel was marked by extremes: the rather brutal awakening from the
euphoria of the Six Day War of 1967 and the trauma and tragedy of the
Yom Kippur War of 1973, all mixed with fear and a cautious optimism
surrounding Israel’s peace agreement with Egypt. In the midst of such
vital concerns, art was certainly secondary, and photography was stagnating
between the old schools and a mere mannerist copying of sporadic
Western influences.
Gérard Allon asserts that he came to learn and to enrich his life, not to
teach. However, in his new environment he soon found himself teaching,
applying, and further developing all the skills and knowledge he
had wanted to leave behind in France. Totally unconsciously, and in a
most natural process, instead of finding and receiving answers, he became
an innovator and an influential figure trying to fill the gap between
the local condition of photography and what he had learned
and experienced abroad. He found out that cinema and still photography
in Israel were lagging behind, both on the creative and technological
level. From his perspective, the characters and the plots in Israeli
cinema at that time were shallow and naïve, lacking in sophistication—
and that was also true of photography. In this situation, the outsider—
the new immigrant—faced the dilemma of whether to act or not:
would his involvement constitute negative interference? In the end, he
opted for active participation in the process of renovating and rebuilding
the fields of activity in which he was most experienced and
prolific. In retrospect, and from the historical perspective, it is clear
that he made a marked difference, both as an artist and creator, as well
as a teacher.
The younger generation of photographers—some of them, like Gérard
Allon, new immigrants or Israelis educated abroad—worked from the
late 1970s on to create a new order of cosmopolitan photography based
on contemporary Western canons. In a revolutionary fashion, Allon
and his Israeli colleagues purposefully ignored or obscured all that was
prior to them, labeling it as old, obsolete, anachronistic, and worthless.
They refused to establish any kind of dialogue with Israeli forerunners
of the medium. For Allon, his lack of familiarity with or knowledge of
the antecedents of Israeli photography became a major advantage, as his
point of reference was the current situation, which motivated him to
act. However, this did not deter him from a noticeably conscious effort
to reach deep into local cultural conditions, including problematic issues
around the Bible and Jewish questions, the territories, and the mystic
or messianic political currents in the country.
Although there had always been rather intensive camera activity in the
region, especially in Israel, in the late 1970s and early 1980s there was
practically no critical writing of any kind in the field. Even museum
exhibition catalogues were mainly descriptive, to some extent apologetic,
and did not attempt to create a critical discourse of any kind.
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Figure 2: From the film Shevarim (Fragments) 1990-2006: The Second Lebanon War; shown: Gérard Allon.
Photography was still battling for recognition as an art form and seeking
legitimacy as a creative/artistic tool in its own right. Today‘s contemporary
Israeli film, video and photography still owe much to the
intensive activity and creative burst that took place in the 1970s.
Gérard Allon’s career has been characterized by continuity and a deep
coherence. One of the first works he created shortly after his arrival in
Israel was a film on the first Jewish settlement on the Golan Heights,
and this documentary has provided basic material that he constantly
reuses in his current work. In Fragments (1990-2006), for instance, he
combines parts of this early footage with recent takes in a new film expressing
continuity, but also pointing to the radicalization of the religious
discourse that has been sliding towards political messianism (Figure 2).
The remarkable variety and originality of Allon’s photographic activity
quickly earned him a place in the front row of the camera practitioners
working in the commercial arena. Advertising agencies and
publications sought him out because his images brought new ideas
and a fresh approach to fashion and magazine illustrations. Allon not
only introduced new standards in this field, he also deployed his
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imported aesthetics. His photographs spoke in a new visual vernacular
that came from a different culture. Thus, he incorporated the use
of sensuality, which was not only innovative but also shattered certain
taboos still existing in a rather puritan Israel. The subtle eroticism that
his work exuded, with its Western/French aura of elegance, was taken
up by others and set a new pattern in the field.
Beginning in 1978, the newly established monthly magazine Monitin,
a modern and revolutionary publication with a flashy, slick style and
an unprecedented high-standard of printing, also redefined editorial
photography. The editors offered a new showcase, an experimental
stage and new codes for the use of photographs, granting total freedom
to the artists. It was natural that Allon would find his place there as
one of the leading contributors (Figure 3), and in fact, he became the
person behind many covers and feature articles.
Allon’s new ideas and approaches had a significant impact on commercial
photography—notably on magazine covers and posters (Figure
4). He had a similarly innovative impact on the art of disc covers,
especially during the 1980s when music also was flourishing (Figure 5).
Figure 3: Image used on a cover for Monitin
magazine, 1979.
Figure 4: Poster for Mira Recanati’s film
Elef Neshikot (A Thousand Little Kisses),
1981. (© Israfilm Ltd.; reproduced with
permission)
Figure 5: Jacket cover for Mati Caspi record,
1976. (© NMC United; reproduced with
permission)
11

An additional and significant area in which Allon excels
is stage photography. His love and deep understanding
of the medium, based on his wide experience
in France—especially shooting the Living Theater in
Lille in the late 1960s—made him one of the leading
figures of the field in Israel. He eventually was appointed
house photographer for the Israel National
Theater Ha-Bimah where for the last several decades he
has created exceptional visual documentation of their
groundbreaking plays. In addition, he has worked for
the Cameri Theater, the Yiddish Theater, and the
Jerusalem Khan Theater. Besides regular stage photography,
he has also contributed visuals that were an
integral part of the stage design as well as of the play
itself. A most remarkable such contribution was the
video he produced for Allen Ginsberg’s Kaddish for
Naomi. When the play was reviewed by the New York
Times on September 20, 2003, his work was more
highly praised than the play itself. As Margo Jefferson
wrote: “Video images are so popular that they can become
a visual tic. There is nothing generic, though,
about the work of Gerard Allon, the production’s multimedia
director; his images work as a musical score does.
Rhythms change; so does intensity” (Figures 6, 7).
Allon’s personal search for new visual possibilities and
languages has been a crucial aspect of his overall
creative activity, and he has never ceased to develop
new areas of interest. As part of adapting to his new
Figures 6, 7: From the video art film Kadish le-No‘omi Ginsberg (Kaddish for Naomi Ginsberg),
2000.
12

country—and in an attempt to absorb the cultural icons of Israel—
Allon created a series of small black and white images in which he portrayed
everyday objects that are specific to Israel. By writing their
descriptive name in Hebrew and often with mistakes he created a dialogue
and a new basis for familiarity with the strange environment. In
the photograph “Matches” he adds in parentheses “(Israeli),” so as to differentiate
them from others and accentuate their local value (Figure 8).
These photographs are also closely connected to the issue of identity
and his search for his own individuality in society. The fact that Israel
is a melting pot of cultures and languages, with Jews from so many
different backgrounds, leads Allon to realize that the only binding element
is the common religious/historic past shared by all Jews and
that images and metaphors from the Bible could serve to tie together
and define the nation in formation. However, Allon could not act on
this realization in his commercial work. From the early formative years
of the State, and especially during the 1960s and 1970s most commissioning
agencies, artists, and photographers avoided art with religious
overtones at all costs. In fact, they all focused on the Sabra the native
Israeli as the model of the new Jew being created in the melting pot.
Yet, this new Israeli was far from being a synthesis of all the citizens, an
ideal figure to be looked up to, because the model was always European,
an Ashkenazi, an ideal figure appealing only to less than one half
of the population. In fact, instead of binding together, it deepened the
social differences between the different ethnic groups. During the early
1980s ethnocentricity became a new standard under which groups and
parties assembled and fought.
Figure 8: Gafrurim Yisre’elim (Matches (Israeli)). From the series Postcards from
Israel, 1982.
Despite that, Allon decided to create works deeply rooted in Jewish
writing and tradition. His Bereshit (Genesis) sequence illustrated passages
from Genesis, while the Passover Haggadah that he created and
13

Figure 9: Yom Shelishi (Third Day), from the series Genesis, 1984.
also published was a new version of the traditional text, coupled with
new illustrations. The semi-abstract images eventually became photographic
landmarks in Israel (Figure 9). Although he constructed the
staged setups for the series in the purest Jewish tradition, Allon avoided
literal illustrations, instead using a contemporary visual vernacular
and modern symbols. The visual elements he employed were essentially
basic geometric forms, visual analogies of the four elements and
colors, yet all endowed with Cabalistic significance. As Allon clearly
states, his research on the visual representation of the Bible is a personal
exegesis, through which he “translated” and interpreted the texts.
The images remain somewhat hermetic to the layman, as one needs to
have at least a basic knowledge of the philosophical complexity of the
Cabalistic concepts, such as the tree of life and the Sefirot.
14

In the introduction to the Passover Haggadah published in 1982
Allon wrote:
The Passover Haggada has existed for thousands of years and
usually appears accompanied by drawings and pictures.
These aid in creating an actualization of the Hebrew Exodus
from Egypt in each generation; a physical, moreover a mental
and spiritual liberation which we must . . . undergo anew
every year.
During the work, there appeared a possibility of a photographic
exegesis and its language was based on primary
forms: circle, square, triangle . . . , and basic colours. Usage of
their meaning stems from the knowledge of the Kabbalah.
In every shape, in every colour there is essence.
In the fall of the same year, the Israel Museum, Jerusalem, organized a
major exhibition titled Here and Now: Israeli Art, which included painting,
sculpture, drawing, photography, and video. This was an extensive
survey of the condition of the arts in the country, and Gérard Allon was
one of the fourteen photographers chosen as representative of the most
innovative and up-to-date approaches in the medium. Selected for the exhibition
was the series of ten photographs from the Passover Haggadah
illustrating the ten plagues of Egypt (Figure 10).
The catalogue of the exhibition referred to Allon’s work in these terms:
Gérard Allon is the only photographer in the exhibition who
attempts to avoid the beaten path. Almost totally free of any
foreign influences, he aims to produce images derived directly
from Jewish heritage. His photographs, a series of illustrations
for a recently published Passover Haggada,
combine a two-millennia-old subject with a very modern visual
idiom: color photography. This unusual mixture, together
with the use of Kabalistic signs and symbols, results in
a unique series of abstract images. Even more surprising is
the use of violent colors reminiscent of Punk aesthetic, and
Figure 10: Hoshekh (Darkness, The Ten Plagues), from Hagadah shel Pesah
(Passover Haggadah), 1982.
its associations with such a subject. Allon’s modern photographic
mysticism and his effort to combine old and new
might be seen as a solitary attempt in the search for a local
character in Israeli photography.
In spite of the unusual character of his work and art, and its dissimilarity
with current photographic practices in the country, Allon has
been embraced by the museum and art worlds as being one of the representatives
of new Israeli photography.
An avid experimenter and seeker after new tools to enlarge his creative
arsenal, Allon embraced the new science of holography in the early
1980s. In applying it in his art he pioneered an almost futurist mode
of imagery that verges on science fiction. The groundbreaking images
15

tography. As conceived and expressed by Allon, holography is in a
sense a two-dimensional rendition of a four-dimensional world and
reality, as it also includes the element of time. Not only is the perspective
not dependent on the camera’s position, it varies according to the
viewer’s placement: two viewers looking at the same picture will each
perceive a different image, just as if looking through a window.
Figure 11: Hologram from an installation for Paradoks ha-Halom
ha-Homri (The Paradox of the Materialistic Dream), Tel Aviv Museum
of Art, 1993.
created in his state-of-the art studio laboratory touch upon a variety
of subjects—from Biblical symbolism to fashion and portraiture (Figure
11). However successful, his efforts did not meet with the response
he expected. It seems that his experiments and the images he created
were somewhat premature, with their intellectual and philosophical
basis not understood.
In Allon’s view, holography and synthetic imagery questioned the traditional
concept of photography and linear perspective as applied
through the lens and the camera obscura. The new technologies, especially
holography with its simultaneous multiple points of view of
the subject, is an antithesis of the time-frozen, “cyclopic” vision of pho-
Having traveled to the United States and Canada for his exhibitions
in 1983 and 1985, Allon realized that the technology of holography
had evolved to the point of allowing a wider range of creative possibilities.
In addition, he also met potential investors wanting to create
a research and development company in the field, and they offered
him a partnership and the direction of a laboratory in Montreal,
Canada, the center of new imaging technologies. In view of the
limited possibilities Israel could offer for holography and his need
for wider horizons, he decided to move to Canada in 1986. There, besides
his regular photographic work, he experimented extensively
with the magic beams. He registered a U.S. patent for a “Photograph
Booth with Automatic Holographic Camera” on April 5, 1988; see
http://www.patentstorm.us/patents-by-date/1988/0405-1.html. This
unique device was capable of creating a hologram of a human subject
positioned inside it and facing a holographic sheet film on which the
hologram of the subject was to be recorded. Although the booth had all
the necessary safety devices to prevent the laser beam from damaging the
sitter’s eyes, its high cost probably prevented its commercial realization.
Allon’s stay in Canada, although longer than intended, was also a period
of reflection on the very essence of images, and it naturally influenced
his future work. Upon his return to Israel in 1991, he continued
experimenting with the notion of multiple points of view, turning his
16

