{"id":49547,"date":"2021-06-07T15:04:44","date_gmt":"2021-06-07T15:04:44","guid":{"rendered":"https:\/\/politicallycorret.co.il\/testimonies-emerge-of-systematic-offensive-patterns-by-television-star-erez-drigues\/"},"modified":"2021-06-07T15:27:03","modified_gmt":"2021-06-07T15:27:03","slug":"erez-drigues","status":"publish","type":"post","link":"https:\/\/politicallycorret.co.il\/en\/erez-drigues\/","title":{"rendered":"Testimonies Emerge of Systematic Offensive Patterns by Television Star Erez Drigues"},"content":{"rendered":"

Written by: The Readeress editorial staff<\/strong><\/p>\n

Translation: Tom Atkins<\/strong><\/p>\n

editing: Shlomit Cnaan Aviram<\/strong><\/p>\n

\u201cI Love Rehearsals, but it\u2019s about time to put it out there: Erez Drigues\u2019s public presence is fucking triggering me,\u201d journalist Ofir Sgerski wrote in her personal Facebook page on January 29th. In her post, she goes on to describe how Drigues would send her \u201csleazy messages,\u201d despite her requests that he stop. \u201cApparently, I wasn\u2019t the only one. In interviews he says it\u2019s not criminal, and he may be right,\u201d she writes. \u201dHe says it\u2019s sleazy and pathetic, but it\u2019s not only that \u2013 it\u2019s also offensive.\u201d<\/p>\n

\n

Erez Drigues? More like triggers lol \ud83d\ude41 \u201cI Love Rehearsals, but its about time to put it out there: Erez Drigues\u2019s public presence is fucking triggering me. That includes the<\/p>\n

character he plays \u2013 Tomer, a toxic man who wins his ex back by selfishly crashing her big night, which is framed as a sweet romantic ending.<\/p>\n

And yes, I might be finding it a bit difficult to separate the man and the character because Drigues used to send me sleazy messages, completely disregarding my clear signals that they were inappropriate. Apparently, I wasn\u2019t the only one. In interviews he says it\u2019s not criminal, and he may be right. He says it\u2019s sleazy and pathetic, but it\u2019s not only that – it\u2019s also offensive.<\/p>\n

Seeing a character like that puts me back where I was when I was deeply hurt by another man, beloved by the industry. When I would tell people how he treated me, the response would often be \u201cReally? But he\u2019s so cuuuuute.\u201d<\/p>\n

My point is: ease up a bit on your admiration. You don\u2019t really know who the people on the screen are, and you don\u2019t know who you might hurt with it.\u201d<\/p>\n<\/blockquote>\n

A torrent of heated reactions, on both sides, followed the post. Among accusations of destroying Drigues\u2019s career, destroying romance and destroying mankind in general, more testimonies emerged, by other women who, like Sgerski, had been harassed by Drigues. The vast majority contacted Sgerski privately, sharing stories of similar harassment aimed at them by the theater director and creator of the beloved show. Sgerski aired these in another post, meant to clarify the first one\u2019s somewhat vague tone:<\/p>\n

\n

Some people have said that my last post, about Erez Drigues, wasn\u2019t clear enough, that I was blowing things out of proportion and that you can\u2019t shame every douche-bag.<\/p>\n

So first of all, there\u2019s a difference between shaming and reacting to things a person admitted to in interviews and described doing.<\/p>\n

Second, sending women sexual messages without their consent is sexual harassment, not \u201cmere douchery.\u2019\u2019 In fact, I specifically didn\u2019t use that term in the previous post because I didn\u2019t want to antagonize anyone, and because I thought it was important to be gentle with someone I still have a lot of professional esteem for, someone who, together with his creative partner, Noa Koler, brought such wonderful TV moments to my screen.<\/p>\n

Now, as a special service for those of you who are having difficulties understanding the situation, here is a collage I made of messages women sent me after my last post. It doesn\u2019t feature all the women who reached out, only the five who agreed for their conversations to appear in it. Any identifying details have been blurred, at their request.<\/p>\n

