About the work

My name is Uri and I explore theatre as a process of healing personal and collective trauma. I see theatre to be a community ritual of healing. A ritual, in which enter a “collective dream”, where we can deconstruct and reconstruct the individual and collective stories which inform our identities. I believe it can create a safe place in which to engage in collective seeing of blockages, and by seeing them enable movement, towards a new state of being, of self, of community, of world.

In May 2019, after a decade of working with groups, I encountered an unexpected problem. During a family trip to Israel, one fine morning my voice was gone. This situation has persisted and a doctor exam has shown my left vocal cord is not moving, my body was telling me to slow down and listen more deeply. Something wanted to be heard, to be expressed.

We are in Rome in an “occupied” social centre, where I offer my personal story to a Rainbow of Desires process facilitated by Hector Aristizabal. The story tells of an inner conflict regarding refusing the “army reserve” military service in Israel. The scene is set as a future meeting with my reserve officer, and with the “Rainbow” we explore the various invisible “voices in the head”. The process is both personal and collective, and through it, the inner struggles of the individual become collectively visible. The process had a deep impact on me and as I look back at the images captured of the process, it is as if I see another person. Mechanised in his body posture following 3 years of military service, and 28 years of a social training “to be a Man”.

– Towards a Praxis of Wholeness, Uri Noy Meir

The inbodiedmemories.com website is an invitation to create aesthetic reactions of you personal resonance to the work. To cross the invisible lines which separate “artist” from the “viewer”, “actor” from “spectator”, “performance” and “reality”.

For a long time, the man who tortured me was a primary figure in my mental life. I now understand that one of the long-lasting effects of trauma is to confuse that enforced and claustrophobic connection with intimacy. I need to break that connection and recreate loving connections in my life. I need to think of that man as the torturer, and not my torturer. And to understand that he belonged to the army, to the system of repression, and not to me.

– The Blessing Next to the Wound, Hector Aristizabal and Diane Lefer

LIST OF ARTISTS WHO HAVE CONTRIBUTED TO THIS WORK (in order of appearance) 

Deep gratitude to all the creators who made this artwork possible.

Deep gratitude to the many teachers who have influenced my work and art. Augusto Boal who have not met, and yet learnt that art and theatre could be liberating, John Croft and taught me we are not our stories but rather the storytellers of those stories and how we can realize win-win-win dreams and projects. Arawana Hayashi that showed me that simplicity and honesty can upon hearts and bring “the gods to earth”. Joanna Macy whose work showing the structure of the deep process of grieve and re-connection I/we am/are going through.

And a special thank you to Noa and Ilaria my mentors in play and the passion of creation and story.