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Journal articles on the topic 'Jewish Repertory Theatre'

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Published: 4 June 2021

Last updated: 1 February 2022

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Zer-Zion, Shelly. "Theater for Kindergarten Children in the Yishuv: Toward the Formation of an Eretz-Israeli Childhood." IMAGES 12, no. 1 (2019): 70–84. http://dx.doi.org/10.1163/18718000-12340110.

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Abstract “The Children’s Theatre by the Kindergarten Teachers Center,” that was founded in 1928, was the first Hebrew repertory theatre exclusively addressing the audience of children attending kindergarten and the first grades of elementary school. This article explores how The Children’s Theater conveyed a set of performative practices that consolidated a habitus of Eretz-Israeli childhood. The theater articulated the embodied repertoire of Eretz-Israeli childhood and established it on two pillars. First, it epitomized the concept of an innocent and secure childhood. The world performed on the stage created a utopian notion of childhood. Second, it encouraged the children to participate in the world of adults, but in a way suited to their age and psychological needs. The ability of this theatre to create an enriching and a secure environment for children was deeply needed in the Jewish settlement of Palestine of the 1930’s and 1940’s, which was constituted of immigrants struggling to build a future in the land.

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Rand, Richard S. "East Side Story: Ten Years with the Jewish Repertory Theatre (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 9, no. 3 (1991): 134–35. http://dx.doi.org/10.1353/sho.1991.0109.

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Petersen, Ulrike. "Revising Lehár’s Rastelbinder for the Reich." Cambridge Opera Journal 26, no. 2 (2014): 147–73. http://dx.doi.org/10.1017/s0954586714000020.

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AbstractOperetta held an ambiguous position within Nazi German entertainment culture: while suitably diverting and escapist, many of the most successful hits had Jewish authors and were thus increasingly avoided by theatre directors. To replenish the Reich’s performable repertory, Goebbels founded the ‘Reichsstelle für Musikbearbeitungen’, whose revisions of classical works including Handel’s oratorios and Mozart’s Da Ponte operas have been widely discussed. This article focuses on one of the institution’s many operetta commissions, Viennese satirist Rudolf Weys’s unfinished 1944 version of Franz Lehár’s Der Rastelbinder (1902), a box office success that featured an itinerant Jewish peddler as the central character. Weys’s revisions as well as his own story show that this kind of Reichsstelle commission could be a lifeline for artists who could not afford to attract attention or leave the Reich.

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Kemp, Roisin. "Broken Glass." Psychiatric Bulletin 18, no. 12 (1994): 758–59. http://dx.doi.org/10.1192/pb.18.12.758.

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Is it possible for a Jewish woman in 1938 New York to develop hysterical paralysis of her legs in response to events in Nazi Germany? And how much are her symptoms a reaction to longstanding difficulties in her marriage to a man who is impotent, autocratic, subject to sporadic violent rages, and uncomfortable with his Jewish identity? Is it appropriate for an honest play which explores issues of prejudice, oppression, tryanny, and genocide to be simultaneously humorous and entertaining? What if at the end one feels almost as moved by the miserable (and dead) husband as the heroine, who finds the power to walk again only when her husband expires? These are the difficult questions posed by Arthur Miller in Broken Glass, his latest play recently in repertory at London's National Theatre. The weighty themes are leavened by the hallmark wry humour, sparkling dialogue and deft characterisation.

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Erdman, Harley. "Jewish Anxiety in “Days of Judgement:” Community Conflict, Antisemitism, and the God of Vengeance Obscenity Case." Theatre Survey 40, no. 1 (1999): 51–74. http://dx.doi.org/10.1017/s0040557400003276.

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On February 19, 1923, a production of Sholem Asch's God of Vengeance (Got fun Nekome) opened at New York's Apollo Theatre on 219 West 42nd Street. The moment was auspicious for Jewish theatre in America. One of the more frequently produced and most critically acclaimed plays in the Yiddish canon, God of Vengeance had been performed internationally since its debut in 1907, not only in Yiddish, but in German, Italian, and Russian as well. However, it had never before been seen in English in New York at a major uptown venue like the Apollo. Coming off a two month run at two smaller downtown venues, where it had played to increasingly large and enthusiastic crowds, the English-language production seemed poised to “cross over” from the downtown margins to the Broadway mainstream, something which had never before occurred with any play from the Yiddish repertory. Moreover, the production represented the English-language stage debut of the celebrated Yiddish actor Rudolf Schildkraut in the commanding role of Yekel Tchaftchovitch. In other words, the event implicitly posed the question of whether there was a place for a “great” Yiddish play (albeit, in translation) starring a “great” Yiddish actor (admittedly, working in his third language) within the geographic and symbolic boundaries of Broadway.