Also, as some thought I was too harsh, I added some care-bears.<\/p>\n<\/blockquote>\n

The responses to Sgerski\u2019s second post left no doubt about it: behind each seemingly isolated report there were other victims, revealing a repeated pattern of harassment and then silencing. Some of these women said they enjoyed the show, and even saw characters like Tomer and Ofer as Drigues\u2019s way of admitting his past misconduct towards women. But in interviews, they were disappointed to discover he still denies having crossed the lines, labels the whole saga \u201cpathetic\u201d and \u201csleazy\u201d, and doesn\u2019t consider for one moment how damaging his actions were.<\/p>\n

Erez Drigues\u2019s case makes it clear that in theater, as in other cultural and professional areas (such as poetry and academia, as we recently discovered with the cases involving Roy Chicky Arad and Haim Dauel Lusky), women are expected to overlook the misconduct of powerful and influential men. If they dare to resist, their professional future is on the line. Even if Drigues\u2019s text messages aren\u2019t sexual harassment in the legal sense, it\u2019s still behavior that actively fosters exclusion of women, preventing them from advancing, or at least from feeling comfortable in their environment. The academic term is chilly climate, a feeling of uneasiness in the space in which you operate.<\/p>\n

Due to this concern, this report contains testimonies by only four of a significantly higher number of women. Some of the stories we heard include gross abuse of authority, and demonstrate just how women often face more than solely professional obstacles, in their struggle for work-place equality.<\/p>\n

\u201cWhat\u2019s Up? Still a Virgin?\u201d<\/h2>\n

\u201cI was 17, perhaps only 16, and it lasted for three years! Three years of non-stop messages and harassment,\u201d says Dar (unless specified otherwise, all names have been changed). \u201cThank God, even at that age I had some sense and didn\u2019t agree to meet him, as much as I idolized him. He didn\u2019t care how young I was. I don\u2019t want to know what would have happened if\u2026\u201d<\/p>\n

Dar studied theater at high school. She met Drigues, who was 30 at the time, on a school visit to the Yoram Lownshtein Performing Arts Studio. Drigues was an acting instructor at the studio. He made a strong impression on the eager theater student. Following the visit, Dar sent him a Facebook friend request. The screenshots she sent us show that Drigues immediately knew who she was, knew how old she was, but still implored her to fulfill his sexual urges.<\/p>\n

Today, Dar is ashamed and embarrassed that she continued messaging Drigues, rather than blocking him the moment he started making the conversation sexual. She was a teenager then, but older women have also been drawn into long, uncomfortable conversations with him.<\/p>\n

\"\"\"\"<\/p>\n

\u201cI\u2019m Just Offering to Take Care of You\u201d<\/h2>\n

Inbar was harassed by Drigues in 2016. She\u2019s not in theater, but works in related fields. At the time she was an avid theater enthusiast. \u201cI was a dumb 24-year old, and I idolized anyone who had anything to do with theater,\u201d she says. Drigues approached her on Facebook. At first, she was excited that such an esteemed creator contacted her. A few moments later, not so much.<\/p>\n

Drigues offered to \u201ctake care of her\u201d in various ways, using what is apparently a popular euphemism with sex offenders. \u201cAt one point I just started to ignore him, because my attempts to move the conversation towards getting to know each other weren\u2019t really working.\u201d she says.<\/p>\n

\u201cI can definitely say it took me time to work up the courage to watch Rehearsals,\u201d Inbar admits. \u201cFor the first episode, I had to start over three times before I could see it from beginning to end. And it wasn\u2019t easy to cope with all the praise it got.\u201d This point Inbar makes is important because it explains why these women \u201chave suddenly remembered\u201d to speak up now: When you don\u2019t see or hear much of the person who hurt you, it\u2019s easier to leave the injury behind. When he\u2019s splashed on every screen and newspaper on a daily basis, wrapped in love and adoration, it\u2019s hard not to wince in pain.<\/p>\n