Figure 12: From the film Ha-Hagorah shel No‘omi (Naomi’s Corset), 2004.
interest towards video installations as another possibility of imaging
and representation. The residual effect of these can be strongly felt in
his new video creations, where he uses split screens that offer viewers
several vantage points simultaneously, thus allowing different interpretations
of the works.
Among Allon’s more recent achievements are two films that have
brought him a well-deserved international recognition. The documentary
Naomi’s Corset (2004) is based on the ordeal his daughter
Naomi went through in a series of difficult surgical operations to correct
a serious case of scoliosis. This deeply moving document unavoidably
carries traces of elements from the cinéma vérité so familiar
to him. However, it deals with a new vernacular, that of video art,
which, through staged and manipulated scenes, questions the sober
and realistic imagery that is the very essence of cinéma vérité. Allon’s
film was awarded the jury’s special mention at the FIPA (International
Festival of Audiovisual Programs) in 2005 (Figure 12).
His second film, Fragments, is neither a documentary nor a feature. It
asks questions and seeks answers without necessarily finding any,
which has always been characteristic of Allon’s creative activity and
prolific mind. His questioning has long transcended the personal level
17

and has moved to the wider national, political, and social realms. His
queries vis-à-vis being Israeli, Zionist, and Jewish (not in a religious
but rather a mystical context) are not meant to create controversy; that
already exists naturally in the country. He aims instead to raise issues
of identity and belonging to the land and country and of the ethical
values of Israel in the contemporary geopolitical environment. As is
clear from the film itself, Allon asks questions and attempts to answer
them in a dialogue with himself. Yet the answers are not to be found.
This impossible situation makes his daughter, also acting in the film,
ask: “Father, why don’t you answer me.” As with most of his art work,
this film, although contemporary in its conception and the use of new
technologies, still shows influences from Allon’s European and especially
French background. The construction of the movie, with the different
scenes and episodes in it, some recurrent, others virtually
unrelated or contradictory, are reminiscent of the literary style called
nouveau roman advocated in the 1960s by novelist and filmmaker
Alain Robbe-Grillet.
It is virtually impossible to sum up such a long and prolific career in
the arts in one short essay. Looking back, Allon can be rightfully satisfied
with what has happened to him personally, as well as with his involvement
in the artistic life of Israel. The country has enriched him
as a person and as an artist, and at the same time it has received much
from him. However, he himself never asserts the importance of his
achievements or the wide range of his influence. Throughout his career,
Gérard Allon has evinced a personal and artistic modesty. Instead
of imposing himself upon his creations, he reveals and expresses himself
only through the richness, variety, and originality of his creative
strategies. Israel has been blessed with such an outstanding addition to
its artistic family.
Nissan N. Perez
February 2008
18

P E R S O NA L S TAT E M E N T
Dispute over Photonic Representation
G É R A R D A L LO N
Jerusalem, Spring 2009
In front of the Bezalel Academy of Fine Arts in Jerusalem and in
front of a crowd of students and teachers, a dispute over photonic
representations began. Taking part in the dispute were a holographer,
a portraitist, and a photojournalist.
Following a brief introduction of the protagonists, the Academy’s
president let the dispute range freely.
Below we report some excerpts from a discussion that continued
through the night on the heights of Mount Scopus.
The Portraitist
The true greatness of the photographic image comes from its ability to
faithfully reproduce the forms of the real. This is best expressed in the
portrait. What does it matter if the final image is three-dimensional?
Looking at a daguerreotype means coming into contact with the soul
of the person who was in front of the silver plate. This image is not a
graphic reconstruction of the features of a face, but rather, to the contrary,
it is its luminous imprint. This is true for all types of photographic
portraits but it is clear that in the case of the daguerreotype it
is as if we are facing the mirror that saw the person represented. The
photons assumed each one of its features before being reflected onto
the sensitive plate while bearing within them a portion of the soul that
every face knows how to reveal.
The photo-sensitive object is sacralized by the impression that will forever
mark it.
19

I draw a basic difference between the daguerreotype, which has been
physically touched by the light which came from the being’s face, and
the photographic print. A photograph on paper, made based on a negative,
is but the graphic reconstruction of a luminous print. It is the
product of a laboratory operation that manipulates the negative image
so as to create a positive image, one that is often reframed, is sometimes
retouched, and is almost always enlarged. The vital energy or,
better yet, the soul of the photographed subject has, in a sense, blurred
during the process. Only the negative that has been exposed to the luminous
waves reflected by the subject retains the living memory of its
presence. The mechanical and chemical reproduction desacralizes the
original image.
Mark this well.
The search for a mimetic pictorial technology of what is currently in
existence is a response to our fathers’ deep faith in material’s taking
on the shapes of the soul that inhabits it. So the discovery of photography
was the fruit of a quest to learn this. Through it I can deepen my
knowledge of man and nature.
As the faithful imprint of the forms of the real, the photographic image
allows me to know beings, landscapes, and things that I have never
personally encountered.
Ask the scientist.
He will tell you that the photograph is the main mediator of his knowledge.
Without it he would not know much about the universe. His understanding
of distant galaxies is based on the images that were taken
by the cameras that he has sent into space. To examine the photograph
of a distant star is to discover the star itself.
Exploration of the inside of the living body is done through the intermediary
of minuscule cameras that the researcher sends off into the
flow of blood in his veins and arteries. Scientific knowledge is obtained
from seeing it.
The explorer, having come back from the heart of unknown continents,
will examine the photographs that he took in order to expand
our understanding of the world. Other seekers of the True will carry
out new explorations, via those same images, without needing to move
physically. To examine an authentic photograph of the Real means examining
the Real itself.
Knowledge of what is infinitely small includes the making and the interpretation
of photographic images. I have seen the result of the impact produced
by the meeting of two protons smashed against one another in a
particle accelerator, on a photographic plate that clearly remembers the
event. Thus I can objectively, which is to say scientifically, draw conclusions
about the life of the material based on the faithful snapshot.
The scientist is the brother of the portraitist and of the daguerreotypist
in particular. Both of them try to give an image of the real such as
it is, outside of me.
The Holographer
Let me explain this to you.
The two-dimensional photograph represents only a shadow of reality.
Remember this: the camera obscura, the most important tool for
knowing the physical world since the Renaissance, was already known
to the Ancients. The luminous reflection projected onto the wall of the
dark room, after having crossed the pinhole, or even the lens of the
20

tightly closed diaphragm, did not interest them. In it they saw only an
illusion, or a lie, or even a trap by Satan.
And do you know why?
The fact is that the biggest section of the light reflected by the material
world does not get into the camera obscura. Only the photons that are
geometrically lined up with the pinhole make an impression on the
photographic plate. All the others which are immeasurably more numerous
get lost in infinity or even shatter in the surrounding material.
Which is to say that the information gathered by the light-sensitive
plate is infinitely partial.
By positioning his equipment, the operator perforce selects the photons
that will contribute to the creation of the image. So the partial
information is in truth partial. It positions the operator’s I at the core
of the debate. The “what I see of the real” in the photographic image
becomes the “what I believe the real is.” What I see through the pinhole
becomes scientific, artistic, and political law. In it the perspective is
unique, single-eyed, flat, and determined by my single choice of positioning
the one-eyed lens in the physical, material, sensitive world.
The flat image based on static perspective, which is an illusion of
depth, is the source of photography. It is the propaganda tool par excellence.
Its truncated representation of the Real passes itself off as a
twin sister of Truth.
It serves wars, acts of injustice, and the economic exploitation of the
masses.
Let me talk to you about holography.
This word comes from the Greek holos, entire, complete, and from
graphein, to write.
Its name means something like the complete message or rather information
in its entirety.
In the case of holography, the light that is reflected by the object does
not pass through a pinhole in its trajectory toward the photo-sensitive
plate. There is no selection of signifying photons as occurs in photography.
Holographic vision is accomplished via a broad window onto the real
and not via a tiny opening made in one of the walls of the camera obscura.
Each one of the points of the holographic plate contains all of
the visual information about the recorded object. We actually perceive
the image’s depth. The perspective is not limited to a one-eyed and
static point of view. It will change as a function of the viewer’s holographic
window. Two observers situated simultaneously in front a
holographic image will not see the same thing.
As you know, each one of the points of the photo-sensitive emulsion
will record the luminous information reflected by each one of the
points of the holographed object. Owing to this, each one of the points
of the holographic plate will contain all of the visual information of
the object located opposite it. So the wider and taller a window is, the
more the parallax effect will increase. The more vision expands, the
more the questioning about the meaning of the representation increases.
The richer the representation, the less chance I have to understand
and appropriate the visual interpretation unto myself. The
more detailed the representation of the real is, the more in itself it presents
a major number of points of view.
21

If you shatter a holographic plate, you will continue to see all of the object
recorded in each one of its fragments. But the more the size of the
fragment diminishes, the less of a role the parallax effect will play. The
observer located opposite a small holographic fragment will only be
able to read it with a single eye just as the viewer located on the other
side of the door will only be able to observe the scene through the keyhole.
An infinity of details of the scene will thus be illegible.
Reduced to the size of a pinhole, a hologram will have characteristics
equivalent to those of a photograph.
Look closely.
A hologram imposes on the viewer the physical necessity of moving in
order to read it via its multiplicity of points of view. Reading a holographic
image implies a move by the viewer in space over a period of
time. The reading of a photograph demands, albeit for an instant, a
halt in the viewer’s attention to the fixed image.
The holographic viewer is dynamic whereas the photographic viewer
is static.
The multiplicity of points of view that are necessary for the reading of
a hologram implies a move of thought into the space-time of the representation.
The operation’s relative complexity will evoke questioning
and doubt in the viewer. The peculiarity of the photographic image is
of its being limited to a single point of view. Its intrinsic single voice
will invite the viewer to give it a clear, unique interpretation. The photographic
representation tends to convince the observer of the truthfulness
of the information that it conveys. The observer is invited to see
in the photographic representation what its author saw at the time the
image was recorded. In holography the operator’s eye cannot simultaneously
occupy all of the points of view of the scene that he is fixing
onto the sensitive plate.
Owing to the nature of the photographic medium, the theoretically
objective operator imposes his own perspective on me even if this was
manipulated.
In holography, the notion of objectivity on the part of the operator
loses its meaning.
The peculiarity of a photograph is to isolate a particular instant among
an infinity of other instants that are contiguous with it and which form
the flow of time.
The author of a photograph perforce seeks to convince us that he has
released the shutter of his camera at a privileged and significant moment,
one that is superior to the instants that preceded it.
The photograph, and, after that, the cinema, atomize space-time in a
linear set of separated visual instants.
The photograph seems to dominate the represented subject by freezing
it in its frame. It in turn asks you to subjugate it. The photograph
pressures you into taking part in the feeling of dominating the subject
that has been set onto the plate, a bit like the hunter’s stuffed trophy
tends to strengthen your feeling of superiority in relation to the slain
animal. The photograph appeals for communion between the operator,
the represented subject, and all viewers.
Do not go off and think that holography’s peculiarity lies in the threedimensional
aspect of its representations.
22

From the start of photography, the invention of stereoscopy allowed
for the creation of images in relief. Two pieces of photographic equipment
positioned side by side, with spacing equivalent to that which
separates the two eyes of a face, record the same object. These two
single-eyed representations will be allowed to see such that each eye
will only be able to perceive the image matching its position in relation
to the photographed object. So the relief effect is created. But the
image’s perspective will not be altered, even in the event the viewer
changed position in relation to it.
All viewers of a stereoscopic image see the same thing at the same time,
this independently of their position in relation to it.
In the case of holography, as I have already mentioned to you, at a
given moment each one of the viewers located opposite the holographic
window discovers a perspective that is different from that of
his neighbor. His perception is relative to his position in space-time.
The specificity of the holographic representation is thus above all to
relativize the viewing based on the spectator’s physical position.
The Photojournalist
Following such praise of the daguerreotype and the hologram, let me
try to tell you about my experience with photographic representation.
As for myself, I create documents. I document the social events that
seem to unfold around us, outside of myself.
I produce the items that are essential to the historian’s future work.
But I am also the person through whom the information passes among
the actors who produce the event and the spectators of my images,
near and far.
At every moment of my photographic act, I select and manipulate the
visual information: By framing the image, through the instant that has
been selected for the exposure of the film that is shut up in the dark
room, through the lens that will redirect the light’s rays, through the
choice of the type of sensitive medium that will retain the memory of
the recorded scene, through the length of the exhibition, through the
depth of fields that the backgrounds will or will not reveal, etc.
Know that the photojournalist, like the hunter, is on the look-out. For
what? For the coveted prey, of course. This involves a prey selected by
him from among all the possible preys offered by nature. He will chose
the time he goes out, the spot from which he will watch, the weapon
used, and the very clothing he will wear as a function of the animal he
hopes to kill and bring back to his lair. All of this requires preparation.
If I go off hunting the wild boar, it is not highly probable I will return
with bodies of pigeons. I will eventually find what I am looking for.
Just as the carabineer comes back with the corpse of his selected prey,
the photojournalist records the snapshots that he has sought. He will
have to have done preparatory work in proper and due form before
going and seizing his privileged instants.
The latter includes getting permits to enter the territory where the
sought after action is unfolding or, rather, will unfold, the contacts
necessary to get as close to it as possible, the financing that is indispensable
to achieve in-depth documentary work, the choice of equipment,
and many other things. Do you think I am in the process of
minimizing the importance of my job? Quite to the contrary. The
events demand to be revealed, that is to say interpreted, represented,
put on stage. The photojournalist is a man of action. Beyond what he
23

