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Journal articles on the topic 'Jewish State Theatre'

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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Ben-Yehuda, Omri. "The Retribution of Identity: Colonial Politics in Fauda." AJS Review 44, no. 1 (2020): 1–21. http://dx.doi.org/10.1017/s0364009419000862.

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In its first season, Israeli television thriller Fauda proclaimed an utter symmetry between Israel “proper” and its Occupied Territories, by humanizing Hamas militants and treating them as equals to the Israeli characters. Throughout the story the Jewish warrior's body becomes a site for the detonation of explosives and a potential vehicle for suicide bombings, in a false but intriguing reenactment of the trauma of the second intifada, which has been repressed in Israeli consciousness. In this unwitting manifestation of Jewish martyrdom, the façade of the rule of law in the State of Israel is

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Abramson, Glenda. "Israeli Drama and the Bible: Kings on the Stage." AJS Review 28, no. 1 (2004): 63–82. http://dx.doi.org/10.1017/s0364009404000054.

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Drama is the most neglected genre within Hebrew cultural development. In fact, until shortly before the foundation of the State of Israel, few plays in Hebrew had been staged. Although a large number of works in dramatic form had been written, particularly in the nineteenth century, few of them were viable theatrical dramas. They fell into the categories of rhetoric and allegory, devoid of believable dramatis personae. There were some milestones along the way, such as Somi's Zahut Bedihuta de-Kiddushin (An Eloquent Marriage Farce, c. 1600), Luzzatto's Leyesharim tehilla (Praise for the Righteo

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SHEM-TOV, NAPHTALY. "Performing Iraqi-Jewish History on the Israeli Stage." Theatre Research International 44, no. 3 (2019): 248–61. http://dx.doi.org/10.1017/s0307883319000294.

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The analysis of the following two Israeli plays is the focus of this article: Ghosts in the Cellar (Haifa Theatre, 1983) by Sami Michael, and The Father's Daughters (Hashahar Theatre, 2015) by Gilit Itzhaki. These plays deal with the Farhud – a pogrom which took place in Iraq in 1941, in which two hundred Iraqi Jews were massacred by an Iraqi nationalist mob. The Farhud has become a traumatic event in the memory of this Jewish community. Using the concept of ‘performing history’ as advanced by Freddie Rokem, I observe how these plays, as theatre of a marginalized group, engage in the productio

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14

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 t

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15

LIPSHITZ, YAIR, and NAPHTALY SHEM-TOV. "‘Why Were Our Yemenite Brothers Insulted?’: Love as Strong as Death as a Prequel to Mizrahi Presence in Israeli Theatre." Theatre Research International 49, no. 1 (2024): 50–69. http://dx.doi.org/10.1017/s0307883323000366.

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The article traces the production and reception of Love as Strong as Death, a dramatization of the Song of Songs that was performed in Mandatory Palestine in the years 1940–42 by a group of Yemenite Jewish actors. We argue that the tensions between the actors’ amateur status and their image as embodying a long-lost Biblical heritage were emblematic of the inherent contradictions within the hegemonic Ashkenazi Zionist discourse and the Orientalist perception of the role of Yemenite Jews in it. By exploring both Yemenite and Ashkenazi voices in and around the production, we analyse how the stage

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16

Greene, Jonah. "Jewish summer camp theatre and Sondheim, the Talmudic scholar." Studies in Musical Theatre 17, no. 3 (2023): 263–68. http://dx.doi.org/10.1386/smt_00139_1.

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This article explores how Jewish American composer and lyricist Stephen Sondheim, in his musical theatre works, engaged in a distinctly Jewish lyrical style that resembles a Talmudic dialectic. The author argues that Sondheim’s argumentative, self-referential, quick-moving, pitter-patter lyrics and music, a writing style that values the performance of ambivalence and repeated questioning, resembles contemporary Jewish discourse as influenced by Talmudic dialogue. The author explores Sondheim’s work through a reflection of his experience piloting a new two-week musical theatre specialty program

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17

Bezarov, Oleksandr. "The documents on the history of the Sholom Aleichem State Jewish theater in the foundations of the State archives of the Chernivtsi region (1945-1950)." Scientific Papers of the Kamianets-Podilskyi National Ivan Ohiienko University. History 41 (October 2, 2023): 51–59. http://dx.doi.org/10.32626/2309-2254.2023-41.51-59.