Another testimony comes from Tslil, a young actress whom Drigues harassed three years ago. \u201cI saw a play of his in the Tzavta theater and had some questions about acting and directing,\u201d she remembers. \u201cI was a first-year acting student at the time. I was naive enough to think I could just approach him on social media.\u201d<\/p>\n

She messaged Drigues on Facebook, and their conversation quickly turned from professional to very unprofessional. \u201cDrigues offered to meet. I refused,\u201d she says. \u201cHe complimented my appearance and started telling me how \u2018horny\u2019 he was, told me where his hands were and what they were doing, and even sent me a picture of his crotch. He was dressed, but it was still unpleasant and unsolicited.\u201d<\/p>\n

\u201cI told him I was uncomfortable with the direction the conversation was taking. He apologized, but said it was because he was constantly horny and masturbating. I ended the conversation. I felt humiliated and disgusted, and racked my brain trying to understand how any of my questions implied that was the kind of communication I was interested in. I still don\u2019t know.\u201d Tslil was so uncomfortable with the conversation that she deleted it, which is why we can\u2019t show any screenshots of it.<\/p>\n

\u201cA few years later I told a friend about it, and she said something similar had happened to her,\u201d Tslil shares. \u201cApparently he\u2019s a serial offender. Everybody knows, it\u2019s a thing. Plenty of girls, mainly in theater, know about it.\u201d Tslil emphasizes that even though the Drigues phenomenon is well-known, it\u2019s far from the only one in the field. \u201cThere are much, much, much too many sleazeballs like him in this field,\u201d she says. \u201cI wish I could give the name of every guy who has ever harassed me. Just put it out there with their picture. There are just too many.\u201d<\/p>\n

\"\"<\/p>\n

\"\"\u201cChilly Climate\u201d<\/h2>\n

Even if Drigues never physically assaulted anyone, he made sure to create an unpleasant atmosphere, in which women had to contend with his crude and harassing messages, or risk hurting their careers.<\/p>\n

That\u2019s what happened to Noy, a young theater creator. She rejected Drigues as carefully as she could, but her career still suffered because of it. She met Drigues five years ago, as a teenager. \u201cI saw a play he was on in the Haifa theater, and I absolutely idolized him,\u201d she recounts. \u201cAfter the show I went to the stage door, to tell him how much I liked the play. I saw him walking in the middle of a huge mass of girls, all of them my age or younger. Something about it really disgusted me, so I walked away.\u201d<\/p>\n

Two years later, at 19, Noy happened to see a post Drigues wrote about his new play. She gave it a Like, and Drigues sent her a friend request and started messaging her. \u201cIn my stupidity and admiration I thought he had something to say about my writing,\u201d she says, with a considerable measure of self-flagellation. She had a good reason to think that: at the time she had submitted texts to a project Drigues was heading. \u201cApparently it wasn\u2019t my writing he was interested in,\u201d she says.<\/p>\n

\u201cVery quickly, and very aggressively, he started signaling he was interested in me. I tried rejecting him super-gently, so it wouldn\u2019t hurt my chances in the project. A few months later I was rejected for the project, and a few days after that he started messaging again, asking if I\u2019d changed my mind.\u201d Noy answered that she had a boyfriend, and says Erez was angry about that answer. \u201cHe started interrogating me, was angry that I had a younger boyfriend,\u201d she says.<\/p>\n

But the real revenge came two years later, when Noy accepted a certain role in the same annual project, and had to work under Drigues, a year after their last encounter. \u201cIt was very awkward,\u201d she says. \u201cIt was little things, so I could never know if he had anything to do with it or if it was a coincidence.\u201d This confusion is shared by many of the women we talked to. They feel their career was hindered after they rejected Drigues \u2013 but in elusive ways, too subtle to put a finger on.<\/p>\n

Still, Noy is able to point to a few irregularities: \u201cFor example, I was the only one not listed on the poster or anywhere else where the festival was mentioned,\u201d she remembers. We checked, and while other people who had identical roles to Noy were credited, she was left out.<\/p>\n

