Relevant bibliographies by topics / Jewish State Theatre

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Jewish State Theatre'

Author: Grafiati
Published: 25 July 2024
Last updated: 19 July 2025

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Journal articles on the topic "Jewish State Theatre"

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Pukelytė, Ina. "Reconstructing a Nomadic Network: Itineraries of Jewish Actors during the First Lithuanian Independence." Nordic Theatre Studies 27, no. 1 (2015): 78. http://dx.doi.org/10.7146/nts.v27i1.24241.

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This article discusses the phenomenon of openness and its nomadic nature in the activities of Jewish actors performing in Kaunas during the first Lithuanian independence. Jewish theatre between the two world wars had an active and intense life in Kaunas. Two to four independent theatres existed at one time and international stars were often touring in Lithuania. Nevertheless, Lithuanian Jewish theatre life was never regarded by Lithuanian or European theatre society as significant since Jewish theatre never had sufficient ambition and resources to become such. On the one hand, Jewish theatre o
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Shchukina, Yuliia. "Genres ofCriticism in the Information and Analytical Bulletin Teatralna Dekada (Kharkiv, 1931–1934)." ARTISTIC CULTURE. TOPICAL ISSUES, no. 21(1) (May 26, 2025): 80–87. https://doi.org/10.31500/1992-5514.21(1).2025.333483.

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The paper covers the issues of periodization and functioning of the information and analytical bulletin Teatralna Dekada (Theatre Decade) published by State Theatre Trust in Kharkiv, the capital of the Ukrainian SSR at the time (1931–1934). It was established which similar publications from other republics of the USSR the editors of Teatralna Dekada were guided by. Additionally, the features of their first Ukrainian counterpart were clarified. The traits of theatrical writing at the first stage of issuing Teatralna Dekada in Kharkiv were revealed. The bulletin was published irregularly, with o
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Shem-Tov, Naphtaly. "Shimella Community Theatre of Israeli-Ethiopian Jews." New Theatre Quarterly 39, no. 3 (2023): 223–42. http://dx.doi.org/10.1017/s0266464x23000131.

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Shimella (‘stork’ in Amharic) is an Israeli community theatre of Ethiopian Jews residing in Netanya and directed by Chen Elia. Shimella was founded in 2010, and has produced four different performances focusing on the Ethiopian Jewish community in Israel. Ethiopian Jews suffer from racism and discrimination in all areas of life, including housing, employment, education, and healthcare. These issues surfaced in Shimella’s performances, and the political aspect of Shimella’s performances therefore ranges from performing critical protest against the attitudes of the Israeli state and society towa
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Гамалей, С. Ю. "The History of Creating and Developing the National Jewish Theatre named for L. Kaganovich in the 1930s." Вестник Рязанского государственного университета имени С.А. Есенина, no. 3(72) (October 18, 2021): 27–34. http://dx.doi.org/10.37724/rsu.2021.72.3.003.

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В 1920-е годы в РСФСР начинается процесс развития национального искусства, который тесно переплетался с задачами национальной политики, проводимой в стране. Российская Федерация так же, как и советская власть, предоставляет всем гражданам обширные права и свободы. Однако Советское государство давало возможность всем народам, проживающим в тот период, развивать свое национальное искусство, создавать собственные театральные коллективы; именно этот опыт, на наш взгляд, следует использовать при проведении национальной политики в ХХI веке. Именно поэтому автор статьи исследует особенности развития
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Mihalache, Alina Gabriela, and Ștefan Firică. "Deterritorializing Theatre: Habima and the Making of the Modern Stage Language." Caietele Echinox 47 (December 1, 2024): 164–78. https://doi.org/10.24193/cechinox.2024.47.10.

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The history of the Habima theatre, the first Hebrew language company in the world, spans over at least three territories: Russia (soon to become the Soviet Union), United States, and Mandatory Palestine (on the place of the future state of Israel). Coming from Central- Eastern Europe to Russia, accepted as one of the four studios of Stanislavsky’s MAT (Moscow Art Theatre), the migrant troupe will set on a famous world tour in 1926, before reaching Jaffa. Its director Yevgeny Vakhtangov connected the troupe, involved in the project of representing the old Jewish tradition, to the avant-garde an
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Michalak, Hubert. "Transmisje pamięci." Pamiętnik Teatralny 68, no. 3-4 (2019): 213–33. http://dx.doi.org/10.36744/pt.14.