lets us see of a just disappeared event, he provides us with an opinion.
He is part of the action and often even influences it.
The documentalist’s main problem is to create the documents that he
believes in, those that will give him the feeling of having played the
role necessary for the unfolding of the action in which he takes part.
But he knows that in order to exist, his images will have to be selected
by editors, historians, conservators, and other key actors in the final
representation of the event. So it will be necessary to reach a compromise
with them.
In this sense I agree with the holographer when he says that the photographic
image is partial.
The Portraitist
It’s people like you who hijack photography from its mission. Just as
the strong photographic portrait is the one that provides the face with
all of the scratches generated by time, avoiding greasepaint and posing,
and just as the social photograph must reduce the operator’s manipulating
intervention to a minimum. The framing will be neutral. The
lens that is used will be transparent and not distort. The moment the
shutter is released will bring all of the data from the scene into a
unique, masterly image.
The Photojournalist
Can knowledge come from murder?
In order to prove the rightfulness of what he is looking for, the scientist
dissects, deconstructs, intervenes, provokes, and finally kills the living
thing he has observed.
Like him the photographer selects, composes, waits, provokes, releases
the shutter, and kills the movement of the photographed scene.
What we call photographic truth is only a plastic interpretation of a
physical event that has just passed.
Slightly before dawn, the Academy’s president put an end to the dispute.
The crowd began its slow descent toward the heart of Jerusalem,
taking the innumerable paths that run all around Mount Scopus.
Some walkers were silent while others were trying to catch their neighbors’
attention. Among the innumerable voices that surrounded me,
some have remained in my memory.
One Teenaged Voice, As If Speaking to Himself
If, in the final analysis, the photograph does not represent the Real but
is content with giving a formal interpretation of it, the science based
on these photographic images would then only be a dependency of
poetry and philosophy. It would gain from mistrusting its own sufficiency.
Might there be room for a science of nature that would not just be materialist?
Another Voice
The scientist is the brother of the portraitist and of the daguerrotypist
in particular. Both of them claim to provide an image of the real as it
is. The only thing is that the features of the face are fugitive just as nature
is steeped in a permanent movement that seems to drag it heaven
only knows where.
24

A Somewhat Grandiloquent Voice That Seemed to Want to Attack Me
The holographic representation is the enemy of the portraitist and the
scientist as well as the documentalist. All three swear only by the single-eyed
photographic image, and the stereoscopic image at that.
As for holography, it does not claim to provide an exhaustive response
to the mysteries of the world. It leaves the door wide open to a plurality
of interpretations of the universe. But it involves a frozen representation.
Two Photography Professors Speaking to Each Other
Is the image reported by me evidence of a past event that reportedly took
place in all events, even outside of my presence, or rather was I one of the
players in a ceremony staged by a hidden artist? Am I the witness to an
independent gesture of the transmission tool that I activate?
Only the poacher of images might be able to claim to occupy a point of
view that is different from that of the hunter who has been approved by
the communications ministry.
So the photographer will gain from accepting the fact that his images
are the result of a manipulation of the material shapes reflected by the
real. A photograph is perforce a photograph of something and the photographic
representation that I give of it will perforce be distant from
the essence of the recorded event.
And, lower down in the valley, as we were going into the
city’s inhabited neighborhoods, an old man’s sweet voice
whispered into my ear
Everything is but the representation of a representation, which is itself
the representation of a represention, and this goes on without end. Material
and photography, its twin sister, form the two final stages of the
representation of an invisible, hidden, hypothetical, and absent absolute.
Gérard Allon
Jaffa, June 2009
Translated by Charles S. Fineman
25

AC K N OW L E D G E M E N T S
My deep thanks to Charles Berlin and Violet Radnofsky for their interest in my work. They made it
possible for me to digitize most of my photographic images and make them available to researchers and
the general public through the Internet. The publication of this catalog is a further encouragement to
me in pursuing my artistic work.
Thank you to Elizabeth Vernon for her significant contribution in the preparation of this catalog.
Thank you to Nissan N. Perez for his invaluable introductory text to this volume. Our meetings over the
years have encouraged me to continue my photographic and cinematographic research.
Thank you to Charles S. Fineman for his excellent English translation of my "Dispute Over Photonic
Representations."
Thank you to my friend Shai Zauderer for his invaluable advice during the layout of this catalog.
Finally thank you to my wife Henriette for her constant support.
— Gérard Allon
26

IMA KURAG’ | BERTOLD BRECHT | HABIMAH, 1975

TS’ERLI KA-TSERLI | ILAN RONEN | KHAN THEATRE, 1978

FANSHEN | DAVID HARE | KHAN THEATRE, 1978

BI-DEMI YAMEHA | SHMUEL YOSEF AGNON
KHAN THEATRE, 1977

MASHIAH BA! MASHIAH BA! | SLAWOMIR MROZ’EK | KHAN THEATRE,1978

OEDIPUS THE KING | SOPHOCLES | HABIMAH, 1977

AKHZAR MI-KOL HA-MELEKH | NISSIM ALONI | HABIMAH, 1997

MITOS | RANEH YERUSHALMI | ITIM THEATER ENSEMBLE, 2002

BA-MILHAMAH KEMO BA-MILHAMAH
ILAN RONEN | HABIMAH, 2002

AKEV AKILES | ILAN RONEN | HABIMAH, 2002

MEHAKIM LE-GODO
SAMUEL BECKETT | HABIMAH, 2002

NAMER HAVARBUROT | YA’AKOV SHABTAI | HABIMAH, 2006

AMADEUS | PETER SHAFFER | CAMERI, 2009

DONYAH ROSITAH | FEDERICO GARCIA LORCA | CAMERI, 2004

DEVORAH BARON | JUDITH KATZIR | CAMERI, 2004

MA’GAL HA-GIR HA-KAVKAZI | BERTOLD BRECHT | HABIMAH, 2000

SHELOMOH HA-MELEKH VE-SHALMAI HA-SANDLAR | SAMUEL GRONEMANN | HABIMAH, 2005

BUSTAN SEPHARADI | YTSHAK NAVON | HABIMAH, 1998

IRAM SHEL HA-ANASHIM HA-KETANIM
SHOLEM ALEICHEM | HERZLIYA ENSEMBLE, 2009

HEVRON | TAMIR GREENBERG | HABIMAH-CAMERI, 2007

AYIN 17 | SHAI LAHAV | CAMERI, 2009

HA-DEREKH LE-’EN HAROD | AMOS KENAN | FESTIVAL HA-YISRE’ELI LE-TE’ATRON AHER | ACRE, 2004

MAMI | HILEL MITELPUNKT | HABIMAH, 2002

DON PERLIMPLIN | FEDERICO GARCÍA LORCA | KHAN THEATRE, 2000

G’ONI HALAKH | ELDAD ZIV, JONATHAN GEFEN | CAMERI, 2010

JULIUS CAESAR | WILLIAM SHAKESPEAR | HABIMAH, 1999

SHEMO HOLEKH LE-FANAV | EPHRAIM KISHON | CAMERI-HAIFA THEATER, 2008

HA-MEKHASHEFAH | ABRAHAM GOLDFADEN | HABIMAH, 2000

HAYAH O LO HAYAH | EDNAH MAZYA | CAMERI, 2007

SHAVU’AH | SHELOMI MOSHKOVITS | HABIMAH, 2004

ZUGIYUT, RUTI MECHAGAT | SHAI GOLDEN | HABIMAH, 2004

MIKHTAV AHAVAH | FERNANDO ARABAL | HABIMAH, 2003

HA-HEDER SHEL VARONIKAH | IRA LEVIN | HABIMAH, 1997

MEDEA | EURIPIDES | HABIMAH, 1998

KADISH LE-NO’OMI | ALLEN GINSBERG | HABIMAH, 2000

MILHAMAH | LARS NORN | HABIMAH, 2005

ARTON | AHARON ‘EZRA | HABIMAH, 2004

KEN HA KUKIA | DALE VASSERMAN | HABIMAH, 1999

MILKUD 22 | JOSEPH HELLER | HABIMAH, 1997

MOTO SHEL SOKHEN | ARTHUR MILLER | HABIMAH, 2003

BIGDE HA-MELEKH | NISIM ALONI | HABIMAH, 2004

HA-TAHANAH SHEL DON KIHOTEH | GILAD EVRON | HERZLIYA ENSEMBLE, 2008

ANAH KARENINAH | LEV TOLSTOI | HABIMAH, 2007

GESHEM SHAHOR | SHIMON BOUZAGLO | HERZLIYA ENSEMBLE-HAIFA THEATER, 2007

KOLOT BA-LAILAH
YEHOSHU’A SOBOL | CAMERI, 2009

EPHIGENIA IN AULIS | EURIPIDES, SHIMON BOUZAGLO | HERZLIYA ENSEMBLE-HAIFA THEATER, 2009

KETER BA-ROSH
YAAKOV SHABTAI | HABIMAH, 2004

TUVYAH HA-HALBAN | SHOLEM ALEICHEM | YIDISHPIL 2003

ALIS BE-ERETS HA-PELA’OT | LEWIS CARROLL | HABIMAH, 2003

AKHZAR VE-RAHUM
SOPHOCLES | HABIMAH, 2005

HA-DIBUK-BEIN CHNEI OLAMOT | S. AN-SKI | HABIMAH, 1998

TASHMAD | SHEMU’EL ASIFRI | HABIMAH, 2003

PESHUTAH | MIKI ROTSHTAIN | HABIMAH | PERFORMED IN FESTIVAL TE’ATRONETO 2007

YALDE HA-TSEL | TOMER BENTSIYON | YIDISHPIL, 2007

ANTIGONAH
SOPHOCLES | HABIMAH-CAMERI, 2006

P H OTO G R A P H S B Y G É R A R D A L LO N

L I S T O F P H OTO G R A P H S
Ima Kurag’ (Mutter Courage und ihre Kinder) (1975) 28-29
Ts’erli Kats’erli (1978) 30-31
Fanshen (1977) 32-33
Bi-demi yameha (1977) 34
Mashiah ba! Mashiah ba! (Testarium) (1978) 35
Edipus ha-melekh (Oedipus Rex) (1977) 36-37
Akhzar mi-kol ha-melekh (1997) 38-41
Mitos (Oresteia) (2002) 42-43
Ba-milhamah kemo ba-milhamah (2002) 44-45
Akev Akhiles (2002) 46-47
Mehakim le-Godo (En attendant Godot) (2002) 48-51
Namer havarburot (2006) 52-53
Amade’us (Amadeus) (2009) 54-55
Donyah Rositah (Doña Rosita la Soltera) (2001) 56
Devorah Baron (2000) 57
Ma‘gal ha-gir ha-Kavkazi (Der kaukasische Kreidekreis) (1999) 58-59
Shelomoh ha-melekh ve-Shalmai ha-sandlar
(König Salomo und der Schuster) (2005) 60-61
Bustan Sefaradi (1998) 62-63
Iram shel ha-anashim ha-ketanim (2009) 64-65
Hevron (2007) 66-69
Ayin 17 (2009) 70
Ha-derekh le-‘En Harod (2004) 71
Mami (2002) 72-73
Don Perlimplin (Amor de Don Perlimplin con Belisa
en su jardín) (2000) 74-75
G’oni halakh (2010) 76
Yulyus Kesar (Julius Caesar) (1999) 77
Shemo holekh le-fanav (2008) 78
Ha-mekhashefah (2000) 79
Hayah o lo hayah (2007) 80-81
Shavu‘a (2004) 82-83
Zugiyut: Ruti meshuga‘at (2004) 84-85
Mikhtav ahavah (Carta de amor) (1999) 86
Ha-heder shel Varonikah (Veronica’s Room) (1997) 87
129

Mede’ah (Medea) (1998) 88-89
Kadish le-No‘omi (Kaddish for Naomi Ginsberg
(1894-1956)) (2000) 90-93
Milhamah (Krig) (2005) 94-95
Arton (2004) 96-97
Ken ha-kukiyah (One Flew over the Cuckoo’s Nest) (1999) 98-99
Milkud 22 (Catch 22) (1997) 100-101
Moto shel sokhen (Death of a Salesman) (2003) 102
Bigde ha-melekh (2004) 103
Ha-ta‘anah shel Don Kihoteh (2008) 104-105
Anah Kareninah (Anna Karenina) (2007) 106-107
Geshem shahor (2007) 108-109
Kolot ba-lailah (2009) 110
Ifigenyah be-Aulis (Ephigenia in Aulis) (2009) 111
Keter ba-rosh (2004) 112
Tevyeh der milkhiker (2003) 113
Alis be-erets ha-pela’ot (Alice in Wonderland) (2003) 114-115
Akhzar ve-rahum (Cruel and Tender) (2005) 116-117
Ha-dibuk: ben shene olamot (Dibek) (1998) 118-121
Tashmad (2005) 122
Peshutah (2007) 123
Kinder fun shotn (Yalde ha-tsel) (2007) 124
Antigonah (Antigone) (2006) 125-127
130

