Drafted in 1978, Alon calls himself an "Occupation Scholar"[8] for his participation in IDF activities in the West Bank and Gaza.
On one occasion when I was stationed at a roadblock, I was asked to allow a taxi full of sick Palestinian children (who didn’t have a permit) through to the hospital in Bethlehem.
Not surprisingly the operation deteriorated into a fierce battle, with the local Mosque calling people in to defend the house and to rise up against the Israeli invasion.
[8] At this point he signed a petition of IDF soldiers and officers refusing to serve in the Occupied Palestinian Territories.
[9] At that time he described his position: "We are all front-line combat soldiers, Zionist patriots and willing to defend their country and fight against any real aggression against the state of Israel, but we are not willing to humiliate and starve and expel and repress three million people."
Alon said that he had realized, after some incidents during his military service in Bethlehem at the beginning of the second intifada, "that our presence was only to get a few more people killed or wounded, to keep the war going on.
The occupation for me is many, many horrible details, of curfews and sieges and children who can't go to school - all these things that make the big picture in the occupied territories 24 hours a day.
[14] He has introduced his model into Combatants for Peace, which often use theater as a means of nonviolent protest and reconciliation work.
[14] This theater often takes place at road blocks within the West Bank, in villages and in public spaces; it allows audiences to view the aggression and violence of the military occupation and struggle in a nonviolent way.
[15][16] Alon has described how the actors confront the guards in this kind of situation by "mirroring how they look" in order to "shoot embarrassment on them".
Augusto Boal has described the objective of Theatre of the Oppressed as "to encourage autonomous activity ... to set a process in motion, to stimulate transformative creativity, to change spectators into protagonists".
"[14] Alon has also worked together with Avi Mograbi to found the Legislative Theatre at the Holot detention center, a troupe composed of six asylum seekers who have been detained there, along with four Israelis.
The play consists of images explaining the reasons the asylum seekers left their homelands, and moves between situations familiar to every asylum seeker in Israel: crossing the border; sleeping on the grass in south Tel Aviv's Levinsky Park; exploitative working conditions; the inability to establish a family and build a stable life; to their imprisonment in Holot.