"DOSSIER : Le théâtre immersif"
by Hélène Chevrier
L’effet de l’immersion est radical pour ceux qui l’ont pratiquée. Pour Simón Hanukai, elle sollicite tous les sens du spectateur. "Dans le théâtre classique on utilise seulement nos yeux et nos oreilles. Dans le théâtre immersif, on utilise tous nos sens et tout le corps. Je trouve que c'est très intéressant sur tout dans le monde dans lequel on vit […] C'est une expérience pour vivre de manière différente".
January/February 2019 Issue
"The Refuge of the Stage. What roles can theatre play in the global refugee crisis? Healing, representation—and diversion"
by Simi Horwitz
May/June 2018 Issue
Theatre with, for, and on behalf of refugees, migrants, and exiles—however those terms are defined—seems to be springing up more these days, in the midst of a metastasizing global refugee crisis […] Simón Adinia Hanukai, educator, theatremaker, and co-artistic director of Kaimera Productions, is in the process of creating three projects for and with refugees.
SPACES: Oakland feels to me like genuine engagement rather than a blandly envisioned diversity experiment. It’s intensely personal, heartbreakingly sincere, and ecstatically joyous all at once.
"Whose Stories? At City Hall, 'SPACES: Oakland' Hands Over the Mic"
by Nicole Gluckstern
14 July 2021
The show’s creators and performers include familiar faces like BANDALOOP, dancer and choreographer Sarah Crowell, making her return to the stage following her long and celebrated tenure as an arts educator and community leader at the Destiny Arts Center.
... this celebration of people coming together that I’m so honored that I get to be a part of. Maybe these folks have not been to a live performance in over a year, and I get to lay out a carpet for them and say, “Welcome home to your city.”
"Elevating Stories and Spaces, An Interview with Sarah Crowell and Lauren Cox about SPACES: Oakland"
by Emmaly Wiederholt
Stance on Dance
5 July 2021
Des participants de 10 ans à 89 ans sont pris à partie de cette aventure urbaine, où la rencontre et les territoires de la périphérie sont au centre.
[...] there was something exciting about being in a building with a clear community function not my own. I was drawn inwards, rather than feeling in any way excluded. I was now part of the “new” community formed by the piece.
"Simón Adinia Hanukai: Sparking Discussion About Data Ethics Through Art"
by Margarita Kompelmakher
DATAPRINT is a unique project not only because it was developed through residencies in two capitals of technological innovation—Bangalore, India and Silicon Valley, USA—but also because it will be presented simultaneously in these two locations in spaces accessible to the general public, for free.
20 September 2018
"Sharing stories of Bengaluru"
For two days, the Cubbon Park metro station will be transformed into a performance arena, where artists and other citizens will come together to collectively share stories, memories, and their wish for Bengaluru.
17 September 2018
"Unfolding stories of migration"
‘Dataprint’ […] made audiences think about and examine the impact of their online fingerprint and question the ethics of data mining.
23 December 2016
"Stories of home and migration take life at cubbon park metro"
by Tina Shashikanth
Data Print aims to show how our online behaviour affects and how we define our identity in rapidly growing internet age.
20 December 2016
"CITY SIGHTS: La MaMa Experimental Theater Club"
by Julia Buntaine
Unlike most climate change-related art, JUPITER doesn't fall strictly on the alarmist side of the argument about the state of our planet. Rather, we are left with [...] a renewed optimism.
24 February 2016
"What Gives You the Right?"
by Ray Morgovan
Haunting and beautifully delivered [...] with extraordinary purpose and aplomb. The deeply moving JUPITER delivers its message in an insightful and powerful evening, and beyond.