I N D E X B Y T I T L E O F P H OTO G R A P H S
(Note: Plays translated into Hebrew are listed under both the title of the
Hebrew translation and the original title.)
Title
Page(s)
Akev Akhiles 46-47
Akhzar mi-kol ha-melekh 38-41
Akhzar ve-rahum (Cruel and Tender) 116-117
Alice in Wonderland 114-115
Alis be-erets ha-pela’ot (Alice in Wonderland) 114-115
Amadeus 54-55
Amade’us (Amadeus) 54-55
Amor de Don Perlimplin con Belisa en su jardín 74-75
Anah Kareninah (Anna Karenina) 106-107
Anna Karenina 106-107
Antigonah (Antigone) 125-127
Antigone 125-127
Arton 96-97
Ayin 17 70
Ba-milhamah kemo ba-milhamah 44-45
Bi-demi yameha 34
Bigde ha-melekh 103
Bustan Sefaradi 62-63
Carta de amor 86
Catch 22 100-101
Cruel and Tender 116-117
Death of a Salesman 102
Ha-derekh le-‘En Harod 71
Devorah Baron 57
Dibek 118-121
Ha-dibuk: ben shene olamot (Dibek) 118-121
Don Perlimplin (Amor de Don Perlimplin con Belisa en su jardín) 74-75
Doña Rosita la Soltera 56
Donyah Rositah (Doña Rosita la Soltera) 56
Edipus ha-melekh (Oedipus Rex) 36-37
En attendant Godot 48-51
Ephigenia in Aulis 111
Fanshen 32-33
Geshem shahor 108-109
G’oni halakh 76
Hayah o lo hayah 80-81
131

Ha-heder shel Varonikah (Veronica’s Room) 87
Hevron 66-69
Ifigenyah be-Aulis (Ephigenia in Aulis) 111
Ima Kurag’ (Mutter Courage und ihre Kinder) 28-29
Iram shel ha-anashim ha-ketanim 64-65
Julius Caesar 77
Kaddish for Naomi Ginsberg (1894-1956) 90-93
Kadish le-No‘omi (Kaddish for Naomi Ginsberg (1894-1956)) 90-93
Der kaukasische Kreidekreis 58-59
Ken ha-kukiyah (One Flew over the Cuckoo’s Nest) 98-99
Keter ba-rosh 112
Kinder fun shotn (Yalde ha-tsel) 124
Kolot ba-lailah 110
König Salomo und der Schuster 60-61
Krig 94-95
Ma‘gal ha-gir ha-Kavkazi (Der kaukasische Kreidekreis) 58-59
Mami 72-73
Mashiah ba! Mashiah ba! (Testarium) 35
Medea 88-89
Mede’ah (Medea) 88-89
Mehakim le-Godo (En attendant Godot) 48-51
Ha-mekhashefah 79
Mikhtav ahavah (Carta de amor) 86
Milhamah (Krig) 94-95
Milkud 22 (Catch 22) 100-101
Mitos (Oresteia) 42-43
Moto shel sokhen (Death of a Salesman) 102
Mutter Courage und ihre Kinder 28-29
Namer havarburot 52-53
Oedipus Rex 36-37
One Flew over the Cuckoo’s Nest 98-99
Oresteia 42-43
Peshutah 123
Shavu‘a 82-83
Shelomoh ha-melekh ve-Shalmai ha-sandlar
(König Salomo und der Schuster) 60-61
Shemo holekh le-fanav 78
Ha-ta‘anah shel Don Kihoteh 104-105
Tashmad 122
Testarium 35
Tevyeh der milkhiker 113
Ts’erli Kats’erli 30-31
Veronica’s Room 87
Yalde ha-tsel 124
Yulyus Kesar (Julius Caesar) 77
Zugiyut: Ruti meshuga‘at 84-85
132

I N V E N TO RY O F G É R A R D A L LO N P H OTO G R A P H S
I N T H E H A RVA R D L I B R A RY
For more information on each listing, consult the entry in the
Library’s HOLLIS or VIA online catalogs.
THEATER
Ha-festival ha-Yisre’eli le-te’atron aher
The Acre Festival of Alternative Israeli Theater
2004 Acre Festival of Alternative Israeli Theater: outdoors
(JPCDPIA111) (47 images)
2004 Ha-derekh le-‘En Harod (JPCDPIA106) (206 images)
2004 Kidmah (JPCDPIA107) (201 images)
2004 Mah at hoshevet?: mivhan Mikhal Haiman mis. 3 (JPCDPIA109)
(157 images)
2004 Manu melekh Atlantis (JPCDPIA108) (196 images)
2004 Yom be-hayenu (JPCDPIA110) (191 images)
2005 Bavel (JPCDPIA224) (111 images)
2005 Blondinit ad ke’ev (JPCDPIA223) (195 images)
2005 Edipus: modelim (JPCDPIA226) (36 images)
2005 Ha-impotentim (JPCDPIA218) (227 images)
2005 Perumot (JPCDPIA222) (39 images)
2005 Pisul ke-te’atron 2005 (JPCDPIA225) (33 images)
2005 Setirah u-fetsa be-yam shel kerishim (JPCDPIA219) (148 images)
2005 Shmeterling (JPCDPIA220) (48 images)
2005 Ve-gar ze’ev im keves (JPCDPIA251) (226 images)
2005 Ha-zirah (JPCDPIA221) (279 images)
2007 Mar olam (JPCDPIAO72) (124 images)
2007 Trankilah (JPCDPIAO69, JPCDPIAO70) (200, 15 images)
2007 Yoshvim (JPCDPIAO71) (95 images)
2007 Zeh kemo la-haros rak hafukh (JPCDPIAO68) (100 images)
Festival Te’atroneto
Teatroneto Festival
2001 Anah, Hanah ve-Yohanah (staged by Ha-Bimah) (JPCDPIA72)
(44 images)
2001 Heshbonit ha-nefesh (JPCDPIA51) (79 images)
2001 Imahot ba-kikar (staged by Ha-Bimah) (JPCDPIA73) (101 images)
2004 Ani ve-hu: Ya’akov Kohen bohek Shaikeh Ofir (staged by
Ha-Bimah) (JPCDPIA42) (187 images)
2004 Ha-besorah al-pi Yosi (staged by Ha-Bimah) (JPCDPIA43) (88 images)
2004 Be-tsohore ha-yom (staged by Ha-Bimah) (JPCDPIA31) (105 images)
2004 G’enis: Re’ayon im agadat rok (staged by Ha-Bimah) (JPCDPIA41)
(238 images)
133

2004 Oskar ve-dodah Rozah (staged by Ha-Bimah) (JPCDPIA15)
(152 images)
2004 Street (staged by Ha-Bimah) (JPCDPIA32) (6 images)
2005 Ad efes makom (staged by Ha-Bimah) (JPCDPIA163) (177 images)
2005 Ani relevanti adayin! (staged by Ha-Bimah) (JPCDPIA166)
(136 images)
2005 Aravim rokdim (staged by Ha-Bimah) (JPCDPIA165) (130 images)
2005 Bo (staged by Ha-Bimah) (JPCDPIA164) (128 images)
2005 Falos ha-kadosh (staged by Ha-Bimah) (JPCDPIA168) (146 images)
2005 Gili (staged by Ha-Bimah) (JPCDPIA170) (77 images)
2005 Giyur le-humrah (staged by Ha-Bimah) (JPCDPIA169) (155 images)
2005 Hagar (staged by Ha-Bimah) (JPCDPIA161) (161 images)
2005 Kevar lo yaldah shel af ehad (staged by Ha-Bimah) (JPCDPIA160)
(146 images)
2005 Mi heziz et ha-sherafraf sheli (JPCDPIA171) (160 images)
2005 Ovdim zarim (staged by Ha-Bimah and Seminar ha-kibutsim’s Bet
ha-sefer le-omanuyot ha-bamah.) (JPCDPIA188) (178 images)
2005 Pulsa ve-nura (staged by Gesher) (JPCDPIA189) (90 images)
2005 Shirli Valentain (staged by Ha-Bimah) (JPCDPIA162) (264 images)
2005 Shovrim shetikah (staged by Ha-Bimah and Seminar ha-kibutsim’s
Bet ha-sefer le-omanuyot ha-bamah.) (JPCDPIA187) (183 images)
2005 Te’atron meha-seratim (Yoram Levinstein Acting Studio)
(JPCDPIA167) (193 images)
2006 Bertah ve-omanut ha-tahzukah (JPCDPIAO121) (186 images)
2006 Bi-tevah yerikah (JPCDPIAO122) (185 images)
2006 Ha-gerushin ha-nifla’im sheli (JPCDPIAO124) (89 images)
2006 Gever ehad (JPCDPIAO120) (197 images)
2006 Ha-geveret ha-rishonah shel ha-Raikh ha-shelishi (staged by
Te’atron Giv’atayim) (JPCDPIAO114) (195 images)
2006 Iyov, haluk ha-nahal veha-pil (JPCDPIAO123) (194 images)
2006 Opening night of Teatroneto 2006 (staged by Suzanne Dellal
Centre for Dance and Theatre) (JPCDPIAO129) (65 images)
2006 Performances during the Teatroneto Festival staged by Seminar
ha-Kibutsim’s Bet ha-sefer le-omanuyot ha-bamah
(JPCDPIAO115) (182 images)
2006 Tom: mevusas al shum davar (JPCDPIAO125) (139 images)
2007 Bediduti ha-yekarah (staged by Bet Tsevi) (JPCDPIAO142)
(182 images)
2007 Be-khele Ako (JPCDPIAO92) (55 images)
2007 Gernikah (JPCDPIAO93) (25 images)
2007 Kakhah zeh karah (staged by Gesher) (JPCDPIAO94) (95 images)
2007 Karu‘a (staged by ha-Merkaz le-te’atron shel Ako) (JPCDPIAO97)
(102 images)
2007 Me-‘avdut le-hishta‘bedut, eru‘a hatsot (staged by Seminar
ha-kibutsim’s Bet ha-sefer le-omanuyot ha-bamah)
(JPCDPIAO96) (145 images)
2007 Mishehu nafal (staged by Ha-Han) (JPCDPIAO95) (51 images)
2007 Ha-moreh le-mishak (JPCDPIAO147) (133 images)
2007 Peshutah (staged by Ha-Bimah) (JPCDPIAO17) (193 images)
2007 Ha-rehov shelanu (staged by Ha-Bimah) (Kevutsat ha-te’atron
shel Gai Zu-Arets) (JPCDPIAO98) (112 images)
2008 Al ta‘aseh li misken poh (JPCDPIAO101) (37 images)
2008 Ashrai (JPCDPIAO102) (131 images)
2008 Balon (JPCDPIAO103) (98 images)
2008 Itruf (JPCDPIAO100) (147 images)
2008 Lamah davka ani (JPCDPIAO105) (119 images)
2008 O lo li-heyot (JPCDPIAO99) (91 images)
2008 Oseh ha-nifla’ot (JPCDPIAO106) (101 images)
2008 Yehudi zaken blondinit (JPCDPIAO104) (108 images)
Ha-Bimah, ha-te’atron ha-le’umi
Ha-Bimah National Theatre of Israel
1975 Edi King (JPCDPIA207) (65 images)
1975 Ima Kurag’ (JPCDPIA102) (109 images)
1975 Ha-otsar (JPCDPIA103) (200 images)
1975 Yosefah (JPCDPIA88) (210 images)
1976 Ha-gag (JPCDPIA104) (185 images)
1976 Ha-Bimah promo 1976 (JPCDPIA153) (37 images)
1976 Israel’s president at Ima Kurag’ performance (JPCDPIA190)
(99 images)
1976 Oyev ha-‘am: stage poster (JPCDPIA154) (35 images)
134

