From the hell in Sderot to the theater stage: Hillel HaCohen dreams of shaking up the art world
From yeshiva studies to the acting stage: Hillel HaCohen explains why the religious public must enter the world of culture and creativity, deals with the complex questions raised by Etgar Keret's texts, and marks the next goal in education and creation. "There is no reason for our culture to remain only with Ishay Ribo and Hanan Ben Ari."
On the day of Simchat Torah, October 7, Hillel HaCohen's life changed completely. As a resident of Sderot, he found himself in the heart of the hell, dealing ever since with complex post-trauma alongside a physical injury — a fall on the stairs on the way to the safe room (Mamad) that led to two surgeries. The stage became for him a space for clarification and healing. As a graduate of the first cycle of the "Ehyeh" ("I will be") track, the first academic track for men at the Emuna Academic College, the theater gave him a language to put words to what is impossible to describe.
"Listen, I am originally from Sderot. I am post-traumatic, and after October 7 it is an attempt not to get lost and to start processing what happened," says Hillel. "Large parts of the studies in general helped me with this matter. The production we did touched on some of these points, because in the end our connection with God is in a sense the most important relationship in our lives, and this relationship has gone through many upheavals in the almost three years. At the same time, there was really a desire here to reach the audience and convey this to them."
From this search, the course's final production was born, which was based on the stories of Etgar Keret and approached them through the lens of faith. The transition for Hillel was not taken for granted. "A friend told me not long ago, a month after the production went up: 'Listen Hillel, from the beginning all of Etgar Keret's stories seemed boring to me. In the first year we staged 'The Seven Beggars' by Rabbi Nachman, in the second year we did an adaptation of a story by Rabbi Sabato, and suddenly now - what are these stories?'".
But beyond the joke, Hillel sees something significant in Keret's writing. "I feel that Keret's style is a style that asks and investigates, and this is, in my view, extremely blessed. But for everything there is a way to do these clarifications, there is a way to ask the questions. As a believing person, I think that permission is granted. When I approach asking Keret's questions, I do not approach out of heresy or defiance. I come from a place where I think I have the tools to do these clarifications. The project was eventually called 'A World Searching', and this is our generation. This is the search we were born into, and it is our duty to continue searching."
Even the name of the track, "Ehyeh", was not taken for granted for him. "Honestly, 'Ehyeh' did not meet me. What kind of name is that? 'Ehyeh Asher Ehyeh' (I am that I am), I feel there is something in it that reminds of an answer that evades. Moshe asks what the name and message he can tell the Children of Israel is, and he receives 'Ehyeh Asher Ehyeh'. It even reminded me of the secret of Mr. Miyagi in the movie 'Karate Kid' - 'Not be there'. In this, from my point of view, there is some kind of abdication of responsibility, but in the end, perhaps it is also part of the matter. Not everything receives a final answer. From my point of view, what will be will be, and what needs to happen will happen."
Hillel says that contrary to the perception that may exist regarding a religious man who chooses the world of theater, he himself never felt a gap between the religious world and the desire to create. "I never felt any gap. Because in the religious culture, both in my home and in the Yeshivat HaKotel, where I studied, I did not hear contradictory voices. On the contrary, I even received in many senses a push forward. Precisely because this field is less developed in the religious social culture, to go and study theater, art, is actually a kind of mission."
Also regarding the audience, he seeks to arouse change primarily within the religious society. "I will start with the secular viewer. The average secular viewer interests me less. He mostly comes from a more cultural background in this matter and knows how to appreciate the creation as it is — a creation. Regarding the religious viewer, because the religious viewer comes from a world where this culture today, in 2026, is still weak and young. Here I want to cause that viewer, that person, to yearn for an understanding of what power, what strength there is in this world."
Hillel adds: "How do you, as a religious person who is commanded to enjoy this world, barely know it? And then that person will go and learn more, watch more. Will send his child to learn painting, will encourage his daughter to go to a theater major, and this is how we actually ensure our future to be better and even better. I think that the world of religious Zionism must enter this event, open its eyes. There is no reason for our culture to remain only with Ishay Ribo and Hanan Ben Ari, who in my eyes are an inspiration for culture and art that can break through and influence exactly like our track."
Alongside the artistic work, next year Hillel plans to enter the field of education. "Personally, in the coming year I am going into the field of education, theater teaching and education in schools. This is an important field that I want to contribute to for at least a few years. I am currently also an active actor, trying to do all sorts of things. As a creating artist I am sure that I will continue to act and do, and hope to break through later, perhaps with a cinematic series, perhaps with a theatrical production. With God's help, I have not said the last word yet."
The head of the college, Dr. Efrat Grossman, presents the vision: "The 'Ehyeh' track was established out of a vision to allow religious men to find a unique artistic language that connects to their spiritual and personal world, without compromises. The works presented at the final exhibition prove that art is a vital need for existential clarification and healing. We are sure that our graduates will be a significant and leading voice in the world of art and culture."
The head of the track, Rabbi Dr. Beni Perl, added: "What the students who pass through here experience is a deep process of 'self-discovery'. In religious art there are complex questions, but out of the direct encounter between the world of study and faith and reality, art is created that investigates the human soul honestly and courageously."