\u201cWhenever I texted him about something, or even talked to him, he wouldn\u2019t answer. The director and producer [both women] couldn\u2019t understand why I \u201dswitched off\u201d whenever I was near him. I told them, and they helped wherever they could.\u201d<\/p>\n

Noy says watching Rehearsals was complex for her. \u201cIt\u2019s so complicated,\u201d she says. \u201cOn one hand it\u2019s an amazing show, and it has so many amazing people who aren\u2019t him, and you watch it with friends, and everyone watches it, so am I supposed to be the downer who doesn\u2019t? It\u2019s not every day someone makes a show about theater\u2026 on the other hand, it\u2019s difficult to see him. Unpleasant. I watched it with my partner. He knows everything about what happened, and we were both very ambivalent.\u201d<\/p>\n

\"\"\"\"<\/p>\n

It\u2019s a Pity That Offenders Don\u2019t Spend a Tenth of the Energy the Victims do, Thinking About the Other Side<\/h2>\n

Many of the women Drigues has hurt along the years describe a difficult internal conflict while watchingRehearsals. On the one hand, they enjoyed the show. On the other – they had a hard time coming to terms with the love the media lavished on Drigues. They felt guilty for \u201cbeing overly critical\u201d of his work, and this feeling, alongside the fear of conflicts and ricochets, prevented them from speaking, until now.<\/p>\n

But underneath the surface, in one-on-one conversations, Drigues was revealed to be a serial offender. \u201cIn the last few years I heard multiple accounts of him being compulsively sleazy and harassing,\u201d says Anat, a theater director. From the moment the show was first aired, I kept thinking, \u201cWhen is it going to blow up? It\u2019s just a matter of time\u201d.\u201d<\/p>\n

While Anat expected the scandal to explode, she was surprised at the scope. \u201cAfter Ofir [Sgerski] published her post, I was surprised to find how many women he had hurt,\u201d she says. \u201cI had no idea how big this was.\u201d While she was pleased that it came to light, she is also sorry for her colleague. \u201cOne feels a lot of pain and sadness for a very talented man who, at such a wonderful and important phase of his career – tripped himself up,\u201d she says.<\/p>\n

Anat says that even today, in the so-called #MeToo era, it\u2019s hard to bring this kind of offense to light, because victims still face accusations from every direction. \u201cWe have to understand that it\u2019s a very complicated situation. I highly doubt that any woman finds pleasure in it,\u201d she clarifies. \u201cMany women were very careful about deciding whether to expose their experiences or not, specifically because they didn\u2019t want to shame him, or \u201cpublicly hang\u201d him – both out of a sincere appreciation of his work, and so they won\u2019t be perceived as being out for revenge, as populist, or as envious of his success and the show\u2019s. I wish Erez, and so many other men in theater, were that sensitive. Many still harass regularly without having even a tenth of that consideration or thought for how the other side is feeling, either before or after the fact.\u201d<\/p>\n

Women Told Me \u201cWatch out for That Actor,\u201d \u201cThis One Can Get Handsy.\u201d<\/h2>\n

Noa Wagner is a director and a member of the Israeli Women Theater Creators\u2019 Forum, and also the only interviewee who agreed that we use her full name. She says that immediately when she entered theater, she was exposed to a culture of both sexual harassment and silencing. \u201cWomen told me \u2018watch out for that actor,\u2019 \u2018This one can get handsy,\u2019 and even \u2018that\u2019s how it is around here. It used to be worse\u2019,\u201d she says. \u201cThat\u2019s how people talked. women would tell you privately so you\u2019d know to take care of yourself. They knew that saying it out loud wouldn\u2019t do any good.\u201d<\/p>\n

The way Wagner sees it, sexual harassment is widespread in theater – but not more than in any other field. She does admit that its harder to discuss in the entertainment industry, for a number of reasons. \u201cIt\u2019s a small industry – everyone is friends with everyone, everyone knows everyone,\u201d she says. \u201cThere\u2019s concealed intimidation, and there\u2019s an uncomfortable feeling that creates a culture of silence.\u201d Another possible reason that women keep silent about harassment is an antiquated school of thought according to which \u201cThe director is a dictator.\u201d This school, Wagner says, asserts that \u201cyou have to accept everything the director does or says.\u201d Trained to be completely obedient, actors withhold their voice even in the face of conduct that crosses professional boundaries.<\/p>\n