1976 Rits’ard ha-shelishi (JPCDPIA105) (210 images)
1977 Edipus ha-melekh (JPCDPIA208) (200 images)
1977 Nisu’e Figaro (JPCDPIAO136) (200 images)
1977 Shemo holekh le-fanav (JPCDPIA191) (232 images)
1981 Nisu’e Figaro (JPCDPIAO137, JPCDPIAO138) (200, 33 images)
1982 Kahir, Febru’ar 78 (JPCDPIAO139) (152 images)
1997 Akhzar mi-kol ha-melekh (JPCDPIA245) (250 images)
1997 Al ha-hayim ve-‘al ha-mavet (JPCDPIA244) (279 images)
1997 Dudu Elharar mesaper ve-shar (JPCDPIA248) (171 images)
1997 Ha-heder shel Varonikah (JPCDPIA246) (245 images)
1997 Milkud 22 (JPCDPIA215) (260 images)
1997 Sipure Ha-Bimah (JPCDPIA10) (134 images)
1998 Anah Vais (JPCDPIA49) (209 images)
1998 Bustan Sefaradi: promo (JPCDPIA211) (169 images)
1998 Ha-dibuk: ben shene olamot (JPCDPIA256) (32 images)
1998 Karov yoter (JPCDPIA239) (200 images)
1998 Mede’ah (JPCDPIA97) (226 images)
1998 Purim 1998: street (JPCDPIA249) ( 138 images)
1999 Ken ha-kukiyah (JPCDPIA86) (230 images)
1999 Lo biglal ha-zikhronot (JPCDPIA243) (123 images)
1999 Ma‘gal ha-gir ha-Kavkazi (JPCDPIA48) (208 images)
1999 Mikhtav ahavah (JPCDPIA82) (216 images)
2000 Kadish le-No‘omi (JPCDPIA237, JPCDPIA237A) (181, 221
images)
2000 Karish patish (JPCDPIA56) (142 images)
2000 Mar’eh me‘al ha-gesher (JPCDPIA52) (202 images)
2000 Mehilah (JPCDPIA214) (120 images)
2000 Monologim meha-vaginah (JPCDPIA68) (208 images)
2000 Naser a-Din (JPCDPIA241) (218 images)
2000 Neshikat eshet ha-akavish (JPCDPIA238) (284 images)
2000 Pargodim (JPCDPIA65, JPCDPIA65A) (230, 100 images)
2001 Shed katan (JPCDPIA54) (69 images)
2001 Yomanah shel Anah Frank (JPCDPIA66) (201 images)
2002 Akev Akhiles (JPCDPIA257) (200 images)
2002 Ba-milhamah kemo ba-milhamah (JPCDPIA74) (201 images)
2002 Mami (JPCDPIA60) (209 images)
2002 Mehakim le-Godo (JPCDPIA45) (218 images)
2002 Prizes 2002 (JPCDPIA209) (118 images)
2002 Tamarah (JPCDPIA61) (194 images)
2003 Alis be-erets ha-pela’ot (JPCDPIA80) (227 images)
2003 Avanim ba-kisim (JPCDPIA95) (197 images)
2003 The fossil (JPCDPIA78) (187 images)
2003 Ha-hayim be-shalosh girsa’ot (JPCDPIA63) (259 images)
2003 Kahol/tapuz (JPCDPIA79) (172 images)
2003 Kefu’im (JPCDPIA44) (207 images)
2003 Ha-komika’im (JPCDPIA92) (212 images)
2003 Kufsah shehorah (JPCDPIA91) (222 images)
2003 La-lekhet ad ha-sof (JPCDPIA90) (216 images)
2003 Lev tov (JPCDPIA89) (216 images)
2003 Madrikh la-metayel be-Varshah (JPCDPIA96) (217 images)
2003 Ha-mekhashefah (JPCDPIA47) (204 images)
2003 Meri Lu (JPCDPIA62) (249 images)
2003 Milhemet ahim (JPCDPIA93) (229 images)
2003 Minyan nashim (JPCDPIA46) (213 images)
2003 Mishpahah (JPCDPIA50) (203 images)
2003 Moto shel sokhen (JPCDPIA64) (212 images)
2003 Ha-ne’ehavim veha-ne‘imim (JPCDPIA81, JPCDPIA81A)
(286, 200 images)
2003 Ohavim et Opal (JPCDPIA59) (203 images)
2003 Tahtonim (JPCDPIA77) (161 images)
2003 Tsurah le-ahavah (JPCDPIA57) (211 images)
2003 Yulyus Kesar (JPCDPIA87) (222 images)
2004 Anashim kashim (JPCDPIA85) (258 images)
2004 Arton (JPCDPIA14) (267 images)
2004 Ha-barvazon: ha-mahazemer (JPCDPIA4) (213 images)
2004 Bigde ha-melekh (JPCDPIA100A) (160 images)
2004 Hatul rehov (JPCDPIA83, JPCDPIA83A) (236, 100 images)
2004 Hodesh ba-kefar (JPCDPIA133) (200 images)
2004 Ken ha-kukiyah (JPCDPIA86) (230 images)
2004 Keter ba-rosh (JPCDPIA101) (200 images)
2004 Parparim hem hofshiyim (JPCDPIA75) (219 images)
2004 Shavu‘a (JPCDPIA84) (208 images)
2004 Shemoneh nashim (JPCDPIA136) (241 images)
2004 Ha-sirpad shel ha-shakhen (JPCDPIA35) (184 images)
135

2004 Ha-snob (JPCDPIA33) (165 images)
2004 Tel Aviv ha-ketanah (JPCDPIA34) (205 images)
2004 Zarim: atah kise, ani mayim (JPCDPIA76) (229 images)
2004 Zugiyut: Ruti meshuga‘at (JPCDPIA3) (236 images)
2005 Akhzar ve-rahum (JPCDPIA242) (196 images)
2005 Bustan Sefaradi: Spectacle (JPCDPIA210) (172 images)
2005 Ha-ez o mi zot Silviyah? (JPCDPIA194) (267 images)
2005 Ha-keves ha-shishah asar (JPCDPIA247) (136 images)
2005 Mevaker ha-medinah 2005 (JPCDPIA193) (257 images)
2005 Milhamah: mahazeh moderni (JPCDPIA195) (170 images)
2005 Mo‘adon ha-almanot ha-alizot (JPCDPIA192) (277 images)
2005 Ha-nesigah mi-Moskvah (JPCDPIA135) (280 images)
2005 Pati Difuzyah (JPCDPIA212) (270 images)
2005 Shelomoh ha-melekh ve-Shalmai ha-sandlar (JPCDPIA134)
(200 images)
2005 Tashmad (JPCDPIA132) (200 images)
2005 Taxi (JPCDPIA213) (278 images)
2005 Zeman emet (JPCDPIA198) (280 images)
2006 Antigonah (JPCDPIAO22, JPCDPIAO134, JPCDPIAO135)
(299, 200, 161 images)
2006 Hatunah mushlemet (JPCDPIAO107, JPCDPIAO108)
(200, 110 images)
2006 Namer havarburot (JPCDPIA240) (244 images)
2006 Nudnik (JPCDPIAO130, JPCDPIAO131) (200, 170 images)
2006 Perurim (JPCDPIAO112, JPCDPIAO113) (200, 118 images)
2006 Rekhush natush (JPCDPIAO127, JPCDPIAO128) (200, 153 images)
2006 Romantikah (JPCDPIAO12, JPCDPIAO13) (253, 300 images)
2006 Sonatat setav (JPCDPIAO132, JPCDPIAO133) (200, 192 images)
2006 Teip (JPCDPIAO109, JPCDPIAO110) (200, 126 images)
2006 Tekufat histaglut (JPCDPIAO116, JPCDPIAO117)
(200, 196 images)
2007 39 ha-madregot (JPCDPIAO1, JPCDPIAO2, JPCDPIAO3,
JPCDPIAO4) (102, 258, 200, 59 images)
2007 Anah Kareninah (JPCDPIAO21) (284 images)
2007 Hevron (JPCDPIAO9, JPCDPIAO10, JPCDPIAO11)
(224, 200, 200 images)
2007 Ha-moah ha-gavri (JPCDPIAO31) (21 images)
2007 Ha-nehag shel mis Deizi (JPCDPIAO7, JPCDPIAO8)
(264, 200 images)
2007 Ogust (JPCDPIAO23) (267 images)
2007 Sedakim ba-beton (JPCDPIAO38) (234 images)
2007 Temunot me-haye nisuʼin (JPCDPIAO14, JPCDPIAO15)
(272, 200 images)
2007 Ha-yeled (JPCDPIAO16) (252 images)
2008 Ha-hagigah (JPCDPIAO28) (299 images)
2008 Kol ha-hayim le-fanav (JPCDPIAO33) (218 images)
2008 Ha-mahaloket (JPCDPIAO30) (249 images)
2008 Shaʻah yafah le-yogah (JPCDPIAO25) (192 images)
2008 Yosef u-khetonet ha-pasim ha-meshagaʻat (JPCDPIAO40)
(289 images)
2009 Begidah (JPCDPIAO24) (178 images)
2009 Dibukim (JPCDPIAO26) (202 images)
2009 Eling (JPCDPIAO27) (256 images)
2009 Iyolf ha-katan (JPCDPIAO35) (260 images)
2009 Ha-kumkum veha-matate (JPCDPIAO34) (176 images)
2009 Meshugaʻat (JPCDPIAO36) (283 images)
2009 Perurim (JPCDPIAO111) (200 images)
2009 Sahkan mafteah (JPCDPIAO37) (50 images)
2009 Tikots’in Bat-Yam (JPCDPIAO39) (290 images)
2009 Ha-zug ha-muzar (JPCDPIAO32) (212 images)
2010 Ha-hotenet (JPCDPIAO29) (270 images)
Bimot
Bimot Theatre
1976 Binyamin III (JPCDPIA131) (106 images)
Ha-Han
Khan Theatre Jerusalem
1977 Bi-demi yameha (JPCDPIA139) (97 images)
1977 Fanshen (JPCDPIAO140, JPCDPIAO141) (200, 171 images)
1978 Mashiah ba! Mashiah ba! (JPCDPIA140) (200 images)
1978 Tefilin (JPCDPIA217) (71 images)
1978 Ts’erli Kats’erli (JPCDPIA141) (286 images)
2002 Don Perlimplin (JPCDPIA69) (197 images)
136

2003 Ha-ashlayah (JPCDPIA99) (214 images)
2003 Begidah (JPCDPIA98) (214 images)
2004 Ha-shahaf (JPCDPIA36) (112 images)
2005 Iram shel ha-anashim ha-ketanim (JPCDPIA250) (145 images)
2006 Ta’asi et atsmekh metah (JPCDPIAO126) (187 images)
Ha-Kameri, ha-te’atron shel Tel-Aviv
The Cameri Theatre of Tel Aviv
1997 Lalo (JPCDPIA252) (186 images)
2000 Devorah Baron (JPCDPIA8) (232 images)
2000 Lizistratah (JPCDPIA58) (183 images)
2001 Donyah Rositah (JPCDPIA2) (206 images)
2002 Mitos (JPCDPIA67) (139 images)
2004 Almah (JPCDPIA18) (212 images)
2004 Haverot hakhi tovot (JPCDPIA38) (218 images)
2004 Ma‘yan ha-gofrit (JPCDPIA16) (202 images)
2004 Ha-mordim (JPCDPIA39) (51 images)
2004 Norah (JPCDPIA37) (199 images)
2004 Shidukhim (JPCDPIA17) (215 images)
2007 Ba‘aluyot (JPCDPIAO67) (122 images)
2007 Hayah o lo hayah (JPCDPIAO55, JPCDPIAO56) (200, 96 images)
2008 Kanar al ha-gag (JPCDPIAO57, JPCDPIAO58) (200, 174 images)
2008 Shemo holekh le-fanav (JPCDPIAO65, JPCDPIAO66)
(200, 88 images)
2009 Amade’us (JPCDPIAO49) (200 images)
2009 Ayin 17 (JPCDPIAO61, JPCDPIAO62) (200, 67 images)
2009 Kolot ba-lailah (JPCDPIAO63, JPCDPIAO64) (200, 18 images)
2009 La-arets ha-muvtahat (JPCDPIAO59, JPCDPIAO60) (200, 81 images)
2010 G’oni halakh (JPCDPIAO51, JPCDPIAO52) (200, 53 images)
2010 Havdalah (JPCDPIAO53, JPCDPIAO54) (200, 98 images)
Lahakat Mahol Inbal Pinto
Inbal Pinto Dance Company
2007 Seg’erah (JPCDPIAO51a) (251 images)
Ha-Ma‘abadah
The Lab
2005 Shelomit (JPCDPIA137) (200 images)
Te’atron ha-Nefesh
Nephesh Theatre
2007 Ish ha-peladah mi-shekhunat Katsenelson (JPCDPIAO148)
(199 images)
Te’atron Hertseliyah
Herzliya Ensambel
2007 Geshem shahor (JPCDPIAO5, JPCDPIAO6) (225, 300 images)
2008 Ha-ta‘anah shel Don Kihoteh (JPCDPIAO43, JPCDPIAO44)
(200, 77 images)
2009 Amade’us (JPCDPIAO50) (66 images)
2009 Ifigenyah be-Aulis (JPCDPIAO42) (80 images)
2009 Iram shel ha-anashim ha-ketanim (JPCDPIAO47, JPCDPIAO48)
(200, 79 images)
2009 Yirmah (JPCDPIAO45, JPCDPIAO46) (200, 138 images)
Te’atron Temuna
Tmoona Theatre
2006 Ha-derekh ha-baitah (JPCDPIAO118, JPCDPIAO119)
(200, 8 images)
2007 She‘ato ha-aharonah shel Kol (JPCDPIAO143, JPCDPIAO144)
(200, 53 images)
Mo‘adon Tsavta
Tsavta Club
1975 Becky Freishtat be-Tsavta (JPCDPIA185) (135 images)
2007 Ha-ishah she-yakholti li-heyot (JPCDPIAO145, JPCDPIAO146)
(200, 17 images)
YidiShpil, te’atron ha-Yidish be-Yisra’el
Yiddishpiel—The Yiddish Theater in Israel
2003 Tevye der milkhiker (JPCDPIA94) (217 images)
2004 Di eybike Dzshigan un Shumakher (JPCDPIA53) (203 images)
137

