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Bibliographies thématiques / Jewish State Theatre / Livres

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Livres sur le sujet « Jewish State Theatre »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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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9

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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11

Uberman, Iwona. Auschwitz im Theater der "Peinlichkeit": George Taboris Holocaust-Stücke im Rahmen der Theatergeschichte seit dem Ende der 60er Jahre. Dissertationsverlag NG-Kopierladen, 1995.

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12

D'Angelo, Claudia. Re Lear: Storia di uno spettacolo yiddish sovietico. Accademia University Press, 2017.

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13

Charles, Kean, ed. The merchant of Venice: Arranged forpresentation at the Princess's Theatre. Pergamon Press, 1985.

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14

Shakespeare, William. Shakespeare's play of the Merchant of Venice, Arranged for Representation at the Princess's Theatre: With Historical and Explanatory Notes by Charles Kean, F.S.A. tredition, 2011.

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15

Shakespeare, William. Othello, the Moor of Venice. Bedford / St. Martins, 2002.

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16

Shakespeare, William. William Shakespeare's The tragedy of Othello, the Moor of Venice: And, Elizabeth Cary's The tragedy of Mariam, fair queen of Jewry. Longman, 2003.

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17

Shakespeare, William. Othello, the moor of Venice. Sweet Cherry Publishing, 2012.

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18

Shakespeare, William. The tragedy of Othello, the Moor of Venice. Penguin Books, 2001.

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19

Roma, Gill, ed. Othello. Oxford University Press, 2009.

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20

Kosstrin, Hannah. Modernist Forms in a Jewish State. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199396924.003.0006.

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Focusing on Sokolow’s work in Israel, this chapter highlights tensions between American Jewishness and Israeliness through critical response to her dances Dreams (1961), Opus ’63 (1963), Forms (1964), and Odes (1964). It introduces the term “sabra physicality” to describe the performative qualities of defiant vulnerability that dancers in Sokolow’s Israeli company Lyric Theatre introduced into her oeuvre. With financial support from the American Fund for Israeli Institutions (America–Israel Cultural Foundation), Sokolow was part of the North American influence building Israeli art and cultural

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21

Veidlinger, Jeffrey. The Moscow State Yiddish Theater: Jewish Culture on the Soviet Stage (Jewish Literature and Culture). Indiana University Press, 2006.

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22

Yaari, Nurit. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198746676.003.0001.

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This chapter examines the lack of continuous tradition of the art of the theatre in the history of Jewish culture. Theatre as art and institution was forbidden for Jews during most of their history, and although there were plays written in different times and places during the past centuries, no tradition of theatre evolved in Jewish culture until the middle of the nineteenth century. In view of this absence, the author discusses the genesis of Jewish theatre in Eastern Europe and in Eretz-Yisrael (The Land of Israel) since the late nineteenth century, encouraged by the Jewish Enlightenment mo

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23

Emanuele, Luzzati. Stage & Page: Jewish Theater & Book Designs. Tormena, Centro Culturale Primo Levi, 2003.

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24

Veidlinger, Jeffrey. The Moscow State Yiddish Theater: Jewish Culture on the Soviet Stage (Indiana-Michigan Series in Russian and East European Studies). Indiana University Press, 2001.

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25

Kosstrin, Hannah. Honest Bodies. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199396924.001.0001.

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Honest Bodies: Revolutionary Modernism in the Dances of Anna Sokolow argues that Sokolow’s choreography circulated American modernism among Jewish and communist channels of the international Left from the 1930s to the 1960s in the United States, Mexico, and Israel. Integrating archival materials, interviews, and theories from dance, Jewish, and gender studies, this book illuminates Sokolow’s choreography for social change alongside her teaching of Martha Graham’s technique. Tracing dances with her companies Dance Unit, La Paloma Azul, Lyric Theatre, and Anna Sokolow Dance Company, along with p

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26

Kelz, Robert. Competing Germanies. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501739859.001.0001.

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Following World War II, German antifascists and nationalists in Buenos Aires believed theater was crucial to their efforts at community-building, and each population devoted considerable resources to competing against its rival onstage. This book tracks the paths of several stage actors from European theaters to Buenos Aires and explores how two of Argentina's most influential immigrant groups, German nationalists and antifascists (Jewish and non-Jewish), clashed. Theatrical performances articulated strident Nazi, antifascist, and Zionist platforms. Meanwhile, as their thespian representatives

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27

Theatre Symposium: A Publication of the Southeastern Theatre Conference: Theatre and Politics in the Twentieth Century. Univ of Alabama Pr (Txt), 2001.

