“Yes Daddy”, the diabolical manipulation of Bashar Murkus and Khulood Basel in Avignon

“The questions spoil everything” – "yes daddy", diabolical manipulation bashar

Before everything begins, we discover Anan Abu Jabir who heats the room. Moreover, He alerts us, announces that he plays “Amir” and that we will have to remember this name. Moreover, For the moment, the atmosphere is light, even funny. Nevertheless, Then the stage setting is set up. Nevertheless, We see an old man alone at his table. Similarly, He seems desperately isolated. In addition, He flies an orange, when Amir, therefore, knocks on the door. However, From that moment, the duo sinks into a story that looks like a thriller. In addition, The door is locked. However, the old man says he lost the key, the young the press, drives the door and triggers a whirlwind of madness.

Makram J. Furthermore, Khoury is a star. Consequently, He is 80 years old today. Meanwhile, and spends the “yes daddy”, diabolical manipulation bashar first quarter of an hour of the piece lying on the ground, begging his young executioner to raise it. Nevertheless, He seems to be with dementia. For example, not knowing who he is, on what date he lives, nor who is this boy in front of him. Therefore, His son, probably? In a diabolically unhealthy game, Amir tries a sadistic Fort-Da. If he enters and goes out, will the old man, never named, will end up remembering his real name?

“I forget everything” – "yes daddy", diabolical manipulation bashar

In this festival where family representation is a common thread. Yes Daddy Recalls that the father, and here even the mother, are constructions, roles. There is a boy who dreams of setting up his accounts with an odious father. and a sweet father who agrees to make this great child believe everything he wants to hear. Just like The Museum, Yes Daddy is a step of two “yes daddy”, diabolical manipulation bashar locked up and anxiety -provoking. The Museum told the last hours of a terrorist sentenced to death against his jailer. Here too, there is constraint and submission.

Amir. who in his first words presents himself as an escort, will humiliate the old man, this daddyuntil they cause the spectator a deep discomfort. The image is unbearable. Man is degraded in his dignity. And yet, the play leads us to one of the most beautiful recent drama. She reminds us that sometimes we must not believe everything we see.

“Give me your hand, my son”

The duo excels. These two stars are regulars of the most prestigious scenes. Anan Abu Jabir is part of the Khan Theater troupe in Jerusalem, and is a popular figure of many series. Makram J. Khoury is an icon. In 1987, he was the first Palestinian to receive the Prix of Israel. Bashar Murkus and Khulood “yes daddy”, diabolical manipulation bashar Basel founded the Khashabi Theater in 2011. This independent Palestinian theater. refusing any state subsidy, formerly located in the heart of Haifa, lost its place because of the political context. He is now nomadic.

In this context, Yes Daddy can be read far beyond his closed-door. What does someone’s memory betray? Tell him a story that is not his? There is in Yes Daddy The desire to look behind the doors, to turn them over, to taste them. The spectacle, both in substance and in form, is a huge theater gesture. He keeps us in suspense from the first to the last second. For the moment. his tour does not lead him to Paris, but you can see him all November between Bastia and Montpellier.

In a show that tests the psychological. dramatic boundaries, “Yes Daddy” tells an intense confrontation between a young man and an elderly man in “yes daddy”, diabolical manipulation bashar a closed scene. With a touch of suspense. the show displays the complex relationship between memories, identity, and power within the family, and also opens questions about who has the right to tell the story. Wonderful performance from Annan Abu Jaber and Makram Khoury in an unforgettable Palestinian show.

In Yes Daddya psychological and theatrical showdown unfolds between a young man and an elderly figure in a locked room. With thriller undertones, the play explores memory, identity, role-playing and familial power dynamics. Performed by two outstanding Palestinian actors, Anan Abu Jabir and Makram J. Khoury, this bold and unsettling production challenges what we think we know. A powerful piece of theatre from the Khashabi collective.