2004 Di Pari shvesters (JPCDPIA40) (225 images)
2005 Farvos lakht di kale? (JPCDPIA196) (300 images)
2005 Di letste libe (JPCDPIA197) (64 images)
2005 Der Vilner hazn (JPCDPIA138) (291 images)
2005 A Yidishe mame in 10 lektsiyes (JPCDPIA254) (300 images)
2005 A ziveg fun himl (JPCDPIA216) (228 images)
2006 Di hiltserne shisel (JPCDPIAO88, JPCDPIAO89) (200, 75 images)
2006 Di rayzes fun Binyomin der driter (JPCDPIAO84, JPCDPIAO85)
(200, 60 images)
2006 Yidishe gesheftn.com (JPCDPIAO79, JPCDPIAO80)
(200, 66 images)
2007 Kinder fun shotn (JPCDPIAO18, JPCDPIAO19, JPCDPIAO20)
(19, 222, 300 images)
2007 Mazal tov Yidn (JPCDPIAO82, JPCDPIAO83) (200, 86 images)
2007 Yoshke muzikant (JPCDPIAO90, JPCDPIAO91) (200, 139 images)
2008 Dos groyse gevins (JPCDPIAO74, JPCDPIAO75) (200, 91 images)
2008 Der kunstenmakher fun Lublin (JPCDPIAO76, JPCDPIAO77)
(200, 90 images)
2009 Hazonim un di Yidishe neshome (JPCDPIAO78) (187 images)
2009 Tsvantsik biz hundert un tsvantsik (JPCDPIAO86, JPCDPIAO87)
(200, 7 images)
2010 Di klayne mentshelekh (JPCDPIAO73) (122 images)
2010 Lanski (JPCDPIAO81) (173 images)
MUSIC
1975 Ha-Ahim veha-ahayot (JPCDPIA19) (32 images)
1975 Arik Lavi (JPCDPIA30) (54 images)
1975 Havah Albershtain (JPCDPIA21) (113 images)
1975 Jimmy Lloyd (JPCDPIA122) (79 images)
1975 Lahakat Pikud Darom (Lehakot Tsahal) (JPCDPIA27)
(196 images)
1975 No‘omi Shemer (JPCDPIA25) (30 images)
1975 Ha-Parvarim (JPCDPIA28) (67 images)
1975 Peninah Zaltsman (JPCDPIA124) (134 images)
1975 Tamuz (JPCDPIA20) (120 images)
1975 Tamuz: stage (JPCDPIA203) (37 images)
1975 Yehoram Gaon (JPCDPIA29) (122 images)
1976 Alona (JPCDPIA128) (56 images)
1976 Aris San (JPCDPIA116) (62 images)
1976 Dinah Golan (JPCDPIA228) (93 images)
1976 Eli Mantver (JPCDPIA255) (35 images)
1976 Festival ha-zemer ha-Hasidi 8: promo (JPCDPIA178)
(169 images)
1976 Festival ha-zemer ha-Hasidi 8: stage (JPCDPIA179) (263 images)
1976 Hanan Yovel (JPCDPIA118) (76 images)
1976 Ilanit (JPCDPIA115) (137 images)
1976 Odessa (JPCDPIA149) (80 images)
1976 Platina (JPCDPIA236) (104 images)
1976 Ron Graner (JPCDPIA123) (21 images)
1976 Rouhama & group (JPCDPIA146) (62 images)
1976 Shem Tov Levi (JPCDPIA120) (83 images)
1976 Shokolad Mentah Mastik (JPCDPIA121) (24 images)
1976 Soul Messengers (JPCDPIA125) (164 images)
1976 Tony Fine: Barbarim (JPCDPIA182) (53 images)
1976 Uzi Fuks (JPCDPIA117) (36 images)
1976 Yehoram Gaon: on the road (JPCDPIA201) (71 images)
1977 Festival 1977 (JPCDPIA206) (83 images)
1977 Festival ha-zemer ha-Hasidi 9: promo (JPCDPIA181)
(181 images)
1977 Festival ha-zemer ha-Hasidi 9: stage (JPCDPIA180) (267 images)
1977 Joe Dassin in Israel (JPCDPIA144) (147 images)
1977 Lahakat Ketseh ha-sadeh (JPCDPIA253) (54 images)
1977 Lolita Fanza (JPCDPIA230) (147 images)
1977 Miki Gavri’elov & Korin Alal (JPCDPIA145) (103 images)
1977 Nurit Galron (JPCDPIA143) (111 images)
1977 Ofrah Hazah (JPCDPIA142) (68 images)
1977 Ofrah Hazah: Park ha-Yarkon (JPCDPIA173) (95 images)
1977 Ofrah Hazah u-Betsal’el Aloni: hatsagah (JPCDPIA172)
(195 images)
1977 Peace Festival 1977, Tel Aviv (JPCDPIA205) (247 images)
1977 Richie Havens: Peace festival (JPCDPIA176) (143 images)
1977 Richie Havens ve-Aibi Natan (JPCDPIA177) (35 images)
1978 Arik Einstein: TV studio (JPCDPIA199) (34 images)
138

1978 Nurit Galron (JPCDPIA200) (68 images)
1978 Yehoram Gaon: gold record (JPCDPIA202) (41 images)
1979 Arik Einstein and Shalom Hanokh (JPCDPIA119) (165 images)
1979 Yehoram Gaon (JPCDPIA227) (272 images)
1981 Arik Einstein: on stage (JPCDPIA174) (106 images)
PHOTOJOURNALISM
Social Documentation
1975 Coffee shops (JPCDPIA23) (105 images)
1975 Court in Israel (JPCDPIA12) (57 images)
1975 Jerusalem ramparts (JPCDPIA1) (167 images)
1975 Kibuts Merom Golan (JPCDPIA7) (101 images)
1975 Kurdish Jews (JPCDPIA11) (156 images)
1975 Ha-rokemet (JPCDPIA6) (213 images)
1975 Shomronim: Passover sacrifice (JPCDPIA70) (89 images)
1975 Sofer setam (JPCDPIA113) (59 images)
1975 Wedding at Keshet (JPCDPIA130) (230 images)
1975 Women at work (JPCDPIA114) (111 images)
1975 Yamit (JPCDPIA24) (107 images)
1976 Kurdish family (JPCDPIA232) (108 images)
1976 Nashim mele’ot (JPCDPIA151) (33 images)
1976 Organ builder (JPCDPIA150) (73 images)
1976 Police women (JPCDPIA231) (95 images)
1976 Studentiyot mevugarot (JPCDPIA112) (51 images)
1976 Sukot 1976 Jerusalem (JPCDPIA152) (68 images)
2005 Cemetery: Gush Katif (JPCDPIA233) (98 images)
2005 Signs: Gush Katif (JPCDPIA235) (132 images)
2005 Yom ha-Atsma’ut 2005: Gush Katif (JPCDPIA234) (296 images)
Art and Entertainment
1975 Becky Freishtat (JPCDPIA22) (202 images)
1975 Eldad Lidor (JPCDPIA71) (22 images)
1975 Ophelia (JPCDPIA183) (109 images)
1975 Ornah Porat (JPCDPIA26) (110 images)
1975 Phantom Kid (JPCDPIA9) (259 images)
1976 Anat Atsmon (JPCDPIA129) (62 images)
1976 Asher Bitansky: producer (JPCDPIA126) (90 images)
1976 Raphi Sha’uli: Eilat opening (JPCDPIA127) (150 images)
1976 Raphi Sha’uli: Tel Aviv ha-ketanah opening (JPCDPIA175)
(232 images)
1976 Ya’el Ofir (JPCDPIA229) (201 images)
1976 Yom huledet (JPCDPIA159) (71 images)
1976 Yossi Orbach (JPCDPIA156) (23 images)
1976 Yossi Yzraely at work (JPCDPIA155) (70 images)
1977 Aviv: dancer (JPCDPIA186) (136 images)
1977 Bashir: artist (JPCDPIA204) (36 images)
1977 Rafi Sha’uli’s club (JPCDPIA148) (195 images)
1977 Tally Goldberg (JPCDPIA158) (300 images)
1978 Rivkah Noiman (JPCDPIA147) (165 images)
2002 Ze’ev Raban (JPCDPIA55) (66 images)
OTHER FORMATS
1982 Hagadah shel Pesah (Heb 4909.82.23) (Book)
2002 A Hebrew symbolist (exhibition of Ze’ev Raban’s works in the
Tel Aviv Museum of Art) (JDVD 114)(DVD)
2003 Moto shel sokhen / Death of a Salesman (staged by Ha-Bimah)
(JDVD 115) (DVD)
2004 Ha-Hagorah shel No‘omi / Naomi’s corset (JDVD 3931) (DVD)
2007 Shevarim / Fragments 1990-2006 (JDVD 525) (DVD)
139

I N D E X B Y T I T L E O F G É R A R D A L LO N T H E AT E R P H OTO G R A P H S
I N T H E H A RVA R D L I B R A RY
39 ha-madregot (JPCDPIAO1, JPCDPIAO2, JPCDPIAO3, JPCDPIAO4)
(102, 258, 200, 59 images) (Ha-Bimah - 2007)
Acco Festival of Alternative Israeli Theater: outdoors (JPCDPIA111)
(47 images) (Ha-festival ha-Yisre’eli le-te’atron aher - 2004)
Ad efes makom (staged by Ha-Bimah) (JPCDPIA163) (177 images)
(Festival Te’atroneto - 2005)
Akev Akhiles (JPCDPIA257) (200 images) (Ha-Bimah - 2002)
Akhzar mi-kol ha-melekh (JPCDPIA245) (250 images) (Ha-Bimah - 1997)
Akhzar ve-rahum (JPCDPIA242) (196 images) (Ha-Bimah - 2005)
Al ha-hayim ve-‘al ha-mavet (JPCDPIA244) (279 images) (Ha-Bimah -
1997)
Al ta‘aseh li misken poh (JPCDPIAO101) (37 images) (Festival Te’atroneto
- 2008)
Alis be-erets ha-pela’ot (JPCDPIA80) (227 images) (Ha-Bimah - 2003)
Almah (JPCDPIA18) (212 images) (Ha-Kameri - 2004)
Amade’us (JPCDPIAO49) (200 images) (Ha-Kameri - 2009)
Amade’us (JPCDPIAO50) (66 images) (Te’atron Hertseliyah - 2009)
Anah, Hanah ve-Yohanah (staged by Ha-Bimah) (JPCDPIA72) (44 images)
(Festival Te’atroneto - 2001)
Anah Kareninah (JPCDPIAO21) (284 images) (Ha-Bimah - 2007)
Anah Vais (JPCDPIA49) (209 images) (Ha-Bimah - 1998)
Anashim kashim (JPCDPIA85) (258 images) (Ha-Bimah - 2004)
Ani relevanti adayin! (staged by Ha-Bimah) (JPCDPIA166) (136 images)
(Festival Te’atroneto - 2005)
Ani ve-hu: Ya’akov Kohen bohek Shaikeh Ofir (staged by Ha-Bimah)
(JPCDPIA42) (187 images) (Festival Te’atroneto - 2004)
Antigonah (JPCDPIAO22, JPCDPIAO134, JPCDPIAO135) (299, 200, 161
images) (Ha-Bimah - 2006)
Aravim rokdim (staged by Ha-Bimah) (JPCDPIA165) (130 images)
(Festival Te’atroneto - 2005)
Arton (JPCDPIA14) (267 images) (Ha-Bimah - 2004)
Ha-ashlayah (JPCDPIA99) (214 images) (Ha-Han - 2003)
Ashrai (JPCDPIAO102) (131 images) (Festival Te’atroneto - 2008)
Avanim ba-kisim (JPCDPIA95) (197 images) (Ha-Bimah - 2003)
141

Ayin 17 (JPCDPIAO61, JPCDPIAO62) (200, 67 images)
(Ha-Kameri - 2009)
Ba‘aluyot (JPCDPIAO67) (122 images) (Ha-Kameri - 2007)
Balon (JPCDPIAO103) (98 images) (Festival Te’atroneto - 2008)
Ba-milhamah kemo ba-milhamah (JPCDPIA74) (201 images)
(Ha-Bimah - 2002)
Ha-barvazon: ha-mahazemer (JPCDPIA4) (213 images)
(Ha-Bimah - 2004)
Bavel (JPCDPIA224) (111 images) (Ha-festival ha-Yisre’eli le-te’atron
aher - 2005)
Becky Freishtat be-Tsavta (JPCDPIA185) (135 images) (Mo’adon
Tsavta - 1975)
Bediduti ha-yekarah (staged by Bet Tsevi) (JPCDPIAO142) (182 images)
(Festival Te’atroneto - 2007)
Begidah (JPCDPIA98) (214 images) (Ha-Han - 2003)
Begidah (JPCDPIAO24) (178 images) (Ha-Bimah - 2009)
Be-khele Ako (JPCDPIAO92) (55 images) (Festival Te’atroneto - 2007)
Bertah ve-omanut ha-tahzukah (JPCDPIAO121) (186 images)
(Festival Te’atroneto - 2006)
Ha-besorah al-pi Yosi (staged by Ha-Bimah) (JPCDPIA43) (88 images)
(Festival Te’atroneto - 2004)
Be-tsohore ha-yom (staged by Ha-Bimah) (JPCDPIA31) (105 images)
(Festival Te’atroneto - 2004)
Bi-demi yameha (JPCDPIA139) (97 images) (Ha-Han - 1977)
Bigde ha-melekh (JPCDPIA100A) (160 images) (Ha-Bimah - 2004)
Binyamin III (JPCDPIA131) (106 images) (Bimot - 1976)
Bi-tevah yerikah (JPCDPIAO122) (185 images) (Festival Te’atroneto - 2006)
Blondinit ad ke’ev (JPCDPIA223) (195 images) (Ha-festival ha-Yisre’eli
le-te’atron aher - 2005)
Bo (staged by Ha-Bimah) (JPCDPIA164) (128 images) (Festival Te’atroneto
- 2005)
Bustan Sefaradi: promo (JPCDPIA211) (169 images) (Ha-Bimah - 1998)
Bustan Sefaradi: Spectacle (JPCDPIA210) (172 images) (Ha-Bimah - 2005)
Ha-derekh ha-baitah (JPCDPIAO118, JPCDPIAO119) (200, 8 images)
(Te’atron Temuna - 2006)
Ha-derekh le-‘En Harod (JPCDPIA106) (206 images) (Ha-festival
ha-Yisre’eli le-te’atron aher - 2004)
Devorah Baron (JPCDPIA8) (232 images) (Ha-Kameri - 2000)
Ha-dibuk: ben shene olamot (JPCDPIA256) (32 images)
(Ha-Bimah - 1998)
Dibukim (JPCDPIAO26) (202 images) (Ha-Bimah - 2009)
Don Perlimplin (JPCDPIA69) (197 images) (Ha-Han - 2002)
Donyah Rositah (JPCDPIA2) (206 images) (Ha-Kameri - 2001)
Dudu Elharar mesaper ve-shar (JPCDPIA248) (171 images)
(Ha-Bimah - 1997)
Edi King (JPCDPIA207) (65 images) (Ha-Bimah - 1975)
Edipus: modelim (JPCDPIA226) (36 images) (Ha-festival ha-Yisre’eli
le-te’atron aher - 2005)
Edipus ha-melekh (JPCDPIA208) (200 images) (Ha-Bimah - 1977)
Eling (JPCDPIAO27) (256 images) (Ha-Bimah - 2009)
Di eybike Dzshigan un Shumakher (JPCDPIA53) (203 images)
(YidiShpil - 2004)
Ha-ez o mi zot Silviyah? (JPCDPIA194) (267 images) (Ha-Bimah - 2005)
Falos ha-kadosh (staged by Ha-Bimah) (JPCDPIA168) (146 images)
(Festival Te’atroneto - 2005)
Fanshen (JPCDPIAO140, JPCDPIAO141) (200, 171 images)
(Ha-Han - 1977)
142

