One Survey Says It All – “The Admission” Workshop Process and The Engagement of Fresh Young Audience

This 17 year old spoke at our post-show discussion this past weekend — along with other college students who’ve been coming in relative droves to The Admission so far.  There’s a hunger for us to be in dialogue—to be telling it like it is—to be allowing for a cross-cultural discussion that digs deep and allows for nuance—and engages the young; this workshop is doing just that.

Mira 17 year old ADMISSION_audience_survey

Let’s hear your response to this compelling write-up.  Or better yet, your own response to the play!


One thought on “One Survey Says It All – “The Admission” Workshop Process and The Engagement of Fresh Young Audience

  1. Before delving into the possible meanings of THE ADMISSION, I would like to express a warm Mazeltov / Mabrouk to all concerned for a truly memorable and meritorious experience, whether in terms of performativity, ethical courage or existential sincerity.
    I came on two different occasions, firstly for the Sunday evening preview, secondly for the opening night and was taken with the qualitative sharpening and deepening during those 48 hours. In terms of meaning (s), after the Sunday preview, I found myself thinking of the passage from Ezekiel about the ” valley of dry bones “, only this time in a reverse context where the re-fleshing of the bones is done in the name of slain Palestinians, whereas after opening night, I was thrown back to Sophoclean tragedy, yet with a twist : here we have a male Antigone and Creon is his father. A second twist, of course, is that in Ancient Greece, Antigone wanted to bury a fraternal corpse, whereas in THE ADMISSION, Giora wants to unearth the scattered and forgotten bones of those Palestinians slain in the name of a nascent and fragile Hebrew state.
    Yet, in both cases, the project of a youthful rebel in urgent search for integrity wants to negate a paternal or avuncular policy of amnesia at the cost of leveling once and for all the ” wadi ” of obdurate and inconvenient truth. This, in the name of ” moving forwards ” of renewing a viable order.
    I also had the opportunity of sharing with Sunday evening’s audience a further insight : the very process of the Workshop presentation allowed us to imagine an illuminating parallel between ” theater-in-becoming ” and
    national ” narratives-in-becoming “, a process of crucial importance in an age of ideatic hardening and conflictive fanaticisms of every ilk which prevent us habitually from stepping out of the framing imposed by our own worldview to glimpse the different, perhaps antagonistic worldview of those with whom we must remain in dialog if we are to attempt against all odds the sanctity of a ” tikkun olam “, a repairing of a broken world.

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