{"id":6886,"date":"2016-04-21T14:59:53","date_gmt":"2016-04-21T12:59:53","guid":{"rendered":"https:\/\/laregledujeu.org\/arrabal\/?p=6886"},"modified":"2016-04-29T09:33:15","modified_gmt":"2016-04-29T07:33:15","slug":"for-ronit-elkabetz-being-human-was-the-only-option","status":"publish","type":"post","link":"https:\/\/laregledujeu.org\/arrabal\/2016\/04\/21\/6886\/for-ronit-elkabetz-being-human-was-the-only-option\/","title":{"rendered":"For Ronit Elkabetz, Being Human Was the Only Option"},"content":{"rendered":"<p>Toute la presse fran\u00e7aise rend hommage \u00e0 <strong>Ronit Elkabetz <\/strong>le jour de son occultation<\/p>\n<p>de \u00ab\u00a0Le Monde\u00a0\u00bb au \u00ab\u00a0Figaro\u00a0\u00bb\u00a0 de \u00ab\u00a0Le Parisien\u00a0\u00bb \u00e0\u00a0 \u00ab\u00a0Gala\u00a0\u00bb (et m\u00eame \u00ab\u00a0l&rsquo;Humanit\u00e9\u00a0\u00bb).<\/p>\n<p><strong>Benjamin Ivry<\/strong> po\u00e8te am\u00e9ricain Commandeur de l &lsquo;Ordre de la G. G.\u00a0 du Coll\u00e8ge &lsquo;Pataphysique dans <a href=\"http:\/\/forward.com\/culture\/film-tv\/339066\/for-ronit-elkabetz-being-human-was-the-only-option\/#ixzz46SiJRKXH\"><em>Forward&rsquo;s<\/em><\/a>, \u00e9crit :<\/p>\n<p><a href=\"http:\/\/forward.com\/culture\/film-tv\/339066\/for-ronit-elkabetz-being-human-was-the-only-option\/#ixzz46SiJRKXH\"><strong>For Ronit Elkabetz, Being Human Was the Only Option<\/strong><\/a><br \/>\nApril 20, 2016<\/p>\n<p>The Israeli actress and director Ronit Elkabetz, who died on April 19 at age 51, was noted for her masterful portrayal of tragic figures with few or no exit options. Yet in life she retained powerful optimism about the restorative value of drama for bringing people closer together.<\/p>\n<p>When she died prematurely of cancer, leaving behind a husband and four-year-old twins, she was planning a film project about the final year in the life of Maria Callas, whom she vaguely resembled. Callas, with her voice in tatters and abandoned by her paramour Aristotle Onassis, would have been an ideal role for Elkabetz, who in 2004 was praised by \u201cVariety\u201d for her \u201c[Anna] Magnani-like power which suggests the makings of a legendary Medea or Phaedra.\u201d With her brother Shlomi, she wrote and co-directed a much-praised trilogy of films about the marital miseries of Vivianne Amsallem, a Moroccan Jewish woman: \u201cTo Take a Wife (2004); \u201cSeven Days,\u201d (2008); and \u201cGett.\u201d (2014)<\/p>\n<p>Alternating between silent repression and outbursts of volcanic rage, Elkabetz incarnated a thwarted, oppressed life. At the start of her theatrical career, at France\u2019s Avignon Festival she presented a one-woman show about the aged choreographer Martha Graham as a plaintive septuagenarian alcoholic. The willingness to follow a rock-strewn path to achieve artistic goals had led Elkabetz to Paris in 1997, hardly the best time for an Israeli transplant, with French anti-Semitism and xenophobia on the rise. Elkabetz landed an internship at the avant-garde Th\u00e9\u00e2tre du Soleil, founded by the director Ariane Mnouchkine, of Russian-Jewish origin. Taking on domestic chores such as washing dishes and cleaning the theatre was part of the educational process, which Elkabetz claimed to relish.<\/p>\n<p>Despite these travails, she certainly retained emotional ties to Paris. After the November 2015 Paris terrorist attacks, she appeared at the French Embassy in Tel Aviv to read a poem by Victor Hugo . With typical Elkabetzian verve, it was no dulcet comforting ode, but rather \u201cParis Blocaded,\u201d about the 1870 siege of Paris during the Franco-Prussian War, a grim evocation of survival through vast sufferings. Contained within the sheer message of endurance is the hope of artistic renascence. Elkabetz was referring to a city, culture, and tradition as symbols of creative liberty which had evidently inspired her own work. Her own artistic message blended personal and historical tragedy, politics with individual human contacts in a Hugolian way.