Farvos lakht di kale? (JPCDPIA196) (300 images) (YidiShpil - 2005)
The fossil (JPCDPIA78) (187 images) (Ha-Bimah - 2003)
Ha-gag (JPCDPIA104) (185 images) (Ha-Bimah - 1976)
G’enis: Re’ayon im agadat rok (staged by Ha-Bimah) (JPCDPIA41) (238
images) (Festival Te’atroneto - 2004)
Gernikah (JPCDPIAO93) (25 images) (Festival Te’atroneto - 2007)
Ha-gerushin ha-nifla’im sheli (JPCDPIAO124) (89 images) (Festival
Te’atroneto - 2006)
Geshem shahor (JPCDPIAO5, JPCDPIAO6) (225, 300 images)
(Te’atron Hertseliyah - 2007)
Gever ehad (JPCDPIAO120) (197 images) (Festival Te’atroneto - 2006)
Ha-geveret ha-rishonah shel ha-Raikh ha-shelishi (staged by Te’atron
Giv’atayim) (JPCDPIAO114) (195 images) (Festival Te’atroneto - 2006)
Gili (staged by Ha-Bimah) (JPCDPIA170) (77 images) (Festival Te’atroneto
- 2005)
Giyur le-humrah (staged by Ha-Bimah) (JPCDPIA169) (155 images)
(Festival Te’atroneto - 2005)
G’oni halakh (JPCDPIAO51, JPCDPIAO52) (200, 53 images)
(Ha-Kameri - 2010)
Dos groyse gevins (JPCDPIAO74, JPCDPIAO75) (200, 91 images)
(YidiShpil - 2008)
Ha-Bimah promo 1976 (JPCDPIA153) (37 images) (Ha-Bimah - 1976)
Hagar (staged by Ha-Bimah) (JPCDPIA161) (161 images) (Festival
Te’atroneto - 2005)
Ha-hagigah (JPCDPIAO28) (299 images) (Ha-Bimah - 2008)
Hatul rehov (JPCDPIA83, JPCDPIA83A) (236, 100 images)
(Ha-Bimah - 2004)
Hatunah mushlemet (JPCDPIAO107, JPCDPIAO108) (200, 110 images)
(Ha-Bimah - 2006)
Havdalah (JPCDPIAO53, JPCDPIAO54) (200, 98 images) (Ha-Kameri - 2010)
Haverot hakhi tovot (JPCDPIA38) (218 images) (Ha-Kameri - 2004)
Hayah o lo hayah (JPCDPIAO55, JPCDPIAO56) (200, 96 images)
(Ha-Kameri - 2007)
Ha-hayim be-shalosh girsa’ot (JPCDPIA63) (259 images)
(Ha-Bimah - 2003)
Hazonim un di Yidishe neshome (JPCDPIAO78) (187 images)
(YidiShpil - 2009)
Ha-heder shel Varonikah (JPCDPIA246) (245 images) (Ha-Bimah - 1997)
Heshbonit ha-nefesh (JPCDPIA51) (79 images) (Festival Te’atroneto - 2001)
Hevron (JPCDPIAO9, JPCDPIAO10, JPCDPIAO11) (224, 200, 200 images)
(Ha-Bimah - 2007)
Di hiltserne shisel (JPCDPIAO88, JPCDPIAO89) (200, 75 images)
(YidiShpil - 2006)
Hodesh ba-kefar (JPCDPIA133) (200 images) (Ha-Bimah - 2004)
Ha-hotenet (JPCDPIAO29) (270 images) (Ha-Bimah - 2010)
Ifigenyah be-Aulis (JPCDPIAO41) (200 images) (Te’atron Hertseliyah - 2009)
Ifigenyah be-Aulis (JPCDPIAO42) (80 images) (Te’atron Hertseliyah - 2009)
Ima Kurag’ (JPCDPIA102) (109 images) (Ha-Bimah - 1975)
Imahot ba-kikar (staged by Ha-Bimah) (JPCDPIA73) (101 images)
(Festival Te’atroneto - 2001)
Ha-impotentim (JPCDPIA218) (227 images) (Ha-festival ha-Yisre’eli
le-te’atron aher - 2005)
Iram shel ha-anashim ha-ketanim (JPCDPIA250) (145 images)
(Ha-Han - 2005)
Iram shel ha-anashim ha-ketanim (JPCDPIAO47, JPCDPIAO48)
(200, 79 images) (Te’atron Hertseliyah - 2009)
143

Ish ha-peladah mi-shekhunat Katsenelson (JPCDPIAO148) (199 images)
(Te’atron ha-Nefesh - 2007)
Ha-ishah she-yakholti li-heyot (JPCDPIAO145, JPCDPIAO146)
(200, 17 images) (Mo’adon Tsavta - 2007)
Israel’s president at Ima Kurag’ performance (JPCDPIA190) (99 images)
(Ha-Bimah - 1976)
Itruf (JPCDPIAO100) (147 images) (Festival Te’atroneto - 2008)
Iyolf ha-katan (JPCDPIAO35) (260 images) (Ha-Bimah - 2009)
Iyov, haluk ha-nahal veha-pil (JPCDPIAO123) (194 images)
(Festival Te’atroneto - 2006)
Kadish le-No‘omi (JPCDPIA237, JPCDPIA237A) (181, 221 images)
(Ha-Bimah - 2000)
Kahir, Febru’ar 78 (JPCDPIAO139) (152 images) (Ha-Bimah - 1982)
Kahol/tapuz (JPCDPIA79) (172 images) (Ha-Bimah - 2003)
Kakhah zeh karah (staged by Gesher) (JPCDPIAO94) (95 images)
(Festival Te’atroneto - 2007)
Kanar al ha-gag (JPCDPIAO57, JPCDPIAO58) (200, 174 images)
(Ha-Kameri - 2008)
Karish patish (JPCDPIA56) (142 images) (Ha-Bimah - 2000)
Karov yoter (JPCDPIA239) (200 images) (Ha-Bimah - 1998)
Karu‘a (staged by Ha-merkaz le-te’atron shel Ako) (JPCDPIAO97)
(102 images) (Festival Te’atroneto - 2007)
Kefu’im (JPCDPIA44) (207 images) (Ha-Bimah - 2003)
Ken ha-kukiyah (JPCDPIA86) (230 images) (Ha-Bimah - 1999)
Ken ha-kukiyah (JPCDPIA86) (230 images) (Ha-Bimah - 2004)
Keter ba-rosh (JPCDPIA101) (200 images) (Ha-Bimah - 2004)
Kevar lo yaldah shel af ehad (staged by Ha-Bimah) (JPCDPIA160)
(146 images) (Festival Te’atroneto - 2005)
Ha-keves ha-shishah asar (JPCDPIA247) (136 images) (Ha-Bimah - 2005)
Kidmah (JPCDPIA107) (201 images) (Ha-festival ha-Yisre’eli le-te’atron
aher - 2004)
Kinder fun shotn (JPCDPIAO18, JPCDPIAO19, JPCDPIAO20) (19, 222,
300 images) (YidiShpil - 2007)
Di klayne mentshelekh (JPCDPIAO73) (122 images) (YidiShpil - 2010)
Kol ha-hayim le-fanav (JPCDPIAO33) (218 images) (Ha-Bimah - 2008)
Kolot ba-lailah (JPCDPIAO63, JPCDPIAO64) (200, 18 images)
(Ha-Kameri - 2009)
Ha-komika’im (JPCDPIA92) (212 images) (Ha-Bimah - 2003)
Kufsah shehorah (JPCDPIA91) (222 images) (Ha-Bimah - 2003)
Ha-kumkum veha-metate (JPCDPIAO34) (176 images) (Ha-Bimah - 2009)
Der kunstenmakher fun Lublin (JPCDPIAO76, JPCDPIAO77) (200, 90
images) (YidiShpil - 2008)
La-arets ha-muvtahat (JPCDPIAO59, JPCDPIAO60) (200, 81 images)
(Ha-Kameri - 2009)
La-lekhet ad ha-sof (JPCDPIA90) (216 images) (Ha-Bimah - 2003)
Lalo (JPCDPIA252) (186 images) (Ha-Kameri - 1997)
Lamah davka ani (JPCDPIAO105) (119 images) (Festival Te’atroneto - 2008)
Lanski (JPCDPIAO81) (173 images) (YidiShpil - 2010)
Di letste libe (JPCDPIA197) (64 images) (YidiShpil - 2005)
Lev tov (JPCDPIA89) (216 images) (Ha-Bimah - 2003)
Lizistratah (JPCDPIA58) (183 images) (Ha-Kameri - 2000)
Lo biglal ha-zikhronot (JPCDPIA243) (123 images) (Ha-Bimah - 1999)
Madrikh la-metayel be-Varshah (JPCDPIA96) (217 images) (Ha-Bimah - 2003)
Ma‘gal ha-gir ha-Kavkazi (JPCDPIA48) (208 images) (Ha-Bimah - 1999)
144

Mah at hoshevet?: mivhan Mikhal Haiman mis. 3 (JPCDPIA109)
(157 images) (Ha-festival ha-Yisre’eli le-te’atron aher - 2004)
Ha-mahaloket (JPCDPIAO30) (249 images) (Ha-Bimah - 2008)
Mami (JPCDPIA60) (209 images) (Ha-Bimah - 2002)
Manu melekh Atlantis (JPCDPIA108) (196 images) (Ha-festival ha-Yisre’eli
le-te’atron aher - 2004)
Mar olam (JPCDPIAO72) (124 images) (Ha-festival ha-Yisre’eli le-te’atron
aher - 2007)
Mar’eh me‘al ha-gesher (JPCDPIA52) (202 images) (Ha-Bimah - 2000)
Mashiah ba! Mashiah ba! (JPCDPIA140) (200 images) (Ha-Han - 1978)
Ma‘yan ha-gofrit (JPCDPIA16) (202 images) (Ha-Kameri - 2004)
Mazal tov Yidn (JPCDPIAO82, JPCDPIAO83) (200, 86 images)
(YidiShpil - 2007)
Me-‘avdut le-hishta‘bedut, eru‘a hatsot (staged by Seminar ha-kibutsim’s
Bet ha-sefer le-omanuyot ha-bamah) (JPCDPIAO96) (145 images)
(Festival Te’atroneto - 2007)
Mede’ah (JPCDPIA97) (226 images) (Ha-Bimah - 1998)
Mehakim le-Godo (JPCDPIA45) (218 images) (Ha-Bimah - 2002)
Mehilah (JPCDPIA214) (120 images) (Ha-Bimah - 2000)
Ha-mekhashefah (JPCDPIA47) (204 images) (Ha-Bimah - 2003)
Meri Lu (JPCDPIA62) (249 images) (Ha-Bimah - 2003)
Meshuga‘at (JPCDPIAO36) (283 images) (Ha-Bimah - 2009)
Mevaker ha-medinah 2005 (JPCDPIA193) (257 images)
(Ha-Bimah - 2005)
Mi heziz et ha-sherafraf sheli (JPCDPIA171) (160 images)
(Festival Te’atroneto - 2005)
Mikhtav ahavah (JPCDPIA82) (216 images) (Ha-Bimah - 1999)
Milhamah: mahazeh moderni (JPCDPIA195) (170 images)
(Ha-Bimah - 2005)
Milhemet ahim (JPCDPIA93) (229 images) (Ha-Bimah - 2003)
Milkud 22 (JPCDPIA215) (260 images) (Ha-Bimah - 1997)
Minyan nashim (JPCDPIA46) (213 images) (Ha-Bimah - 2003)
Mishehu nafal (staged by Ha-Han ha-Yerushalmi) (JPCDPIAO95)
(51 images) (Festival Te’atroneto - 2007)
Mishpahah (JPCDPIA50) (203 images) (Ha-Bimah - 2003)
Mitos (Itim Ensembel) (JPCDPIA67) (139 images) (Ha-Kameri - 2002)
Mo‘adon ha-almanot ha-alizot (JPCDPIA192) (277 images)
(Ha-Bimah - 2005)
Ha-moah ha-gavri (JPCDPIAO31) (21 images) (Ha-Bimah - 2007)
Monologim meha-vaginah (JPCDPIA68) (208 images) (Ha-Bimah - 2000)
Ha-mordim (JPCDPIA39) (51 images) (Ha-Kameri - 2004)
Ha-moreh le-mishak (JPCDPIAO147) (133 images) (Festival Te’atroneto -
2007)
Moto shel sokhen (JPCDPIA64) (212 images) (Ha-Bimah - 2003)
Namer havarburot (JPCDPIA240) (244 images) (Ha-Bimah - 2006)
Naser a-Din (JPCDPIA241) (218 images) (Ha-Bimah - 2000)
Ha-ne’ehavim veha-ne‘imim (JPCDPIA81, JPCDPIA81A) (286, 200
images) (Ha-Bimah - 2003)
Ha-nehag shel mis Deizi (JPCDPIAO7, JPCDPIAO8) (264, 200 images)
(Ha-Bimah - 2007)
Neshikat eshet ha-akavish (JPCDPIA238) (284 images) (Ha-Bimah - 2000)
Ha-nesigah mi-Moskvah (JPCDPIA135) (280 images) (Ha-Bimah - 2005)
Nisu’e Figaro (JPCDPIAO136) (200 images) (Ha-Bimah - 1977)
Nisu’e Figaro (JPCDPIAO137, JPCDPIAO138) (200, 33 images)
(Ha-Bimah - 1981)
145