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The purpose of the study is to analyze the content and nature of unpublished documents on the history of the Sholom Aleichem State Jewish Th eater, which are stored in the funds of the State Archives of the Chernivtsi Region. Th e research methodology is based on the principles of the concrete-historical approach, objectivity, comprehensiveness, and integrity, systematicity, as well as the use of the following methods – of analysis and synthesis, historical- genetic, historical-comparative, historical-typological, and problem-chronological. Th e scien- tifi c novelty is that, for the fi rst ti

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18

Safran, G. "The Moscow State Yiddish Theater: Jewish Culture on the Soviet Stage." Common Knowledge 9, no. 2 (2003): 347–48. http://dx.doi.org/10.1215/0961754x-9-2-347-a.

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19

Goodman, Karen. "Synthesis in Motion." Experiment 20, no. 1 (2014): 86–117. http://dx.doi.org/10.1163/2211730x-12341260.

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This paper discusses the importance of Russian-born choreographer, theatre director, and teacher Benjamin Zemach (1901-1997) to Los Angeles. It contextualizes the sustained influences of his Jewish heritage, his training with Stanislavsky and Vakhtangov in the Habima Theatre, Russian dance and theatre synthesis and early American modern dance. The article focuses on his work in Los Angeles during two different periods of American culture and politics preceding and following World War ii (1931-35 and 1946-71), examining closely his contributions to Los Angeles Jewish and mainstream dance and th

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20

Goodman, Giora. "Censorship of Arab Cinema in the State of Israel, 1948-1967." Iyunim Multidisciplinary Studies in Israeli and Modern Jewish Society 39 (December 31, 2023): 199–224. http://dx.doi.org/10.51854/bguy-39a158.

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This article examines government censorship of Arab films in the first two decades of the State of Israel, through extensive archival use of documents of the Israeli Film and Theater Censorship Board. The state authorities had wanted to ban altogether the import of films made in Egypt, where the majority of Arab films were produced, but this was impossible due to the entertainment needs of the Arab minority in Israel, and of Jewish immigrants from Arab countries. The article sheds light on the government's efforts to restrict as much as possible the showing of Arab films and censor their conte

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21

Grün, Lili. "To the Theatre!" Scenario: A Journal of Performative Teaching, Learning, Research X, no. 2 (2016): 1–7. http://dx.doi.org/10.33178/scenario.10.2.1.

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The rubric Texts around Theatre features historical and contemporary cross-cultural and culture-specific perspectives on theatre – unexpectedly funky, unusually enthralling, disturbingly fascinating. https://www.aviva-verlag.de/autor-innen-co/lili-gr%C3%BCn/ Young Loni Holl, the protagonist in Lili Grün’s autobiographical novel, desires to become an actress. Only the theatre gives Loni the feeling of escape from her boring day to day life. She pursues her goal with determination, and a theatre engagement in the province seems to be the long-awaited chance for her debut. She straddles rehearsal

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22

Hein, Nina. "The Moscow State Yiddish Theater: Jewish Culture on the Soviet Stage (review)." Theatre Journal 54, no. 1 (2002): 178–79. http://dx.doi.org/10.1353/tj.2002.0017.

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23

Shternshis, Anna. "The Moscow State Yiddish Theater: Jewish Culture on the Soviet Stage (review)." Jewish Quarterly Review 97, no. 3 (2007): 116–18. http://dx.doi.org/10.1353/jqr.2007.0050.

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24

Nakhimovsky, Alice S. "The Moscow State Yiddish Theater: Jewish Culture on the Soviet Stage (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 22, no. 4 (2004): 176–78. http://dx.doi.org/10.1353/sho.2004.0105.

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25

Lipshitz, Yair. "Biblical Shakespeare: King Lear as Job on the Hebrew Stage." New Theatre Quarterly 31, no. 4 (2015): 359–71. http://dx.doi.org/10.1017/s0266464x15000664.

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Comparisons between King Lear and the biblical Book of Job have become commonplace in scholarship. This paper traces the impact of the Lear–Job connection on the staging and reception of Shakespeare’s play in Hebrew theatre. Due to this connection, King Lear was put within the orbit of a central cultural endeavour for Zionism: the re-appropriation of the Hebrew Bible for the formation of a new national identity. In the mid-twentieth century, the play appealed to directors who searched for Hebrew ‘biblical’ theatre, and a web of intertextual allusions in the press tied Shakespeare’s tragedy to

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Malkin, Jeanette R., and Eckart Voigts. "Wrestling with Shylock." European Judaism 51, no. 2 (2018): 175–85. http://dx.doi.org/10.3167/ej.2018.510224.

