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Moni Yakim
A native of Jerusalem, Moni Yakim began his theatrical studies in Paris at the Théâtre Nationale Populaire before coming to the U.S. to work with Stella Adler. He has directed plays for Yale Rep, the American Shakespeare Festival, and Off-Broadway, and has taught for more than 30 years at both Juilliard and at Circle in the Square Theater School. Yakim is the author of the book Creating a Character: A Physical Approach to Acting.
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| Moni Yakim |
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Who was the teacher or mentor who most inspired you when you were growing up and what did you learn from that person? I was very fortunate to have two theatrical giants—Etienne Decroux and Stella Adler—as my artistic parents. Mr. Decroux, the man who created modern mime, opened my eyes to the endless possibilities of physical expression, and inspired me to become an artist of the theater. I was a member of his company for five arduous but most exalting years. Ms. Adler, after seeing me perform in Paris, brought me to the U.S. to study with her and teach at her conservatory. It was in her class that I gained insight into the actor's process, which proved to be invaluable in my growth as a teacher and stage director. She also taught me that humanity and truth must be infused into the aesthetics of whatever form and style of play I worked on. I would like to mention George Wilson, my mentor at the T.N.P., as well, for instilling in me a love of language, poetry, and the classics.When did you first know you wanted to be a theater professional and how did you come to know it?When I was 8, my older brother took me to see a production of Henrik Ibsen's Peer Gynt at the Habima Theater in Jerusalem. I did not understand much of the play, but I was mesmerized by the transformation of the wild, young Peer Gynt into a helpless old man. The experience transported me into a world of mystery. From then on, there was no transition from everyday life to theater—just a natural evolvement.What theatrical performance have you attended that changed the way you think about theater?The Berliner Ensemble production of Bertolt Brecht's Mother Courage with Helene Weigel (Brecht's wife), and The Resistable Rise of Arturo Ui with Ekkehard Schall and The Life of Galileo… all directed by Bertolt Brecht. These productions were economical, precise, and clear. I didn't know a word of German, yet their impact was monumental. Every gesture was justified and meaningful, down to the motion of the actors' eyes. Every syllable and vocal color penetrated directly to the brain and the heart. The sets were elaborate but never intrusive. An intense and thought-provoking humanity emerged from the work of the most disciplined and capable group of actors I've ever seen.What's the most embarrassing moment you've had as a performer?Sharing a program with Jackie Mason. He insisted on doing his act first, due to an additional engagement elsewhere. He stayed on stage for three and a half hours. Finally, when I went on, I realized that—out of 1,500 in the audience—about 20 people remained. My act lasted 30 seconds.If you could have your students visit any place in the world, where would it be, and why?The Wailing Wall in Jerusalem. Awe-inspiring and spiritual, it is a healthy ego check that makes one consider humility.What are your non-drama related interests or hobbies? What would people be surprised to know about you?My greatest passion is writing poetry in Hebrew. And people would be surprised to find that I am not as scary as I seem.What is your proudest accomplishment in life?At the risk of employing a common cliché—my proudest accomplishments are my two sons, movie-maker Boaz Yakin and graphic-novel artist Erez Yakin.What "words of wisdom" can you offer young people entering the field today?Forever seek your true nature.
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