Eli Sinai was born in Europe, and his professional theatrical training involved a deep attachment to the achievements of European culture. His behavior, his thinking processes, and even his pronunciation, always bore a clear European imprint.  

In many of his productions, the dramatic idea and the division of space were complex, and did not restrict themselves to the reconstruction of a historic, geographic reality, but instead created unique theatrical worlds.  

His stage designs were not intended to decorate the stage, but to assist in the interpretation of the play. His work as a stage designer was always based on an accurate and intensive analysis of the written text, and on his ability to extract the maximum possible from every single line.  

What makes Eli’s stage work so special is his ability to integrate a detailed realism - sober, sharp and accurate. His aimis to beautify a realism that is based on simple materials (such as fabric, tin, or wood) - with a lyrical poetry, which at times borders on surrealism (assisted by free plastic painting). His style was fragmentary, which assumes that the spectators are able to complete the image using their own imagination.  

Sinai was master of the stage technique in all its aspects. He succeeded in creating even in tiny sets, great and powerful worlds. His exacting and accurate mode of operation, introduced to this country uncompromising professional stage working procedures that contributed greatly to the high level of stage production and design in the Israeli Theater.