Hadass Gertman | the Train Theater

Hadass Gertman


Hadass is a performance artist, a costume designer and maker. She specializes in body sculptures, crinolines and paper costumes.

She also teaches and serves as an artistic guid for a community theater group and recycles clothes.

Hadass is a graduate of the School of Visual Theater in Jerusalem. She participated in the

"Artists for Social Change" program at Musrara Art School, and in a course in gender studies at Givat Haviva.

Her works deal mainly with clothes and the actions related to them: sewing, getting dressed, and undressed… always with a feminist and autobiographical touch.

Some of her works –

  • Havalilit – A fashion show 1999-2006 – Performing Arts Center in Tel Aviv, Haifa Museum, Performance Art Platform in Tel Aviv, and more
  • Ofnobiographia­ ("Fashion biography") – A confessional monologue and a dress about three dramatic undressing's and their fateful consequences (2001-2010 Hazira – Performance Art Arena, Performance Art Platform, Israel Museum, and more)
  • The Queen's Daughter and the Moon (2001-2015. The Train Theater)
  • Memories from the wardrobe (2005. Performance Art Platform)
  • Dancing Women
  • The Paper Princess (2007-2010)
  • Zionist Sugar (2010. Performance Art Platform)
  • Knitted Walk
  • In My Beloved Country
  • A Ballad to Floor Rags and a Balcony )Trilogia, Haifa 2013)
  • The Dress of Women's Voice (Street performance, Hadera, Tel Aviv, and more 2010-2014)
  • Tzila (by Galit Liss) – creating paper costumes during performance

My artistic language began with clothes, but it developed over the years to focus on actions and mainly on my work and presence. The focus has shifted from the garment and the visual to the creative process, which is presented to the audience and becomes the main theatrical action in the performance.

In recent years I've been dealing a lot with the public domain, as a venue, a location of the artistic activity. I find that my everyday close surroundings, the city I live in and the whole country are in need of direct artistic presence, sometimes unexpectedly occurring, and not only in places we're accustomed to encountering it.

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