Nour Shehadah and Chen Alon are similar in many ways - both in their forties, with a wife and children at home; they were both combatants in the Israeli-Palestinian conflict. The difference is they were on opposite sides.

Born in a refugee camp, arrested several times from the age of 16 and imprisoned for five years, Shehadah was a prominent member of the Fatah paramilitary. After serving his mandatory term in the Israeli army, Chen Alon remained in the reserves and served as a combat soldier for 11 years. Today, they sit side-by-side at Amnesty International’s events centre in London and explain their journey to non-violence as members of theatre troupe, Combatants for Peace.
 
“Theatre is an important tool for non-violent resistance", says Shehadah. Illegally performed in-situ, the actors encourage the Israeli and Palestinian audiences to switch from being a spectator to playing a participatory role in scenes recreated from their own experiences. As Alon explains: “The main aim of form theatre is not to think about each other, but to be in the shoes of the other.”
 
Ignoring the audience’s initial discomfort as we realise that this rule applies to us too, Chen Alon warms us up. Using techniques pioneered by form theatre founder, Augusto Boal, we soon find ourselves waving our arms about and enjoying a verbal answer and response. Surprisingly, as we laugh alongside each other, we feel less of an audience and more part of a wider group. Now, it seems, we are ready for action and they run through a checkpoint scene recently performed in the West Bank.

“After 45 years nothing had changed... I was being a good father on one side, but on the other I was not being good to these [Palestinian] children. It didn’t make sense.”

As two young Palestinian men escort their poorly grandfather to hospital, they are stopped and refused through. Taking full advantage of the principles of Boal’s vision, an audience member jumps up, takes over the role of one of the soldiers and tries to placate the situation - yet resorts to violence within seconds. Another takes over the role of the grandfather and pretends to faint - cue much fracas and a tinkle of laughter. But, as Alon gently points out: “Did the violence change the situation?” 

“There is nothing one can do in these individual situations, as both sides are oppressed” says Alon. “The young Israeli officer being watched by his superior cannot let them through, even if he wants to, as he fears the repercussions.”

Formed five years ago, Combatants for Peace has a core group of 30 - including former Hezbollah and Hamas members - with Alon and Shehadah heading up the movement. As well as performing in unlikeliest of places, they risk life crossing borders to meet in each other’s homes or to meet soldiers questioning their role in the conflict - ensuring that both a Palestinian and Israeli member is there in order to “relay both sides”. 

“Theatre is an important tool for non-violent resistance."

In a touchingly candid moment Alon explained his transformation from solider to peace worker: “My men surrounded a house and as we entered with our flash lights I saw people sleeping on mattresses all over the floor. Then I saw the agent wake someone up and take them to the jeep. It was a 10 year old child.”
 
“I joined Combatants for Peace as I realised that after 45 years nothing had changed... I was being a good father on one side, but on the other I was not being good to these [Palestinian] children. It didn’t make sense.”
 
While they are all partners today, the movement was not without its initial internal distrust. On their initial meeting, Alon reflected with a smile: “We were sure that they were part of Hamas and they were going to kidnap us, and they thought we were part of Mossad and that this is a trap and they would be made to collaborate with Israeli security. It took us a lot of time to build the trust.”
 
In London the group can be together, get to know each other more and plan their work. But tomorrow they return home to face the hostilities. While not the only non-violent movement out there; they are certainly one of the first to use theatre as their weapon.

Words and photos: Melanie Scagliarini