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Abstract How does Shakespeare’s ambivalent character Shylock affect British theatre artists of Jewish heritage today? Since the 1970s, stage adaptations of The Merchant by British Jewish directors and actors have struggled to glean an interpretation that would make The Merchant relevant or palatable for a post-Shoah generation. This article has a double focus: we discuss the difference between the adaptations of the older generation – Arnold Wesker’s character rewriting in The Merchant (1976) and Charles Marowitz’s deconstruction in Variations on the Merchant of Venice (1977) – and the contemp

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Malkin, Jeanette R., and Eckart Voigts. "Wrestling with Shylock." European Judaism 51, no. 2 (2018): 175–85. http://dx.doi.org/10.3167/ej.2017.510224.

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How does Shakespeare’s ambivalent character Shylock affect British theatre artists of Jewish heritage today? Since the 1970s, stage adaptations of The Merchant by British Jewish directors and actors have struggled to glean an interpretation that would make The Merchant relevant or palatable for a post-Shoah generation. This article has a double focus: we discuss the difference between the adaptations of the older generation – Arnold Wesker’s character rewriting in The Merchant (1976) and Charles Marowitz’s deconstruction in Variations on the Merchant of Venice (1977) – and the contemporary rev

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28

Veidlinger, Jeffrey. "Let's Perform a Miracle: The Soviet Yiddish State Theater in the 1920s." Slavic Review 57, no. 2 (1998): 372–97. http://dx.doi.org/10.2307/2501855.

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The history of the Soviet Yiddish State Theater (Gosudarstvennyi evreiskii teatr, or Goset) provides an illuminating glimpse into the life of Jewish entertainers and the position of Yiddish culture in the Soviet Union during the 1920s. While Solomon Mikhoels, the theater's star actor and director from 1929 until 1949, is well known for his role in chairing the Jewish Anti-Fascist Committee during World War II, and for becoming the first victim of Stalin's anti-Semitic purges with his 1948 execution, little research has been conducted on the theater to which he dedicated his life. Art and theat

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Gamalei, Sof'ya Yur'evna. "The forgotten name of the talented actor of the Birobidzhan State Jewish Theater named after L. Kaganovich (Moisei Yefimovich Zhelkover)." Человек и культура, no. 5 (May 2024): 66–76. http://dx.doi.org/10.25136/2409-8744.2024.5.44220.

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The relevance of the research topic is due to the specifics of the cultural policy implemented in the Russian Federation, according to which culture is elevated to the rank of national priorities. Thus, in the process of implementing the "National Policy Strategy of the Russian Federation", it is necessary to take into account the accumulated historical experience. That is why the purpose of the work was to study the creativity of the actor of the Birobidzhan State Jewish Theater named after L. Kaganovich – Moses Efimovich Zhelkover. This talented actor worked in BIRGOSET throughout the entire

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Gamalei, Sofya Yu. "The Creative Life of E. L. Gelfand — Actor And Director of the Birobidzhan State Jewish Theater Named After L. Kaganovich." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 29, no. 3 (2023): 89–99. http://dx.doi.org/10.15826/izv1.2023.29.3.050.

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The relevance of the research topic is due to the specifics of cultural policy implemented in the Russian Federation, according to which culture has been elevated to the rank of national priorities and recognized as a guarantor of the preservation of single cultural space and territorial integrity of the Russian Federation. The modern reality cannot ignore historical experience, which is why the purpose of the article was to study the work of the actor and director of the Birobidzhan State Jewish Theater named after L. Kaganovich — E. L. Gelfand. By recreating the history of the functioning of

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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 cu

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Dąbrowska, Agata. "Żydowskie aktorki z Polski w rolach szekspirowskich w teatrze jidysz." Studia Judaica, no. 2 (48) (2021): 343–75. http://dx.doi.org/10.4467/24500100stj.21.015.15070.

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Jewish Actresses From Poland in Shakespearean Roles In the Yiddish Theater The article aims at analyzing the role played by Jewish actresses in the development of the Shakespearean Yiddish theater. The paper includes the profiles of artists coming from Poland and/or working in the Polish lands: Bertha Kalisch, Miriam Orleska, and Ester Goldenberg, who contributed to popularization of Shakespeare’s works among the Jewish community. Moreover, the article illustrates their contribution to the changes in the perception of Jewish theater from the “jargon drama” enterprise to an ambitious cultural i

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Gamalei, Sof'ya Yur'evna. "B. Miller's work on the stage of the Jewish Theater of Birobidzhan." Философия и культура, no. 9 (September 2024): 66–76. http://dx.doi.org/10.7256/2454-0757.2024.9.69674.