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The paper is dedicated to Powiedz, że jestem… (“Tell me that I am…”), one of the last productions directed by Jan Dorman (The State Drama Theatre in Wałbrzych, prem. June 16, 1985). It addresses the issue of memory, linking it to the theme of hiding Jews during World War II. Both these motifs were firmly inscribed in the production, and they referred to a fresh and almost unrecognized issue on Polish stages at the time of the premiere. By addressing the issue of various media of memory and several models of its stage representation, the text attempts to reconstruct both the director’s concept
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Rokem, Freddie. "Ideology and Archetypal Patterns in the Israeli Theatre." Theatre Research International 13, no. 2 (1988): 122–31. http://dx.doi.org/10.1017/s0307883300014425.

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From a contemporary Israeli perspective there is a clearly discernable connection between the concrete expressions of the national theatrical culture and some of the most comprehensive and fundamental ideological assumptions of this society. These assumptions are primarily based on its Jewish culture and religion and the national movement of Zionism as it has developed ideologically as well as practically during the last century, in particular through the establishment of the state of Israel. This article will examine the expression of some of these ideological trends and developments in the H
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Urian, Dan. "The Image of the Arab in Israeli Theatre—from Competition to Exploitation (1912–1990)." Theatre Research International 17, no. 1 (1992): 46–54. http://dx.doi.org/10.1017/s0307883300015601.

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The Arab, as presented in plays of the early days of settlement, is linked by his manual labour to the land of his birth. He might be primitive and his encounter with the chalutzim may be necessary to improve his situation and show him how the world has progressed, but he is also an example to be copied for his sheer work capability. He is seen as a powerful competitor with the Jewish work-force, due both to his ability to be content with little and to his forced acceptance of meagre wages. Towards the end of this period and for several decades afterwards, the Arab was pushed aside into the fr
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Berek, Peter. "The Jew as Renaissance Man." Renaissance Quarterly 51, no. 1 (1998): 128–62. http://dx.doi.org/10.2307/2901665.

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AbstractThe Jew available to be known in England in the 1590s is a Marrano - a covert figure whose identity is self-created, hard to discover, foreign, associated with novel or controversial enterprises like foreign trade or money-lending, and anxiety-producing. By and large, non-theatrical representations of Jewishness reveal less ambivalence than does Marlowe's Barabas. In the plays of Marlowe and then of Shakespeare, the Jew becomes a figure which enables the playwright to express and at the same time to condemn the impulse in both culture and theatre to treat selfhood and social role as a
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Puga, Ana Elena. "TRANSLATION AND PERFORMANCE: A PREVIEW OF THEATRE SURVEY'S FIRST WORKING SESSION (NASHVILLE, NOVEMBER 2012)." Theatre Survey 53, no. 2 (2012): 309–16. http://dx.doi.org/10.1017/s0040557412000117.

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I recently translated and then served as dramaturge on the English-language world premiere of Patricia Suárez's Matchmaker (Casamentera), a contemporary Argentine play about the early twentieth-century sex trade in Jewish women imported from Eastern European villages to Buenos Aires brothels. Matchmaker was published in an anthology I edited, Spectacular Bodies, Dangerous Borders: Three New Latin American Plays, along with my translation of The Girls from the 3.5 Floppies (Las chicas del tres y media floppies) by the Mexican playwright Luis Enrique Gutiérrez Ortiz Monasterio (who goes by the a
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Dissertations / Theses on the topic "Jewish State Theatre"

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Solomon, David Lyle. "A stage for a bima : American Jewish theater and the politics of representation /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1707.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2004.<br>Thesis research directed by: English Language and Literature. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Sefel, John Michael. "Staging The [Disabled] Jew: The Thematic Use of Doctors, Disability, and Disease in Yiddish Plays on Modernization, 1790-1929." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618433569764629.

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Smith, Tamara Leanne. "Too foul and dishonoring to be overlooked : newspaper responses to controversial English stars in the Northeastern United States, 1820-1870." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-921.

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In the nineteenth century, theatre and newspapers were the dominant expressions of popular culture in the northeastern United States, and together formed a crucial discursive node in the ongoing negotiation of American national identity. Focusing on the five decades between 1820 and 1870, during which touring stars from Great Britain enjoyed their most lucrative years of popularity on United States stages, this dissertation examines three instances in which English performers entered into this nationalizing forum and became flashpoints for journalists seeking to define the nature and bounds of
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Books on the topic "Jewish State Theatre"

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Veidlinger, Jeffrey. The Moscow State Yiddish Theater: Jewish culture on the Soviet stage. Indiana University Press, 2000.

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Backalenick, Irene. East side story: Ten years with the Jewish Repertory Theatre. University Press of America, 1988.

