Born 1977 in Ramat-Efal, Israel, Ira Avneri is a theatre director and dramaturge.
In his productions, Ira creates visual-based adaptations of canonical Western drama, in which he aims at exploring dramatic space through an exposure of performative mechanisms hidden in the text. In the dramaturgical process, the visual imagery and the theatrical language of the performance are composed, and the textual qualities reach their physical realization on stage.
Alongside his directing career, Ira serves as a dramaturge and artistic adviser to theatre and performance productions in Israel and abroad.
Ira is currently a PhD student at Tel-Aviv University, researching the topic of “Theatrosophia” – dramaturgical readings of modern philosophical “opening scenes.” Ira holds a master’s degree with outstanding honors from the Philosophy Department, as well as a master of fine arts with outstanding honors in the Theatre Directing program at the Department of Theatre Arts, Faculty of the Arts, all in Tel-Aviv University. He has taught philosophy at the Philosophy Department at Tel-Aviv University and is currently teaching at the university’s Theatre Arts Department and at the School of Visual Theatre in Jerusalem.
“A unique, fascinating and challenging production- explicitly for theatre lovers… The seven actors compose a sharp and polished group, who knows not only to speak the Chekhov language in a humane naturalness, but also to be mesmerizingly silent in it.”
Orit Harel, Motke (July 2013) on The Seagull
The Seagull by Anton Chekhov (Tmuna Theatre, 2013); dramaturgy of Macbeth by William Shakespeare (Cameri Theatre of Tel-Aviv, directed by Omri Nitzan, 2013); Maria Stuart (Tmuna Theatre, 2012); Drums in the Night by Bertolt Brecht (TAU, 2010); Henry V by William Shakespeare (a reading, the Cameri Theatre of Tel-Aviv, 2008); Electra by Hugo von Hofmannsthal (final project of MFA studies, Tel-Aviv University 2008); And Afterwards Was Just His Death (an adaptation of Yehudit Hendel’s book, in “SmallBama” annual student theatre festival at Tel-Aviv University, 2004).
“So simple, so powerful. A blank page always treasures a promise, and so does the first scene in Ira Avneri’s new, brilliant adaptation. …It is almost suicidal to open for discussion a play considered to be one of the highest achievement of the Russian playwright. Avneri, in his uncompromising way, takes the challenge a step forward, breaks down the play, goes back to the root, re-unites characters… and composes a new architectural structure.”
Merav Yudilovitch, Ynet (June 2013) on The Seagull
“…Avneri is perhaps the most important artist currently operating in the Israeli theatre…
with the help of the gifted designer Dina Konson, Avneri succeeds to admirably implement his interpretation in the entire play, and through it to design on stage a living, painful, human space, in which the contemporary aesthetics appears organic and convincing.”
Marat Parkhomovsky, Time Out (October 2013) on The Seagull
“… This is one of the most important productions to have emerged in the Israeli theatre in recent years.”
Marat Parkhomovsky, Time Out (June 2012) on Maria Stuart