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The relevance of the research topic is determined by the tasks of cultural policy implemented in the Russian Federation at the present stage, according to which culture is elevated to the rank of national priorities when its successful development is inextricably linked with the use of already accumulated historical experience. That is why the aim of the work was to explore the work of the Jewish writer Boris Miller through his works, which were staged in the Jewish theaters of Birobidzhan. Boris Miller is a famous Jewish writer who has lived and worked in the Jewish Autonomous Region for many

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Cieślak, Agnieszka. "Bronisław Mirski - Polish Music Director of the Silent Film Era1." Musicology Today 17, no. 1 (2020): 72–83. http://dx.doi.org/10.2478/muso-2020-0006.

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Abstract Bronisław Mirski (b. 1887 as Moszkowicz in Żyrardów near Warsaw, Poland – d. 1927 in El Paso, Texas) belongs to the substantial group of Polish émigré artists of Jewish origin. A violinist and conductor educated in Europe, he permanently settled in the United States at the end of 1914 under the name of Nek Mirskey and soon began working as a music director in movie theatres. He was in charge of the musical settings for elaborate artistic programmes composed of silent films as well as music and stage attractions. His first widely acclaimed shows were presented at the Metropolitan Theat

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35

Weiner, Amir. "Reviews of Books:The Moscow State Yiddish Theater: Jewish Culture on the Soviet Stage Jeffrey Veidlinger." American Historical Review 108, no. 2 (2003): 607–9. http://dx.doi.org/10.1086/533387.

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Irchak, Iryna. "Commemoration of Solomon Mikhoels in 1948 (in the light of the materials of the newspaper «Eynikayt»)." Ethnic History of European Nations, no. 69 (2023): 123–29. http://dx.doi.org/10.17721/2518-1270.2023.69.15.

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The article highlights the measures taken and carried out to honor the memory of Solomon Mikhoels in 1948. This happened in the context of the Soviet leadership’s position of expectation regarding the liquidation of the Jewish Anti-Fascist Committee and the deployment of the struggle against «rootless cosmopolitanism». The basis of the research was the issues of the newspaper «Eynikayt», which were published throughout 1948 until the closing of the newspaper’s editorial office on November 20 (now copies of the newspaper are kept in particular in the funds of the Department of the Jewish Founda

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Jay, Jeff. "Spectacle, Stage-Craft, and the Tragic in Philo’s In Flaccum." Journal of Ancient Judaism 8, no. 2 (2017): 222–40. http://dx.doi.org/10.30965/21967954-00802007.

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This article provides a literary analysis of how references to spectacle and stage-craft function in Philo’s In Flaccum, which is a valuable text for understanding Philo’s complex and seemingly contradictory attitudes toward the theater, stage-craft, and drama. After marching Jews into the theater of Alexandria for punishment during the pogrom, Flaccus becomes a spectacle himself when Philo portrays Flaccus’s deportation to exile as a procession. By staging an elaborate textual spectacle starring the deposed Flaccus, Philo exploits the well-attested punitive dimension of spectacles. Through ex

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McAllister, Lucy, Siwaporn Hiranput, and Paul Devakar Yesudian. "H19 Not only a finder of ‘solutions’: Max Jessner, Holocaust survivor and discoverer of Jessner–Kanof lymphocytic infiltrate." British Journal of Dermatology 191, Supplement_1 (2024): i173. http://dx.doi.org/10.1093/bjd/ljae090.367.

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Abstract Max Jessner’s name is renowned for his codiscovery of Jessner–Kanof disease and his eponymous peel. However, unknown to many, Jessner faced many uncertainties in his lifetime and lived in a frequent state of movement. Max Jessner read medicine at the universities of Munich and Königsberg (now Kaliningrad). After graduation, he trained in dermatology clinics under Albert Neisser in Breslau (now Wroclaw) before moving to Bern, Switzerland to become assistant to Joseph Jadassohn from 1912 to 1914. Like his father, dermatologist Samuel Jessner, Max Jessner initially developed his speciali

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Lofton, Kathryn. "Pausing on a Sunday: Sondheim and the Composition of the Secular in the American Musical." Modern Drama 65, no. 3 (2022): 355–80. http://dx.doi.org/10.3138/md.65-3-1199.

