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And My Heart Almost Stood Still

Visual Theatre

an interrupted solo, inspired by Beethoven’s 9th Symphony and a letter by Helen Keller 
Ari takes the viewers on a journey into his own world of nonverbal, sensual communication
where even the subtlest of sensations can become full of joy, pain or beauty.
Inspired by Keller’s observations and by the connection she describes to the by-then deaf Beethoven, this piece too wishes to experience the power that music can have to communicate beyond boundaries, disabilities and loneliness.

“…Teperberg has created a minimalist and precise work on the human difficulty to connect and communicate. His thought and emotion provoking piece is like a special and delicate gift…”

(Nano Shabtai, Haaretz theatre review, August 2018)

“There are very few stage works such as this one… a fascinating and exciting experience”

(Zvi Goren, Ha’Bama, 2018)



International Tours

4 February 2020, Imaginale Festival, Stuttgart, Germany

14-15 January 2020, Festival Vagamondes, La Filature, Mulhouse, France

16 May 2019, International Puppet Theatre Festival, Materia Magica, Klaipeda, Lithuania

28 October 2018, Theater HochX, Munich, Germany

23 September 2018, Open Door Festival, Muzeum Śląskie, Katowice, Poland

24, 25 August 2018, B-Motion Festival, Bassano del Grappa, Italy

11 August 2018, Solniki 44, Solniki, Poland

  • photo: Yair Meyuhas
    photo: Yair Meyuhas
  • photo: Efrat Mazor
    photo: Efrat Mazor
  • photo: Efrat Mazor
    photo: Efrat Mazor
  • photo: Efrat Mazor
    photo: Efrat Mazor
  • photo: Efrat Mazor
    photo: Efrat Mazor

The trigger for this creation process was a letter sent by the famous deaf-blind author and intellectual Helen Keller to the New-York Symphony Orchestra in 1924, in which she describes how she “listened” to their performance of Beethoven’s 9th symphony, simply by touching the
radio’s membrane and feeling the vibrations.
The piece wishes to generate a space of heightened sensation, in which an alchemy between
the senses takes place. The text by Keller, as well as Beethoven’s haunting music, appears and
disappears through different mediums and vibrates like a suppressed volcanic force, wishing to erupt. We are granted a close-up look into the body of the performer, who calibrates himself to
hypersensitivity, seeking desperately for an alternative language through which to communicate.

Ari Teperberg, Biography

Ari Teperberg, born in Jerusalem in 1989, is a theatre-maker, opera director and performer. He graduated from the School of Visual Theatre in Jerusalem (2013) and is the recipient of the Jerusalem Foundation Prize, 2011.

In 2018-19 Ari will direct the opera Cosi Fan Tutte by Mozart in the Jerusalem Opera, and will work as dramaturge and co-curator in an exhibition in the Israel Museum.

His independent work as a creator includes the pieces “And my Heart Almost Stood Still”  (co-produced by the Westfluegel Theater in Leipzig, Germany); “I Want to Dance, Kate!” (premiered at the Akko Festival 2014), winner of the prize for best stage language and best costumes; “What Happened to my Voice” (an evening with two pieces created during his studies); In 2009 Ari Co-founded with Inbal Yomtovian the “Golden Delicious” ensemble, creating and touring with the Object-Theatre shows “Jonathan and the Blue Table,”“Small Change,” “Crystal Clear,” and “Heidi” in Israel and in many festivals around the world.

In Opera, Ari directed “Giulio Cesare in Egitto” (Handel),  “Haensel und Gretel” (Humperdinck), “Dan the Guard” (Lavry, 1943), which was the first full production of what is said to be the first Hebrew opera, and was a site- specific production in the Israel National Library; “The Marriage of Figaro” (Mozart) and “In search of the Orchestra” – a children’s opera show written by him.

As a performer he dances in the pieces “Common Emotions” and “Simple Action” by choreographer Yasmeen Godder. In the past few years he performed in works by Yonatan Levy, Sharon Zuckerman-Weiser, and Ana Wild.

Ari teaches Object-Theatre at the Haifa University, movement for singers at the Buchmann-Mehta School of Music, and works as a guest director in the opera workshop of the Jerusalem Academy of Music and Dance.