Jewish Theatre Research Papers - Academia.edu (original) (raw)

זהו סיכום של מחקרים שונים שנעשו על תיאטרון יהודי ואמני תיאטרון במזרח התיכון וצפון אפריקה לפי ארצות ואיזורים. הסיכום הזה נולד כדי להראות היסטוריה נעלמת ומושתקת של תיאטרון היהודי הזה. בכל המחקרים על תיאטרון יהודי יש עיסוק רק באירופה ואמריקה... more

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- Sephardi/Mizrahi Studies, Jewish Theatre, Mizrahim, Arab Jews, Mizrahi Jews
- by Yoni Prior
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- Intercultural Performance, Jewish Theatre, Barrie Kosky
- by Stephanie Zidel
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- Montréal, Translation, Jewish Theatre, Théâtre québécois

(In German) "Victoria Hanna's Art: Between Prayer, Pop Culture and Interpretation"

- by Filip Busau
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- Jewish Studies, Jewish Mysticism, Jewish Theatre, Jewish Feminism

The 'Dybbuk' and Heavens of Yearning: The 'Dybbuk' of An-sky and its Hassidic Roots

- by Rivka Goldberg (Dvir)
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- Jewish History, Folklore (Literature), Hassidism, Jewish Theatre
- by René Bloch
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- Ancient Greek and Roman Theatre, Jewish Theatre, Hellenistic Judaism, Ancient Judaism

Chapters from "Man Tovà -- L'interculturalità in scena": "Leone De' Sommi", "Leone De' Sommi dal Talmud al teatro", "La trilogia ebraica", "I Salmi", "Tzachut bedichuta de qiddushin", "L'anima del teatro", "I testi desommiani per la... more

- by Giorgio Pavesi
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- Theatre Studies, Theatre History, Book of Psalms, Theatre

Precisely because of its radical instability as a theatrical signifier, playwrights have seized on the prop as a tool for destabilizing the conventional symbolism previously embodied by the now ambiguous object. Although they cannot legislate the prop's impact, playwrights can seek to orchestrate the prop's movement through concrete stage space and linear stage time. They can also shape the audience's reception of the prop through dialogue and stage directions. . . . This is especially the case during periods of semiotic crisis, when the meaning of the object the prop represents is (quite literally) up for grabs.—Andrew Sofer, The Stage Life of Props

- by Ruthie Abeliovich and +1
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- Theatre Studies, Performance Studies, Jewish Cultural Studies, Jewish Theatre
- by Shelly Zer-Zion
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- Yiddish Literature, Jewish Theatre, German-Jewish Studies
- by Motti Lerner
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- Globalization, Jewish Theatre, Jewish politics

from "La Reggia", December 2015, page 2

- by Giorgio Pavesi and +1
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- Jewish Studies, Renaissance Studies, Renaissance drama, Renaissance Drama (Renaissance Studies)
- by Wojciech Tworek
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- Yiddish, Hasidism, Jewish Theatre, Israel and Zionism
- by Paula Ansaldo
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- Jewish Theatre, Argentinean theatre
- by Yair Lipshitz
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- Jewish American Literature, Queer Theatre, Body in Performance, Jewish Theatre

In 2001, for the first time, an Arabic-language performance by Jewish
actors was performed for a Jewish audience that did not deal with the
Israeli-Arabic conflict. This article’s aim is to discuss how JewishMoroccan ethnic identity is fashioned through Jewish-Moroccan theatre in Israel through three main aspects: 1) Production and lack of public subsidy. The Jewish-Moroccan theatre is positioned on the margins of Israeli theatre, is perceived as amateurish by the tastemakers and gatekeepers of the theatre field, and is therefore not eligible for a subsidy from the Ministry of Culture. Although commercial logic leads the Jewish-Moroccan theatre, its producers identify with its communal
goals as well as the creation of an empowering ethnic identity on
stage. 2) Repertoire. The productions are realized in popular theatre
style and use nostalgia to appeal to Moroccan Jewry, which is incompatible with the Zionist narrative. 3) Reception. Engagement with the performance by the Jewish-Moroccan audience is very active, pointing to a celebration of its identity, culture, and language, as well as a protest against the hegemonic mainstream. Theatre is perceived in Israel as a ‘white space’ belonging to the middle-class, Ashkenazi Jewish hegemony. The spectators of Jewish-Moroccan theatre ‘darken’ the ‘white space’ by transgressing received Western audience-behavior.