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The abundance of Bible story–based plots and preponderance of Jewish lyricists in musical theatre suggests religion should play a central role in its study. Yet religion is not a major theme in musical theatre criticism. This article suggests this silence is a symptomatic forgetfulness of the default secular operative in American musical theatre and its analysts in theatre studies. Focusing on Stephen Sondheim (1930–2021) as an artist of particular accomplishment within the raced, gendered, and religious aesthetic of the American musical’s secularism, it examines “Sunday,” the Act One closer t

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Elmaliach, Tal. "Jewish Radicals: Zionism Confronts the New Left, 1967–1973 A Comparative Look: Introduction." Hebrew Union College Annual 93 (June 1, 2023): 187–98. http://dx.doi.org/10.15650/hebruniocollannu.93.2022/0187.

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The identity crisis that many Jewish radicals in the West grappled with in the 1960s and early 1970s was the subject of Sol Stern’s essay “My Jewish Problem – and Ours,” which appeared in the August 1971 issue of Ramparts, one of the most important organs of the American New Left.1 Stern, a key New Left activist and a former editor of the magazine, pointed to a paradox at the root of this crisis. Classical Marxism viewed Jewish nationalism as diametrically opposed to Marxist ideology. Nonetheless, in the wake of the Holocaust and the founding of the state of Israel, the global Left supported t

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Gilula, Dwora. "The First Greek Drama on the Hebrew Stage: Tyrone Guthrie's Oedipus Rex at the Habima." Theatre Research International 13, no. 2 (1988): 131–46. http://dx.doi.org/10.1017/s0307883300014437.

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On the Hebrew Stage, Greek and Roman drama was never a first priority, The Habima Theatre, from its inception in 1917 to the present day, staged only six classical productions (out of more than four hundred), the Cameri Theatre – four, the Haifa Municipal Theatre – five, the Ohel theatre, in all of its forty-four years of activity (1925–69), although it staged 163 plays, never found the need or drive to produce a Greek or a Roman drama, and the young Beer-Sheba Theatre, the last addition to Israel's theatrical establishment, although daring and innovative, has yet to venture into the classical

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Sofia, Yu. GAMALEY. "The history of the tour of the Kiev Jewish theater of the young spectator in Birobidzhan in 1940." Service plus 17, no. 1 (2023): 12–21. https://doi.org/10.5281/zenodo.7992164.

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The article discusses the features of the tour of the Kiev Jewish Theater for Young Spectators to the city of Birobidzhan, as a way of forming a tolerant relationship between the peoples living in the Soviet Union. Since the theater in the 1930s was not only a means of agitation, through his work, he introduced the inhabitants of the country to the national culture of other peoples, with their language, literature, music. The scientific novelty of the research lies in the fact that the article for the first time attempts to analyze the features of the creative activity of the Kiev Jewish Theat

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Rovit, Rebecca. "An Artistic Mission in Nazi Berlin: The Jewish Kulturbund Theatre as Sanctuary." Theatre Survey 35, no. 2 (1994): 5–17. http://dx.doi.org/10.1017/s0040557400002751.

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These remarks made by the actor, Fritz Kortner, stem from a 1932 book in which the leading stage performers of the Weimar Republic portray themselves in photographs and through their own words. In response to the editor's questions, Kortner—among other artists—analyzes his role as an actor within Germany's greater cultural and historical context, linking the crisis in theatre to existent economic and intellectual crises. Given the unstable socio-economic situation at the end of the Weimar Republic, the cultural years ahead looked particularly grim. The actor's commentary reveals the vulnerable

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Walden, Joshua S. "The ‘Yidishe Paganini’: Sholem Aleichem's Stempenyu, the Music of Yiddish Theatre and the Character of the Shtetl Fiddler." Journal of the Royal Musical Association 139, no. 1 (2014): 89–136. http://dx.doi.org/10.1080/02690403.2014.886428.

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ABSTRACTThis article explores the music of Yiddish theatre in early twentieth-century New York by considering multiple adaptations of Russian Jewish author Sholem Aleichem's 1888 novel Stempenyu, about a klezmer violinist, which was transformed into two theatrical productions in 1907 and 1929, and finally inspired a three-movement recital work for accompanied violin by Joseph Achron. The multiple versions of Stempenyu present the eponymous musician as an allegory for the ambivalent role of the shtetl – the predominantly Jewish small town of Eastern Europe – in defining diasporic Jewish life in

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Iyengar, Sujata. "Queen of Egypt and Queen of the Bey-Hive: Sophie Okonedo's Cleopatra at the National Theatre (2018)." Shakespeare Bulletin 41, no. 2 (2023): 201–22. http://dx.doi.org/10.1353/shb.2023.a910439.

