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Relevant bibliographies by topics / Freedom Theatre (West Bank)

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Journal articles

Academic literature on the topic 'Freedom Theatre (West Bank)'

Author: Grafiati

Published: 28 February 2023

Last updated: 27 July 2024

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Journal articles on the topic "Freedom Theatre (West Bank)"

1

Mee, Erin B. "The Cultural Intifada: Palestinian Theatre in the West Bank." TDR/The Drama Review 56, no. 3 (2012): 167–77. http://dx.doi.org/10.1162/dram_a_00194.

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Three prominent Palestinian theatres use performance as a form of and forum for resistance to occupation. In the words of Juliano Mer Khamis, the murdered artistic director The Freedom Theatre, “We believe that the third intifada, the coming intifada, should be cultural, with poetry, music, theatre, cameras, and magazines.”

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2

Rivers, Ben. "Cherry Theft under Apartheid: Playback Theatre in the South Hebron Hills of Occupied Palestine." TDR/The Drama Review 59, no. 3 (2015): 77–90. http://dx.doi.org/10.1162/dram_a_00490.

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Beginning in December 2011, The Freedom Theatre began using Playback Theatre in villages, refugee camps, and Bedouin communities throughout the West Bank of Occupied Palestine. In the South Hebron Hills, various ethical imperatives came to the fore—including the need to honor the integrity of the narrator’s subjective experience and avoid the replication of oppressive power dynamics—as the group simultaneously attended to the realities of staging stories.

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3

Hamadah, Faisal. "Palestinian Theatre in the West Bank: Our Human Faces." Journal of Palestine Studies 51, no. 1 (2022): 1–2. http://dx.doi.org/10.1080/0377919x.2021.2017179.

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4

Hesse, Isabelle. "Palestinian theatre in the West Bank: our human faces." Contemporary Levant 5, no. 2 (2020): 180–82. http://dx.doi.org/10.1080/20581831.2020.1809864.

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5

Orrell, John, and Andrew Gurr. "What the Rose can tell us." Antiquity 63, no. 240 (1989): 421–29. http://dx.doi.org/10.1017/s0003598x00076390.

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What is known of the physical size and shape of the Elizabethan theatres for which William Shakespeare wrote his plays? And how is our knowledge changed by the discoveries in spring 1989 at the site of the Rose theatre, Southwark, on the south bank of the Thames in London? John Orrell and Andrew Gurr, theatre historians who are themselves involved in the plans to rebuild the more famous Globe theatre (Gurr & Orrell 1989), on the bank of the Thames just a few yards west of the Rose site, near to the original Globe site which is due for excavation in the next few months.An earlier version of this paper appeared in the Times Literary Supplement (9–15 June 1989, pages 636, 649); it is reprinted by kind permission of the TLS.

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6

Warwick, Paul. "Theatre and the Eritrean Struggle for Freedom: the Cultural Troupes of the People's Liberation Front." New Theatre Quarterly 13, no. 51 (1997): 221–30. http://dx.doi.org/10.1017/s0266464x00011234.

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The thirty-year Eritrean struggle for independence – during which a small and poorly-armed guerrilla force eventually triumphed over a highly-equipped enemy, supported by foreign powers – is also the story of a social revolution in which the theatre played its part. The Eritrean People's Liberation Front not only employed theatre as a propaganda weapon, but also recognized its value as an agent for educating its people – concerning education and women's rights, and on the benefits of modern medicine and farming methods – and with victory came measures to stimulate the growth and development of theatre as part of Eritrean culture. Following Jane Plastow's contextual history of Eritrean theatre in our previous issue, Paul Warwick here makes the first attempt to reconstruct its undocumented role in the independence struggle, and the efforts of the rebels to create theatre for the first time in a rural context. A graduate of the Workshop Theatre, University of Leeds, Paul Warwick made this the subject of his research when he visited Eritrea in the summer of 1995 as part of the Eritrea Community Based Theatre Project. Since his return he has collaborated on a translation of The Other War by Alemseged Tesfai, written during the independence struggle, and given a reading at the West Yorkshire Playhouse in December 1996: this is due for publication later this year in an anthology of African drama from Methuen. Paul Warwick is currently Artistic Director of the Unlimited Theatre Company based in Leeds.

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7

Ronen, Yaël. "Applicability of Basic Law: Human Dignity and Freedom in the West Bank." Israel Law Review 46, no. 1 (2013): 135–65. http://dx.doi.org/10.1017/s0021223712000313.

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This article examines the applicability of Israel's Basic Law: Human Dignity and Freedom in the West Bank in light of international law, in theory and practice. The first part of the article concerns the need for such applicability in light of alternative domestic and international legal regimes. The article then explores three bases for the extraterritorial application of the law, and examines relevant practice. Finally, the article addresses the consequences of the extraterritorial applicability of the Basic Law for Israel's compliance with its obligations under the law of occupation. It argues that the application of the Basic Law extraterritorially in the West Bank may result in violation of Israel's obligations under the law of occupation.

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8

Boano, Camillo, and Benjamin Leclair-Paquet. "Potential, freedom and space: reflections on Agamben’s potentialities in the West Bank." Space and Polity 18, no. 1 (2014): 17–38. http://dx.doi.org/10.1080/13562576.2013.880010.

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9

Ferrando, Costanza. "Restrictions on Freedom of Movement in the West Bank: A Policy of Apartheid." Palestine Yearbook of International Law Online 22, no. 1 (2021): 141–76. http://dx.doi.org/10.1163/22116141_022010_005.

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10

FISEK, EMINE. "I want to be the Palestinian Romeo!Arna's Childrenand the Romance with Theatre." Theatre Research International 37, no. 2 (2012): 104–17. http://dx.doi.org/10.1017/s0307883312000028.

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This article focuses onArna's Children, a 2004 documentary about the children's activities and theatre group founded in 1989 by Israeli activist Arna Mer Khamis in the Jenin Refugee Camp of the occupied West Bank. While the documentary provides an in-depth look at how theatrical practices can prove restorative in the face of destruction, my discussion suggests that its portrayal of the aesthetic medium also interrogates the limits of the relationship between theatrical practice and emancipatory ideals.

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