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Medovoy, George. "East Side Story: Ten Years With The Jewish Repertory Theatre. By Irene Backalenick. Lanham, Maryland: University Press of America, Inc., 1988. Pp. 197." Theatre Research International 15, no. 1 (1990): 89–90. http://dx.doi.org/10.1017/s030788330000955x.

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Левитан, Ольга. "Русский театр в Израиле: сто лет вместе". Canadian-American Slavic Studies 45, № 1 (2011): 76–106. http://dx.doi.org/10.1163/221023911x552016.

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AbstractThe article explores the history of the Russian Theatre in Israel as an inseparable part of Israeli theatre life: Russian Jews had a decisive role in the foundation of Israeli theatre and in the very beginning of Hebrew theatre in Palestine and in Moscow, and for decades the main Israeli artists introduced themselves as pupils of Vachtangov and Stanislavsky. In addition, a specific sensitiveness to Russian cultural tradition made a serious impact on Israeli theatre school and repertoire policy. The article discusses the phenomenon of enduring connections between Israeli and Russian theatres. The discussion is based on original archive research, and it includes first publication of a variety of data and documents as well as the analysis of different aspects of the intercultural Israeli-Russian dialogue.

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Batsiayev, Vasil F. "Theatrical arts of Jews in Belarus." Humanitarian: actual problems of the humanities and education 21, no. 1 (2021): 31–47. http://dx.doi.org/10.15507/2078-9823.053.021.202101.031-047.

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Introduction. Spiritual culture occupies an important place in the life of the Jews in Belarus. Its important component is art, including theatrical. In Belarus since the 16th century there are many different Jewish theatrical associations, but they have not been sufficiently studied to date. There are no special works on this problem in the ethnological literature. At the same time, the analysis of the process of their creation, repertoire and activity, determination of forms and structure is of great scientific interest and is of great practical importance. Research Methods. The structural method was applied for studying Jewish theater associations in Belarus. This method allowed to identify their forms (clubs, enterprises, studios, theaters) and structure. To consider the process of creating theater associations, activities in different historical periods, the comparative-historical method was applied. The functional method was also used, with the help of which the functions of theatrical associations were clarified. Results. On the basis of the analyzed scientific literature, the article examines the process of creating Jewish theatrical associations in Belarus, identifies their forms, structure, clarifies the drama and activities in various historical periods. Theatrical associations are also characterized, which used in their performances works of modern and classical drama, which absorbed the best features of Jewish culture on the Belarusian land, widely turned to Jewish literature, staged the first plays of many authors. Discussion and Conclusion. As a result of the study, it was revealed that the theatrical art of the Jews of Belarus began to develop in the 16th century, and the repertoire of Jewish theatrical associations (clubs, enterprises, studios and theaters) consisted mainly of Jewish classical and Soviet drama, Western European comedies. They also staged a high tragedy, vaudeville and operettas. The performances of these associations are characterized by a striving for bright stylized folk shows with sharp satirism, grotesque, buffoonery, carnivalism. Jewish theatrical art has made a notable contribution to Jewish culture. It contributed to the ideological, aesthetic and international education of the people.

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Shem-Tov, Naphtaly. "Celebrating Jewish-Moroccan Theatre in Israel: Production, Repertoire, and Reception." Contemporary Theatre Review 29, no. 1 (2019): 56–70. http://dx.doi.org/10.1080/10486801.2018.1556207.

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Maloney, Paul, and Adrienne Scullion. "From the Gorbals to the Lower East Side: the Cosmopolitanism of the Glasgow Jewish Institute Players." New Theatre Quarterly 34, no. 1 (2018): 58–73. http://dx.doi.org/10.1017/s0266464x17000689.

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In this essay Paul Maloney and Adrienne Scullion investigate the ambitious agenda of theatre internationalism in the context of non-professional theatre making in Glasgow in the mid-twentieth century. For members of the Glasgow Jewish Institute Players, internationalism was represented through a diverse repertoire of classic European texts and contemporary American plays, presented alongside new original plays and sketches drawing on Yiddish and Scottish popular theatre tropes, and experienced through its members’ range of international diasporic networks, specifically with Jewish theatre makers in New York. It is argued that the internationalizing experience of the company and, specifically, its sustained exploration of immigration and of immigrants, achieves an important, even defining, role in the formation of a modern theatre industry and identity in Scotland. Historically interesting in and of itself, this article is also timely given a wider social and cultural ‘fear’ of contemporary migrants. The research encompasses a range of previously unexplored primary material including scripts, reviews, photographs, and company papers, including correspondence with New York-based playwright Sylvia Regan and new interviews with surviving company members. Paul Maloney and Adrienne Scullion work at Queen's University Belfast.