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Abstract: Combining the methods of traditional theater history with semiotics and digital cultural studies, this article focuses particularly on Simon Godwin's production of Antony and Cleopatra at the National Theatre (2018) and on the avowed inspiration of the Nigerian-Jewish-descended British actress Sophie Okonedo by the world-famous vocalist, digital producer, and media celebrity Beyoncé Knowles-Carter (usually known simply as Beyoncé). Godwin's production carefully used a multiethnic cast and placed particular emphasis upon the relationship between Cleopatra and other women, both allies

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Niehoff, Maren R. "From the “Theater of the World” to the “Mask of Christ” — and Back Again: Insights from Origen’s Newly Discovered Homilies on Psalms." Scripta Classica Israelica 39 (September 11, 2021): 117–36. https://doi.org/10.71043/sci.v39i.4935.

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This article provides the first translation and in-depth analysis of a passage in Origen‟s newly discovered homilies on Psalms, which refers to the theater in Caesarea and uses theatrical language to describe Christian identity. By putting on the mask of Christ the Christian adopts a Christian identity and becomes an active member in the community. The article interprets Origen‟s arguments in the context of material evidence from Caesarea which reflects the city‟s centrality in theatrical competitions. Moreover, Origen‟s exceptionally positive attitude towards the theater, compared to that of

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Lev-Aladgem, Shulamith. "Bare Theatre of a Bare Life: a Community-Based Project in Jaffa." New Theatre Quarterly 33, no. 2 (2017): 113–24. http://dx.doi.org/10.1017/s0266464x17000033.

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In this article Shulamith Lev-Aladgem focuses on The Bride from the Sea, a community performance by three young Israeli-Palestinian mothers, presented in a sand box in a multi-functional kindergarten in Jaffa in 2008. From the beginning of the creative process, the Jewish facilitator and the performers had to struggle to overcome the various barriers erected by the intricate, oppressive daily life of the young Palestinian women. They eventually managed to perform a ‘short, thin performance’, which, despite resembling a misperformance, had an emotional and even exceptional effect on the audienc

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Abdulameer NAYYEF ALHUDEEB, Faeza. "THE IMAGE OF JERUSALEM IN HEBREW CHILDREN'S LITERATURE: THE PLAY (JERUSALEM TO ME) AS A MODEL." International Journal of Education and Language Studies 03, no. 01 (2022): 58–69. http://dx.doi.org/10.47832/2791-9323.1-3.5.

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The Zionist movement, in all its stages, relied on Hebrew literature in order to achieve its aggressive and colonial goals. The celebration of Hebrew literature, in its various expressive and poetic forms, was a celebration of describing the conditions of the Jews, and directing them to emigrate to Palestine. Hebrew education books at various school levels described many Zionist concepts and in accordance with smart educational policies. Likewise, Hebrew literature directed at children played an important and vital role that differs from the rest of other literatures, as it carried with it Zio

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Block, Geoffrey. ""Reading Musicals": Andrea Most's Making Americans: Jews and the Broadway Musical (Cambridge: Harvard University Press, 2004)." Journal of Musicology 21, no. 4 (2004): 579–600. http://dx.doi.org/10.1525/jm.2004.21.4.579.

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Andrea Most's Making Americans: Jews and the Broadway Musical studies eight musicals (The Jazz Singer, Whoopee, Girl Crazy, Babes in Arms, Oklahoma!, Annie Get Your Gun, South Pacific, and The King and I) in an effort to explore "how first- and second-generation American Jewish writers, composers, and performers used the theater to fashion their own identities as Americans."Most offers imaginative and often insightful sociological readings of musical librettos, lyrics, even stage directions, but virtually ignores music. That music can sometimes elucidate or contradict an exclusively social or

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Lewkowicz-Shenholz, Lior Ester. "In pursuit of the rejected "Jew from the Golah”. On life and works of dr. Jacob (Kobi) Weitzner." LUD Organ Polskiego Towarzystwa Ludoznawczego i Komitetu Nauk Etnologicznych PAN 107 (November 10, 2023): 274–86. http://dx.doi.org/10.12775/lud107.2023.10.

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Since the establishment of the state of Israel in 1948 everything related to the Diaspora (“Golah”) such as culture, language, or mentality was considered despicable and Israelis tried to keep away from it. Dr. Jacob (Kobi) Weitzner a writer, playwright and Yiddish theater director. This article is not about his academic achievements or artistic works, but his seminal activity for the preservation of Jewish culture in the Diaspora.

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