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Freeden, Herbert. Jüdisches Theater in Nazideutschland. Ullstein, 1985.

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Furnish, Ben. Nostalgia in Jewish-American theatre and film, 1979-2004. P. Lang, 2005.

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Axelrod, Meir. Meʼir Aḳselrod: Tsiyure teʼaṭron, 1932-1945. ha-Arkhiyon ṿeha-muzeʼon le-teʻaṭron ʻa. sh. Yiśraʼel Gur, 2005.

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Kovalenko, Georgui. Boris Aronson: Der Yidish Teater. Galerie le Minotaure, 2010.

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Feinberg, Anat. Embodied memory: The theatre of George Tabori. University of Iowa Press, 1999.

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8

Rotman, Diego. ha-Bamah ke-vayit araʻi: Ha-teʼaṭron shel Dz'igan ṿe-Shumakher, 1927-1980 = Stage as a temporary home : on Dzigan and Shumacher's theater, 1927-1980. Hotsaʼat sefarim ʻa. sh. Y.L. Magnes, ha-Universiṭah ha-ʻIvrit, 2017.

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Adler, Jacob P. A life on the stage: A memoir. Knopf, 1999.

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10

Hans-Peter, Bayerdörfer, and Schönert Jörg, eds. Theater gegen das Vergessen: Bühnenarbeit und Drama bei George Tabori. Niemeyer, 1997.

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Book chapters on the topic "Jewish State Theatre"

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Wolf, Stacy. "Musical Theatre at Girls’ Jewish Summer Camps." In Beyond Broadway. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190639525.003.0007.

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In the summer musicals take place in the tiny, insular, homogenous culture of girls’ non-Orthodox Jewish summer camps in Maine. Each of these summer camps was founded by Jewish women—all early twentieth-century progressive educators—for socioeconomically privileged Jewish girls. Since the early 1900s, girls who attend the summer camps have participated in theatre as a required activity alongside swimming, volleyball, and arts and crafts, so musical theatre shapes their experiences in profound ways. This chapter visits four of these summer camps in the same state where Stephen Sondheim spent many summers at Androscoggin, an all-boys’ Jewish summer camp. Over the course of their years at camp, most girls perform in seven musicals and see forty more. In this consciously created community, the excitement, pressure, and camaraderie of musical theatre production creates an even more intense bubble in its midst.
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Kelz, Robert. "Theater on the Move." In Competing Germanies. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501739859.003.0003.

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This chapter traces the journey of the German Theater's founder, Ludwig Ney, from Europe to Paraguay and, ultimately, Argentina. Shifting to Jewish actors, the chapter then reconstructs three Jewish thespian refugees' flights to South America and explores how their work onstage both exposed them to Nazi persecution and facilitated their escapes to an unlikely reunion in Argentina. This discussion emphasizes the interdependency between actors and audiences at theaters in times of crisis, casting dramatic performances as a laboratory for testing survival strategies amid the rise of European fascism. Another focus is the evolution of theater management during the 1930s. Bereft of state subventions, stages were compelled to upend the tradition of cultural theater, adopting instead a market-based approach to repertoire and advertising similar to popular entertainment venues, like the cinema. This controversial model became the blueprint for the Free German Stage in Buenos Aires.
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Steinlauf, Michael C. "Jewish Theatre in Poland." In Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0005.

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This chapter investigates how theatre found a place in pre-modern Jewish societies. This was nearly exclusively a result of its association with the Jewish holiday of Purim. Closely linked to the celebration of Purim in Ashkenazi communities at least as early as the mid-sixteenth century was the performance of a Purim play, or purim-shpil. The actors were yeshiva students or artisans; dressed as non-Jews and where necessary as women, the purim-shpilers marched through town, performing their play in the wealthier Jewish homes, occasionally on an improvised stage. In eastern Europe, by the nineteenth century, the purim-shpil had become the property of the lower classes; it was often staged annually by the same group of players, with parts and even costumes passed down from father to son. Some of these groups travelled and performed in neighbouring towns. The earlier purim-shpils were apparently skits parodying local events; from the mid-seventeenth century, they began to be based on biblical stories.
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Sztyma, Tamara. "On the Dance Floor, on the Screen, on the Stage." In Polin: Studies in Polish Jewry Volume 32. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0010.