- by נפתלי Naphtaly שם טוב Shem-Tov
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- Arabic Theatre, Jewish Theatre, Morroco, Israeli Theatre
- by Yair Lipshitz
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- Jewish American Literature, Jewish Studies, Theatre and Religion, Jewish Theatre
- by Debra Caplan
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- Theatre Studies, Digital Humanities, Theatre History, Jewish Theatre
- by Yair Lipshitz
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- Body in Performance, Theatre and Religion, Jewish Theatre, Sholom Asch
- by Yair Lipshitz
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- Theatre and Religion, Jewish Theatre

En este trabajo nos proponemos reflexionar sobre los procesos de intercambio, circulación y cooperación que se producen entre los directores europeos que llegan a Buenos Aires durante el período de entreguerras y el teatro judío IFT (Idisher Folks Teater-Teatro Popular Judío), donde se incorporan como directores artísticos. Partimos de la idea de que la participación de estos directores en el IFT fue fundamental en el desarrollo de la identidad estética del teatro, en la elección de su repertorio y en su consolidación como un teatro de innovación dentro del campo teatral de Buenos Aires.

- by Paula Ansaldo
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- Jewish Studies, Theatre History, Jewish Theatre
- by Oksana Dudko
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- Theatre Studies, Theatre History, Ukrainian Studies, World War I
- by Yair Lipshitz
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- Jewish Messianism, Jewish Theatre, Israeli Theatre
- by Yair Lipshitz
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- Jewish Theatre, Soviet Yiddish

The Yiddish Stage as a Temporary Home takes us through the fascinating life and career of the most important comic duo in Yiddish Theater, Shimen Dzigan and Yisroel Shumacher. Spanning the course of half a century-from the beginning of their work at the Ararat avant-garde Yiddish theater in Łodz, Poland, to their Warsaw theater-they produced bold, groundbreaking political satire. The book further discusses their wanderings through the Soviet Union during the Second World War and their attempt to revive Jewish culture in Poland after the Holocaust. It fi nally describes their time in Israel, fi rst as guest performers and later as permanent residents. There, in the 1950s, their political and cultural critique constituted a unique voice among the Hebrew theatrical troupes www.degruyter.com "[…] a masterfully crafted, defi nitive account of these major fi gures." Adi Mahalel, East European Jewish Affairs "This book constitutes a milestone in the historiographical study of Israeli theater […] Here the reader encounters many different voices within a textual fabric that moves between Hebrew and Yiddish." Ruthie Abeliovich, Gal-Ed Journal "A comprehensive study, brimming with facts and details, it lays out before us the duo's life stories and artistic endeavors." Michal Zamir, Haaretz "Diego Rotman's book gives Jewish humor a face, descends from the great heights of myth to tell a real story of fl esh and blood." Ya'ad Biran, Haaretz

Although his philosophical masterpiece, "Ethics," written in the notoriously exact and forbidding "geometrical mode," is one of the least dramatic works in the history of modern philosophy, and despite the dryness of both his personality and his intensely private life, Baruch Spinoza has exercised the imagination of a long line of dramatists, especially Hebrew and Yiddish stage impressarios. The parched prose of his writing, the dry determinism of his thought and the solitude of his life are more than compensated for by the lure of his heretical ideas and especially by the salacious story of his excommunication from the Amsterdam Jewish community in 1656.

