About the Malenki Theatre
How is Malenky's repertoire built?
Usually we base our productions on literature that we consider classic. For our second production we adapted the stories by Isaac Bashevis Singer, and later works by Kharms, Camus, Dostoevsky, and others – first because we love to read, and second because adaptation allows degrees of freedom with material appropriate for laboratory work. When we deal with wonderful texts we must rise to their level.
What is most important for you in the theater?
Our roots are in the theater of the 1960s, as it was perceived by such giants as Ezhi Grotovsky or Peter Brook. They placed the actor in the forestage and believed in a "poor" theater that conducted energy and spirituality and transmitted ideas to the public by simple, deep means.
How does one become part of the Malenky theater?
We usually don't hold auditions. The group consolidated over the years by itself. One exceptions was the workshop that we organized before the rehearsals of On Crime, based on Feodor Dostoevsky's Crime and Punishment, where we chose Dori Engel (Raskolnikov) and Rinat Hitelman (Sonia). If some day we have our own home, our work will change drastically. We will be able to organize workshops, master classes, and bring additional people from various theatrical fields into our ranks.
Where is the Malenky theater located physically?
Nowhere, regretfully. We still have no home of our own and therefore we must rehearse in function halls. For now we perform at the Tmuna theater, which has been a haven for us for several productions, and at the Simta theater. Despite our success -- prizes, positive reviews, and an appreciative public – we must continue to fight to obtain a small, befitting home for our small theater.