Norah (JPCDPIA37) (199 images) (Ha-Kameri - 2004)
Nudnik (JPCDPIAO130, JPCDPIAO131) (200, 170 images)
(Ha-Bimah - 2006)
O lo li-heyot (JPCDPIAO99) (91 images) (Festival Te’atroneto - 2008)
Ogust (JPCDPIAO23) (267 images) (Ha-Bimah - 2007)
Ohavim et Opal (JPCDPIA59) (203 images) (Ha-Bimah - 2003)
Opening night of Teatroneto 2006 (staged by Suzanne Dellal Centre
for Dance and Theatre) (JPCDPIAO129) (65 images) (Festival
Te’atroneto - 2006)
Oseh ha-nifla’ot (JPCDPIAO106) (101 images) (Festival Te’atroneto -
2008)
Oskar ve-dodah Rozah (staged by Ha-Bimah) (JPCDPIA15) (152 images)
(Festival Te’atroneto - 2004)
Ha-otsar (JPCDPIA103) (200 images) (Ha-Bimah - 1975)
Ovdim zarim (staged by Ha-Bimah and Seminar ha-kibutsim’s Bet ha-sefer
le-omanuyot ha-bamah.) (JPCDPIA188) (178 images) (Festival
Te’atroneto - 2005)
Oyev ha-‘am: stage poster (JPCDPIA154) (35 images) (Ha-Bimah - 1976)
Pargodim (JPCDPIA65, JPCDPIA65A) (230, 100 images) (Ha-Bimah -
2000)
Di Pari shvesters (JPCDPIA40) (225 images) (YidiShpil - 2004)
Parparim hem hofshiyim (JPCDPIA75) (219 images) (Ha-Bimah - 2004)
Pati Difuzyah (JPCDPIA212) (270 images) (Ha-Bimah - 2005)
Performances during the Teatroneto Festival staged by Seminar ha-
Kibutsim’s Bet ha-sefer le-omanuyot ha-bamah (JPCDPIAO115)
(182 images) (Festival Te’atroneto - 2006)
Perumot (JPCDPIA222) (39 images) (Ha-festival ha-Yisre’eli le-te’atron
aher - 2005)
Perurim (JPCDPIAO111) (200 images) (Ha-Bimah - 2009)
Perurim (JPCDPIAO112, JPCDPIAO113) (200, 118 images)
(Ha-Bimah - 2006)
Peshutah (staged by Ha-Bimah) (JPCDPIAO17) (193 images) (Festival
Te’atroneto - 2007)
Pisul ke-te’atron 2005 (JPCDPIA225) (33 images) (Ha-festival ha-Yisre’eli
le-te’atron aher - 2005)
Prizes 2002 (JPCDPIA209) (118 images) (Ha-Bimah - 2002)
Pulsa ve-nura (staged by Gesher) (JPCDPIA189) (90 images) (Festival
Te’atroneto - 2005)
Purim 1998: street (JPCDPIA249) ( 138 images) (Ha-Bimah - 1998)
Di rayzes fun Binyomin der driter (JPCDPIAO84, JPCDPIAO85)
(200, 60 images) (YidiShpil - 2006)
Ha-rehov shelanu (staged by Ha-Bimah) (Kevutsat ha-te’atron shel Gai
Zu-Arets) (JPCDPIAO98) (112 images) (Festival Te’atroneto - 2007)
Rekhush natush (JPCDPIAO127, JPCDPIAO128) (200, 153 images)
(Ha-Bimah - 2006)
Rits’ard ha-shelishi (JPCDPIA105) (210 images) (Ha-Bimah - 1976)
Romantikah (JPCDPIAO12, JPCDPIAO13) (253, 300 images)
(Ha-Bimah - 2006)
Sahkan mafteah (JPCDPIAO37) (50 images) (Ha-Bimah - 2009)
Sedakim ba-beton (JPCDPIAO38) (234 images) (Ha-Bimah - 2007)
Seg’erah (JPCDPIAO51a) (251 images) (Lahakat Mahol Inbal Pinto - 2007)
Setirah u-fetsa be-yam shel kerishim (JPCDPIA219) (148 images)
(Ha-festival ha-Yisre’eli le-te’atron aher - 2005)
Sha‘ah yafah le-yogah (JPCDPIAO25) (192 images) (Ha-Bimah - 2008)
Ha-shahaf (JPCDPIA36) (112 images) (Ha-Han - 2004)
146

Shavu‘a (JPCDPIA84) (208 images) (Ha-Bimah - 2004)
She‘ato ha-aharonah shel Kol (JPCDPIAO143, JPCDPIAO144)
(200, 53 images) (Te’atron Temuna - 2007)
Shed katan (JPCDPIA54) (69 images) (Ha-Bimah - 2001)
Shelomit (JPCDPIA137) (200 images) (Ha-Ma‘abadah - 2005)
Shelomoh ha-melekh ve-Shalmai ha-sandlar (JPCDPIA134) (200 images)
(Ha-Bimah - 2005)
Shemo holekh le-fanav (JPCDPIA191) (232 images) (Ha-Bimah - 1977)
Shemo holekh le-fanav (JPCDPIAO65, JPCDPIAO66) (200, 88 images)
(Ha-Kameri - 2008)
Shemoneh nashim (JPCDPIA136) (241 images) (Ha-Bimah - 2004)
Shidukhim (JPCDPIA17) (215 images) (Ha-Kameri - 2004)
Shirli Valentain (staged by Ha-Bimah) (JPCDPIA162) (264 images)
(Festival Te’atroneto - 2005)
Shmeterling (JPCDPIA220) (48 images) (Ha-festival ha-Yisre’eli le-te’atron
aher - 2005)
Shovrim shetikah (staged by Ha-Bimah and Seminar ha-kibutsim’s Bet
ha-sefer le-omanuyot ha-bamah.) (JPCDPIA187) (183 images) (Festival
Te’atroneto - 2005)
Sipure Ha-Bimah (JPCDPIA10) (134 images) (Ha-Bimah - 1997)
Ha-sirpad shel ha-shakhen (JPCDPIA35) (184 images) (Ha-Bimah - 2004)
Ha-snob (JPCDPIA33) (165 images) (Ha-Bimah - 2004)
Sonatat setav (JPCDPIAO132, JPCDPIAO133) (200, 192 images)
(Ha-Bimah - 2006)
Street (staged by Ha-Bimah) (JPCDPIA32) (6 images) (Festival Te’atroneto
- 2004)
Ha-ta‘anah shel Don Kihoteh (JPCDPIAO43, JPCDPIAO44)
(200, 77 images) (Te’atron Hertseliyah - 2008)
Ta‘asi et atsmekh metah (JPCDPIAO126) (187 images) (Ha-Han - 2006)
Tahtonim (JPCDPIA77) (161 images) (Ha-Bimah - 2003)
Tamarah (JPCDPIA61) (194 images) (Ha-Bimah - 2002)
Tashmad (JPCDPIA132) (200 images) (Ha-Bimah - 2005)
Taxi (JPCDPIA213) (278 images) (Ha-Bimah - 2005)
Te’atron meha-seratim (Yoram Levinstein Acting Studio) (JPCDPIA167)
(193 images) (Festival Te’atroneto - 2005)
Tefilin (JPCDPIA217) (71 images) (Ha-Han - 1978)
Teip (JPCDPIAO109, JPCDPIAO110) (200, 126 images)
(Ha-Bimah - 2006)
Tekufat histaglut (JPCDPIAO116, JPCDPIAO117) (200, 196 images)
(Ha-Bimah - 2006)
Tel Aviv ha-ketanah (JPCDPIA34) (205 images) (Ha-Bimah - 2004)
Temunot me-haye nisu’in (JPCDPIAO14, JPCDPIAO15) (272, 200 images)
(Ha-Bimah - 2007)
Tevye der milkhiker (JPCDPIA94) (217 images) (YidiShpil - 2003)
Tikots’in Bat-Yam (JPCDPIAO39) (290 images) (Ha-Bimah - 2009)
Tom: mevusas al shum davar (JPCDPIAO125) (139 images) (Festival
Te’atroneto - 2006)
Trankilah (JPCDPIAO69, JPCDPIAO70) (200, 15 images) (Ha-festival
ha-Yisre’eli le-te’atron aher - 2007)
Ts’erli Kats‘erli (JPCDPIA141) (286 images) (Ha-Han - 1978)
Tsurah le-ahavah (JPCDPIA57) (211 images) (Ha-Bimah - 2003)
Tsvantsik biz hundert un tsvantsik (JPCDPIAO86, JPCDPIAO87)
(200, 7 images) (YidiShpil - 2009)
Ve-gar ze’ev im keves (JPCDPIA251) (226 images) (Ha-festival ha-Yisre’eli
le-te’atron aher - 2005)
Der Vilner hazn (JPCDPIA138) (291 images) (YidiShpil - 2005)
147

Yehudi zaken blondinit (JPCDPIAO104) (108 images) (Festival Te’atroneto
- 2008)
Ha-yeled (JPCDPIAO16) (252 images) (Ha-Bimah - 2007)
Yidishe gesheftn.com (JPCDPIAO79, JPCDPIAO80) (200, 66 images)
(YidiShpil - 2006)
A Yidishe mame in 10 lektsiyes (JPCDPIA254) (300 images)
(YidiShpil - 2005)
Yirmah (JPCDPIAO45, JPCDPIAO46) (200, 138 images) (Te’atron
Hertseliyah - 2009)
Yom be-hayenu (JPCDPIA110) (191 images) (Ha-festival ha-Yisre’eli
le-te’atron aher - 2004)
Yomanah shel Anah Frank (JPCDPIA66) (201 images) (Ha-Bimah - 2001)
Yosef u-khetonet ha-pasim ha-meshaga‘at (JPCDPIAO40) (289 images)
(Ha-Bimah - 2008)
Yosefah (JPCDPIA88) (210 images) (Ha-Bimah - 1975)
Yoshke muzikant (JPCDPIAO90, JPCDPIAO91) (200, 139 images)
(YidiShpil - 2007)
Yoshvim (JPCDPIAO71) (95 images) (Ha-festival ha-Yisre’eli le-te’atron
aher - 2007)
Yulyus Kesar (JPCDPIA87) (222 images) (Ha-Bimah - 2003)
Zarim: atah kise, ani mayim (JPCDPIA76) (229 images)
(Ha-Bimah - 2004)
Zeh kemo la-haros rak hafukh (JPCDPIAO68) (100 images)
(Ha-festival ha-Yisre’eli le-te’atron aher - 2007)
Zeman emet (JPCDPIA198) (280 images) (Ha-Bimah - 2005)
Ha-zirah (JPCDPIA221) (279 images) (Ha-festival ha-Yisre’eli le-te’atron
aher - 2005)
A ziveg fun himl (JPCDPIA216) (228 images) (YidiShpil - 2005)
Ha-zug ha-muzar (JPCDPIAO32) (212 images) (Ha-Bimah - 2009)
Zugiyut: Ruti meshuga‘at (JPCDPIA3) (236 images) (Ha-Bimah - 2004)
148