Israel, summer 2014. One country, two lives, one ended violently, the other is on the move: the youth Muhammad has just been murdered, out of political revenge, the protagonist Sivan is waiting for her transport to the airport, one-way ticket, new life , Germany.
A Maltese dog pees on her trolley suitcase - a motivic foreshadowing. Because before this departure we are told the historical backstory, which of course runs in the other direction, but in the process experiences a radically new, feminist perspective and new settings: the author borrows the ambivalent heroine for this Using her own name, Sivan, this Jewish woman and a German shepherd form an unbeatable team and send the two of them on an odyssey that is as crazy as it is painful, which begins in Nazi Germany in 1938 and ultimately leads to "Falastin", the embattled promised land .
Sivan mutates from a Holocaust survivor into a partisan in the Soviet forests and then into a determined Zionist. She becomes a larger-than-life figure, a body of collective experiences, a passionate and radical idea carrier, a victim and a perpetrator in equal measure. Brutally, funny, fast-paced and political, Sivan Ben Yishai writes the 20th and 21st centuries onto his own body. She makes history the backdrop against which we can renegotiate our own relationship to this problematic past, its wounds and our discourse about it.
With elements from Moran Sanderovich's performance Gog and Magog.
In consultation with the team, the theater has decided to host a staged reading of a version of Sivan Ben Yishai's play "Wounds Are Forever (Self-Portrait)" on December 16/17 instead of the play "The Story of the Life and Death of the New Juppi Ja Jey Juden." as national poet)« with Sesede Terziyan and Moran Sanderovich, arranged by Amit Jacobi. “The story of the life and death of the new Juppi Ja Jey Juden” reflects the situation in 2014. “Wounds Are forever (self-portrait as a national poet)” starts there, but goes further. Today, now, we need more comprehensive, inclusive, non-exclusive and polyphonic texts. “Wounds Are Forever” is one such text.
By Sivan Ben Yishai