But is it even possible to set such clear boundaries in the world of theater? Wagner finds it a difficult question to answer, but clarifies that directors, men and women alike, have to be very attentive to their inner compass, which they hopefully possess. \u201cAs a director, man or woman, you hold great responsibility over your actors,\u201d she says. \u201cWhen dealing with sexuality, you have to be very professional with your intentions.\u201d<\/p>\n

It\u2019s important to note that many incidences of harassment in the entertainment industry, such as those presented here, are in a \u201cgray area\u201d, and only seldom manifest as a real physical assault. Be that as it may, this \u201cgray\u201d harassment also has severe mental and professional repercussions for victims. Often, they are afraid to complain – in such a small industry everyone knows everyone else, and your ability to advance depends on what people think about you.<\/p>\n

\u201cYou Just Have to Say the Wrong Thing, and Someone More Powerful in the Industry can Change Your Future\u201d<\/p>\n

\u201cIt feels like you just have to say the wrong thing, and someone more powerful in the industry can change your future.\u201d Wagner says. \u201cI\u2019m not as scared of it as I used to be, because I know its hard for me not to follow my heart. It takes a greater toll on me. But I used to be scared, and I didn\u2019t want to be seen as a victim. You don\u2019t want to be remembered for talking about this man or the other, or be the one who went through this or that. you want to be appreciated for your work, your abilities, your directing.\u201d<\/p>\n

Besides the conflict with the outside world, Wagner describes an internal conflict harassment victims find themselves in. \u201cYou keep asking yourself why didn\u2019t you react in time, why you only bring it up now,\u201d she says. \u201cWomen can get confused – we\u2019ve been sexual objects for years, it was part of the norm, so it\u2019s rooted in our minds as well, not only in men\u2019s. sometimes the injury is complicated in itself. If someone attacks you on the street, in a dark alley – that\u2019s clearly wrong. But you can\u2019t always say what\u2019s wrong with the way a director or an actor came too close, or put his hand on your shoulder.\u201d<\/p>\n

Many women share the fears and concerns Wagner describes, partly because of the accusations so often leveled at sexual assault victims, accusations which easily become self-accusations. Before even making a complaint, suing or even speaking out, you already accuse yourself of being an \u201cattention seeker\u201d, of holding grudges of taking things out of proportion, of being obsessive and whiny. Or, as Tslil described – you first scrutinize what it was about your behavior that caused the offender to behave as he did.<\/p>\n

Exposing harassers\u2019 behavior patterns is a step on the path to cleaning our culture of sexism – but it is also a step on the path towards healing for many victims who can finally stop blaming themselves.<\/p>\n

Erez Drigues\u2019 response:<\/h2>\n
\n

Ofir Sgerski\u2019s post, written following my Yedioth Ahronoth interview, brought to the surface a behavior of mine, one that has hurt her, one that has hurt others. I\u2019m aware of it, I understand it well and therefore, even before her post, I took every step required to change.<\/strong><\/p>\n

Part of this change was writing Rehearsals, which has brought embarrassing and inappropriate aspects, about which I am sorry and ashamed, to prime-time television. As part of this change I also revealed, in the same interview, some of the messages shown here.<\/strong><\/p>\n

It is a personal process. It is still ongoing and I hope that, in due time, I could also apologize to those I\u2019ve hurt. I do, however, want to emphasize that I have never allowed any personal matter to influence professional decisions. I never will and I categorically reject any implication otherwise.<\/strong><\/p>\n<\/blockquote>\n

Headline photo: a screencap from Rehearsals, Kan 11<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Following a recent Facebook post made by journalist Ofir Sgerski, many more stories are coming to light, pointing to systematic abuse of women in and outside the world of theatre, by esteemed Rehearsals actor and director Erez Drigues. 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