- by Allan Nadler
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- Benedict de Spinoza, Modern American Theatre, Baruch Spinoza, Jewish Theatre
- by Paula Ansaldo
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- Jewish Theatre, Teatro argentino
- by Stefano Patuzzi
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- Jewish Studies, Jewish History, Kabbalah, Judaism
- by Sarit Cofman-Simhon
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- Israel Studies, Feminism, Theatre, Jewish Theatre
- by Paula Ansaldo
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- Jewish Theatre, Teatro argentino, Yiddish Theatre
- by Reina Reiner
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- Israel Studies, Feminism, Theatre, Jewish Theatre

En el período de entre guerras, y especialmente a partir de 1930, Buenos Aires se posicionó como un centro teatral judío de importancia internacional gracias su gran población de judíos ídish-parlantes y al desarrollo de un circuito teatral en ídish. Buenos Aires se convirtió así en un destino privilegiado en las giras de los artistas y compañías itinerantes del teatro judío y en un polo teatral que atraía a una gran cantidad de actores, actrices y directores judíos que buscaban radicarse en el continente americano. ¿Cuáles fueron las concepciones teatrales y estéticas que llegaron a la Argentina a través de los artistas judíos que arribaron en el país? ¿De qué manera y en qué medida los repertorios y las poéticas actorales y de puesta en escena que se desarrollaron en los escenarios judíos influenciaron al teatro nacional? En este trabajo buscaremos responder a estas preguntas a partir de la hipótesis de que el teatro judío funcionó como una corriente modernizadora que influyó notablemente en el campo teatral de Buenos Aires, ya que debido a su carácter itinerante y por vía del ídish llegaron a la Argentina concepciones teatrales, repertorios, poéticas de actuación y estéticas modernas que aún no se habían desarrollado en los escenarios porteños y que tuvieron un gran impacto sobre las compañías y artistas locales.

- by Paula Ansaldo
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- Jewish Theatre, Yiddish Theatre, Argentine Theatre

Exhibition catalogue of the exhibition at the Guggenheim New York

For over two decades, orthodox Israeli women have been creating theatre despite traditional Jewish reservations against it and despite the fact that theatre involves a certain degree of exhibitionism rather than the tsniut (modesty) demanded of them, particularly in the public sphere.1 A source for Jewish thought about tsniut is Micah 6:8 “Walk humbly with thy G-d” as interpreted by Rabbi Eliezer in Tractate Succah 49b of the Babylonian Talmud, whose explicit application of this as a principle to both public and private spheres is then further elaborated in halacha (religious law), in terms of dress, speech etc. This article highlights the unresolved inherent contradiction between theatre and tsniut, and how orthodox women negotiate and combine modesty with theatre performance. It focuses on two case studies of groups of orthodox actresses who have performed before mixed audiences (men and women), thus pushing the dilemma of modesty to its limit. It shows how their choice not to app...

- by Reina Reiner
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- Israel Studies, Feminism, Theatre, Jewish Theatre

En 2018 se estrenó en Nueva York la obra Fiddler on the Roof/A fidler afn dakh (en español: El violinista en el tejado), versión en ídish del famoso musical de Broadway basado en las historias del escritor judío Sholem Aleichem. El espectáculo fue llevado a escena por el Folksbine, una de las compañías de teatro ídish más antiguas del mundo y, debido a su gran éxito, se mantuvo en cartel en una sala del circuito
off-Broadway hasta principios del 2020. Este trabajo indaga en este fenómeno a partir de un análisis de los elementos de la puesta en escena, preguntándose especialmente por la incidencia y el papel que la utilización del ídish tuvo en el impacto de la obra en el público.

- by Paula Ansaldo
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- Jewish Theatre, Yiddish Theatre
- by René Bloch
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- Jewish Theatre

ABSTRACT In 1955, Iraqi Jewish immigrant artists founded Ur Ensemble (Lahakat Ur in Hebrew) and produced in Arabic the Majnūn Laylā (The Madman of Layla) by the Egyptian poet and playwright Aḥmad Shawqī. The Israeli Establishment subsidized and supported the Ensemble and intended the play for Palestinian spectators in Israel. It is a puzzling fact, because the policy of the Zionist melting pot required Middle Eastern Jews to move away from Arab culture and adopt a western orientation. I argue that the Israeli establishment perceived the Ur Ensemble as a propagandistic vehicle in order to display the state’s favourable attitude towards the Arab minority for the international community. However, in practice, the theatrical event created an Arab-Jewish dialogue based on a shared Arab culture contrary to the establishment's political intentions.

- by Debra Caplan
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- Jewish Studies, Transnationalism, Yiddish, Experimental Theatre