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28

Quint, Alyssa, ed. Three Yiddish Plays by Women. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350321052.

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This is an unprecedented collection of three newly translated Yiddish plays written by women in the period from 1880 to 1920. Taken together, these plays provide a fascinating insight into female Jewish perspectives on a range of women’s issues prevalent at the time and, in some cases, still prevalent today. The works explore topics such as the Jewish law of the ‘chained widow’, pregnancy out of wedlock, and birth control, amongst many others. Three Yiddish Plays by Women includes an incisive contextual introduction which provides historical context for each individual work, summaries and disc

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29

In search of milk and honey: The Birobidzhan State Yiddish Theater (1934-49). Slavica Publishers, 2009.

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30

Jewish theatre: Tradition in transition and intercultural vistas. Assaph Books, 2008.

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31

Novick, Julius. Beyond the Golden Door: Jewish American Drama and Jewish American Experience (Palgrave Studies in Theatre and Performance History). Palgrave Macmillan, 2009.

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32

Hideous Characters and Beautiful Pagans: Performing Jewish Identity on the Antebellum American Stage. University of Michigan Press, 2017.

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33

Nahshon, Edna, and Museum of Museum of the City of New York. New York's Yiddish Theater: From the Bowery to Broadway. Columbia University Press, 2016.

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34

Museum of the City of New York and Yivo Institute for Jewish Research, eds. New York's Yiddish theater: From the Bowery to Broadway. Columbia University Press, 2016.

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35

Rotman, Diego. Yiddish Stage As a Temporary Home: Dzigan and Shumacher's Satirical Theater. de Gruyter GmbH, Walter, 2021.

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36

Yiddish Stage As a Temporary Home: Dzigan and Shumacher's Satirical Theater. de Gruyter GmbH, Walter, 2021.

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37

Rotman, Diego. Yiddish Stage As a Temporary Home: Dzigan and Shumacher's Satirical Theater. de Gruyter GmbH, Walter, 2021.

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38

Deutsch, Barry, Paul Buhle, Harvey Pekar, Neal Gabler, and David Lasky. Yiddishkeit: Jewish Vernacular and the New Land. Abrams, Inc., 2012.

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39

Most, Andrea. Theatrical Liberalism: Jews and Popular Entertainment in America. New York University Press, 2013.

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40

The passing game: Queering Jewish American culture. Syracuse University Press, 2009.

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41

Ensel, Remco. Anne Frank on the Postwar Dutch Stage. Taylor & Francis Group, 2021.

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42

Bayerdörfer, Hans-Peter, and Jörg Schönert. Theater Gegen das Vergessen: Bühnenarbeit und Drama Bei George Tabori. de Gruyter GmbH, Walter, 2011.

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43

Anne Frank on the Postwar Dutch Stage: Performance, Memory, Affect. Taylor & Francis Group, 2021.

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44

Ensel, Remco. Anne Frank on the Postwar Dutch Stage: Performance, Memory, Affect. Routledge, 2021.

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45

Ensel, Remco. Anne Frank on the Postwar Dutch Stage: Performance, Memory, Affect. Taylor & Francis Group, 2021.

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46

Neile, Caren Schnur, and Dan Ben-Amos. Peninnah's World. The Rowman & Littlefield Publishing Group, Inc., 2021. https://doi.org/10.5040/9780761877806.

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She’s an iconic Jewish storyteller. She’s a widely acclaimed professor and folklorist. She’s the one and only Peninnah Schram, and Peninnah’s World: A Jewish Life in Stories is her authorized biography, told through individual stories. What is a biography told through stories? Because Schram’s art form is storytelling, Peninnah’s World dramatizes in vivid scenes her extraordinary trajectory from the New London, Connecticut-born child of immigrant parents steeped in Jewish tradition in the 1930s and ‘40s to award-winning, New York-based performer, writer and scholar. The book features landmarks

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47

Solomon, Alisa. Wonder of Wonders: A Cultural History of Fiddler on the Roof. Picador, 2014.

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48

Solomon, Alisa. Wonder of Wonders: A Cultural History of Fiddler on the Roof. Holt & Company, Henry, 2013.

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49

Schechter, Joel. Messiahs Of 1933: How American Yiddish Theatre Survived Adversity Through Satire. Temple University Press, 2008.

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50

Un'istruttoria lunga più di trent'anni: Olocausto, memoria, performance al Teatro Due di Parma. Mimesis, 2016.

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