<\/p>\n<p>Her sense of tradition was acute: \u201cSeven Days\u201d revealed passionate interactions of a Moroccan Jewish family with the violence of a tragedy by Federico Garcia Lorca. In 2011, she accepted the Prix Ha\u00efm Zafrani in Paris. It was named after the Moroccan Jewish historian Zafrani (1922-2004), who collected and preserved music and poetry of Morocco\u2019s Jews. Elkabetz explained that Zafrani had been her father Elie\u2019s teacher in Mogador, Morocco in 1949, inspiring him to follow a career in education there until he moved to Israel in 1963. For this event drenched in family lore, Elkabetz appeared convincingly costumed as a dutiful daughter. Her abundantly flowing jet-black hair was pinned up in a neat bun, and she wore a girlish lace dress, as if to assume a consciously filial role for the occasion. When this award named after his mentor was conferred upon her, Elie Elkabetz sighed and said that he finally understood what his daughter was working at. Due to his Orthodox observance, he had never seen any of her efforts. Making films was more than just a way of exploring family interactions for Elkabetz. Intensely devoted to exchange, cooperation, and mutual inspiration with other communities in film projects, for a quarter-century she used movies as a means of vanquishing suspicion and fear by the mutual recognition of a shared humanity. She concluded in her Zafrani prize reception speech that \u201cbeing human is our only option on earth.\u201d<\/p>\n<p>Although a short documentary would be directed in 2010 by the Haifa-born filmmaker Nir Bergman, \u201cRonit Elkabetz: A Stranger in Paris,\u201d there are doubts about just how much of a stranger Elkabetz remained in the City of Lights. Her spoken French was in many ways more communicative than her English. Emotionally allied to the Mediterranean aspects of Gallic tradition, Elkabetz was in her element with seductive aspects of communication \u00e0 la fran\u00e7aise. Charismatic, glamorous, she had the chic, allure, and captivating eyes of the French Jewish singer Barbara (Monique Andr\u00e9e Serf (1930 \u20131997). Last year Shlomi Elkabetz told \u201cFilm Comment\u201d that part of the directorial inspiration for \u201cGett\u201d was from the 1928 silent French film classic \u201cThe Passion of Joan of Arc,\u201d starring Ren\u00e9e Jeanne Falconetti, whose iconic mute sufferings clearly influenced Elkabetz.<\/p>\n<p>However many European divas she may have resembled, her intense need to brave an uphill climb kept her in firm contact with earthly matters. In a 2008 interview with EuroNews, she implied that it was natural for her to express societal and individual issues onscreen, since Israel is a country \u201cborn under the cameras.\u201d She spoke of the precariousness of life, how in Israel even a calm caf\u00e9 or an intimate conversation is not really calm because things \u201cmay explode from one moment to the next.\u201d She discussed the difficulty of \u201cbeing born and raised in a country at war, and growing old in country at war.\u201d The last-mentioned challenge was spared Elkabetz, much to the regret of her many admirers.<\/p>\n<p><strong>Benjamin Ivry<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>L&rsquo;hommage de Benjamin Ivry, Commandeur de l &lsquo;Ordre de la G. G.  du Coll\u00e8ge &lsquo;Pataphysique, \u00e0 l&rsquo;actrice isra\u00e9lienne, qui vient de nous quitter. <\/p>\n","protected":false},"author":6,"featured_media":6887,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[784,35811,33043,60376,60158],"class_list":["post-6886","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-miscellannees","tag-pataphysique","tag-arrabalesque","tag-benjamin-ivry","tag-forwards","tag-ronit-elkabetz"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>For Ronit Elkabetz, Being Human Was the Only Option - Ceci n\u2019est pas un blog<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/laregledujeu.org\/arrabal\/2016\/04\/21\/6886\/for-ronit-elkabetz-being-human-was-the-only-option\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"For Ronit Elkabetz, Being Human Was the Only Option - Ceci n\u2019est pas un blog\" \/>\n<meta property=\"og:description\" content=\"L&#039;hommage de Benjamin Ivry, Commandeur de l &#039;Ordre de la G. 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