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Zer-Zion, Shelly. "The Shtetl in the Hebrew Theatre of Mandatory Palestine during the 1930s." New Theatre Quarterly 36, no. 2 (2020): 177–91. http://dx.doi.org/10.1017/s0266464x20000330.

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During the 1930s, the two Hebrew repertoire theatre companies in Palestine – the Habima and the Ohel – performed a large corpus of plays dealing with the landscapes of the Eastern European Jewish shtetl. Their fascination with the shtetl is surprising, considering the fact that these two companies were deeply committed to the Zionist project, whose ethos was building a new society in Eretz-Israel and negating the diasporic condition of Jewish existence. This article explores the landscapes of the shtetl as they were presented on the Hebrew stage of the 1930s and analyzes their aesthetic and cultural meaning for their audiences at that time. It shows that the shtetl plays formed a memory landscape that served the formation of a modern, consolidated, ethnic Jewish collective in Palestine, which shared a unified narrative of its past, as well as national aspirations for the future. Shelly Zer-Zion is a lecturer of theatre at the University of Haifa and was previously a Fulbright post-doctoral scholar at New York University. Her recent publications include Habima in Berlin: The Institutionalization of a Zionist Theatre (Magness Press, 2015), and her research is currently supported by the Israeli Science Foundation.

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Skura, Susana, and Lucas Fiszman. "From shiln to shpiln in Max Perlman’s Songs: Linguistic and Socio-cultural Change among Ashkenazi Jews in Argentina." Journal of Jewish Languages 4, no. 2 (2016): 231–51. http://dx.doi.org/10.1163/22134638-12340072.

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This article analyzes the stylistic and linguistic resources used in three songs of musician Max Perlman, written in Argentina in the 20th century. The main focus is code mixing: Yiddish, Castidish, Spanish, and Argentine slang. A close examination of these pieces led to several findings: the use of linguistic and discursive elements like rhyme, mixing language, Jewish traditional names, and references to Jewish life in the local milieu, are facts that can be understood as a continuity of a tradition of artistic production influenced by Yiddish’s contact with other contextual languages. Perlman’s language shift and references to cultural activities emphasize moral criticism about aspects of the daily life of middle and lower class Jews in Buenos Aires in that moment of transition. The incorporation of Spanish into an immigrant’s Yiddish repertoire demonstrates multilingual language competences that were an important resource for his audience’s empowerment within and outside Yiddish theater.

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Rojanski, Rachel. "The Struggle for a Yiddish Repertoire Theatre in Israel 1950–1952Rachel Rojanski teaches in the department of Jewish history at the University of Haifa, Israel. This research was supported by the Israel Science Foundation (grant 103/5)." Israel Affairs 15, no. 1 (2009): 4–27. http://dx.doi.org/10.1080/13537120802574104.

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"East side story: ten years with the Jewish Repertory Theatre." Choice Reviews Online 26, no. 09 (1989): 26–5002. http://dx.doi.org/10.5860/choice.26-5002.

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Steiblytė, Kristina. "History representations and interpretations in contemporary Lithuanian theatre." Menotyra 24, no. 2 (2017). http://dx.doi.org/10.6001/menotyra.v24i2.3480.

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The text deals with (re)interpretations of history in professional contemporary Lithuanian theatre.According to historians, nowadays there are few dominating narratives about Lithuanian history: the history of the Grand Duchy of Lithuania with the grand dukes in the forefront, the only Lithuanian king Mindaugas, and the history of the 20th century wars, occupation ant battles for independence. Based on that, the text provides an attempt to figure out how these narratives are represented and reinterpreted in contemporary Lithuanian theatre with the 20th century stories dominating the repertory of historic performances. Those are both confirming the predominant narratives and reinterpreting them and establishing new relation with personalities and events dominant in memory politics. The text also deals with the narrative of the victim that dominates historic Lithuanian self-perception. Two performances help as examples understanding how this narrative can be strengthened or criticised. The last part of the text presents the place that Polish, Russian and Jewish minorities get in contemporary Lithuanian theatre to represent their versions of history and asks whether contemporary Lithuanian theatre is contributing to the creation of a more involving social environment.

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