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This chapter examines the Polish Jewish cultural frontier as the cradle of Poland's first mass culture. It identifies Polish Jewish intellectuals and artists that was connected to the entertainment industry, such as in music, film, theatre, and cabaret. It also describes the developments in America during the main centre of popular culture and the entertainment industry, which was mostly shaped by immigrants and several Jews from eastern Europe. The chapter reviews the beginnings of the Polish record industry that dated back to the early twentieth century and mentions the Jewish entrepreneurs that saw both its potential. It discusses Syrena Record as the first record label in Poland that was founded in 1904 in Warsaw by Juliusz Feigenbaum, who drew upon his family's generation-spanning tradition in the music business.
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Hannowa, Anna. "The Vilna Years of Jakub Rotbaum." In Polin: Studies in Polish Jewry Volume 14. Liverpool University Press, 2001. http://dx.doi.org/10.3828/liverpool/9781874774693.003.0010.

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This chapter discusses Jakub Rotbaum (1901–1994), artistic director and principal producer of the Vilna Troupe from 1929 to 1936. The Vilna Troupe was the best-known Jewish theatre company in Europe, and Rotbaum was its director and longest-lived artist. Rotbaum initiated the changes in the company's repertoire and artistic and ideological image, directed its groundbreaking performances of six plays, and won for the troupe the collaboration of the noted scenographer Andrzej Pronaszko. Critics of his own time considered Rotbaum a pioneer of social theatre and an innovator in stagecraft, as well as a transformative figure in Jewish literary theatre. The graphic quality of his stage conceptions and his use of pantomime and of rich musical accompaniments earned him public admiration and the acclaim of connoisseurs of both Polish and Jewish theatre.
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""The Christian Will Turn Hebrew": Converting Shylock On Stage." In Jewish Theatre: A Global View. BRILL, 2009. http://dx.doi.org/10.1163/ej.9789004173354.i-308.14.

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"Philosemitism On The London Stage: Sydney Grundy’S An Old Jew." In Jewish Theatre: A Global View. BRILL, 2009. http://dx.doi.org/10.1163/ej.9789004173354.i-308.15.

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"Józio Grojseszyk: A Jewish City Slicker On The Warsaw Popular Stage." In Jewish Theatre: A Global View. BRILL, 2009. http://dx.doi.org/10.1163/ej.9789004173354.i-308.11.

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"On Arriving Front And Center: American Jewish Identity On The American Stage." In Jewish Theatre: A Global View. BRILL, 2009. http://dx.doi.org/10.1163/ej.9789004173354.i-308.24.

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"Jewish Self-Presentation And The "Jewish Question" On The German Stage From 1900 To 1930." In Jewish Theatre: A Global View. BRILL, 2009. http://dx.doi.org/10.1163/ej.9789004173354.i-308.16.

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Conference papers on the topic "Jewish State Theatre"

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Honcharova, O. S., T. M. Brahina, and Yu A. Brahin. "Creation and activity of the State Jewish Theater in Kharkiv (1925–1934)." In GLOBAL SCIENTIFIC TRENDS IN HISTORY, POLITICAL SCIENCE, SOCIOLOGY, AND PHILOSOPHY. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-490-0-12.

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Mondal, Debalina. "Murder as a Theatrical Performance: Problematising the Figure of the Female Serial Killer in The Limehouse Golem." In 5th World Conference on Arts, Humanities, Social Sciences and Education. Eurasia Conferences, 2024. http://dx.doi.org/10.62422/978-81-968539-1-4-063.

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Villanelle from Luke Jennings’ Codename Villanelle (2017) has received tremendous appreciation which has led to four successful seasons of its television adaptation, Killing Eve (2018-2022). The insane popularity of X and Pearl, featuring Mia Goth as a ghastly murderer in the 2022 movies, justifies society’s current obsession with female serial killers. Similarly, Juan Carlos Medina’s 2018 murder mystery, The Limehouse Golem, adapted from Peter Ackroyd's Dan Leno and the Limehouse Golem (1994) features a female murderer situated in 19th century London. Elizabeth Cree played by Olivia Cooke is
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Cmeciu, Doina, and Camelia Cmeciu. "VIRTUAL MUSEUMS - NON-FORMAL MEANS OF TEACHING E-CIVILIZATION/CULTURE." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-108.

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Considered repositories of objects(Cuno 2009), museums have been analysed through the object-oriented policies they mainly focus on. Three main purposes are often mentioned: preservation, dissemination of knowledge and access to tradition. Beyond these informative and cultural-laden functions, museums have also been labeled as theatres of power, the emphasis lying on nation-oriented policies. According to Michael F. Brown (2009: 148), the outcome of this moral standing of the nation-state is a mobilizing public sentiment in favour of the state power. We consider that the constant flow of natio
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