Relevant bibliographies by topics / Freedom Theatre (West Bank)

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

Author: Grafiati
Published: 28 February 2023
Last updated: 1 March 2023

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Contents

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

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

1

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

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Three prominent Palestinian theatres use performance as a form of and forum for resistance to occupation. In the words of Juliano Mer Khamis, the murdered artistic director The Freedom Theatre, “We believe that the third intifada, the coming intifada, should be cultural, with poetry, music, theatre, cameras, and magazines.”
2

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

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Beginning in December 2011, The Freedom Theatre began using Playback Theatre in villages, refugee camps, and Bedouin communities throughout the West Bank of Occupied Palestine. In the South Hebron Hills, various ethical imperatives came to the fore—including the need to honor the integrity of the narrator’s subjective experience and avoid the replication of oppressive power dynamics—as the group simultaneously attended to the realities of staging stories.
3

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

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

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

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What is known of the physical size and shape of the Elizabethan theatres for which William Shakespeare wrote his plays? And how is our knowledge changed by the discoveries in spring 1989 at the site of the Rose theatre, Southwark, on the south bank of the Thames in London? John Orrell and Andrew Gurr, theatre historians who are themselves involved in the plans to rebuild the more famous Globe theatre (Gurr & Orrell 1989), on the bank of the Thames just a few yards west of the Rose site, near to the original Globe site which is due for excavation in the next few months.An earlier version of this paper appeared in the Times Literary Supplement (9–15 June 1989, pages 636, 649); it is reprinted by kind permission of the TLS.
6

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

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This article examines the applicability of Israel's Basic Law: Human Dignity and Freedom in the West Bank in light of international law, in theory and practice. The first part of the article concerns the need for such applicability in light of alternative domestic and international legal regimes. The article then explores three bases for the extraterritorial application of the law, and examines relevant practice. Finally, the article addresses the consequences of the extraterritorial applicability of the Basic Law for Israel's compliance with its obligations under the law of occupation. It argues that the application of the Basic Law extraterritorially in the West Bank may result in violation of Israel's obligations under the law of occupation.
7

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

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The thirty-year Eritrean struggle for independence – during which a small and poorly-armed guerrilla force eventually triumphed over a highly-equipped enemy, supported by foreign powers – is also the story of a social revolution in which the theatre played its part. The Eritrean People's Liberation Front not only employed theatre as a propaganda weapon, but also recognized its value as an agent for educating its people – concerning education and women's rights, and on the benefits of modern medicine and farming methods – and with victory came measures to stimulate the growth and development of theatre as part of Eritrean culture. Following Jane Plastow's contextual history of Eritrean theatre in our previous issue, Paul Warwick here makes the first attempt to reconstruct its undocumented role in the independence struggle, and the efforts of the rebels to create theatre for the first time in a rural context. A graduate of the Workshop Theatre, University of Leeds, Paul Warwick made this the subject of his research when he visited Eritrea in the summer of 1995 as part of the Eritrea Community Based Theatre Project. Since his return he has collaborated on a translation of The Other War by Alemseged Tesfai, written during the independence struggle, and given a reading at the West Yorkshire Playhouse in December 1996: this is due for publication later this year in an anthology of African drama from Methuen. Paul Warwick is currently Artistic Director of the Unlimited Theatre Company based in Leeds.
8

Boano, Camillo, and Benjamin Leclair-Paquet. "Potential, freedom and space: reflections on Agamben’s potentialities in the West Bank." Space and Polity 18, no. 1 (January 2, 2014): 17–38. http://dx.doi.org/10.1080/13562576.2013.880010.

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9

Ferrando, Costanza. "Restrictions on Freedom of Movement in the West Bank: A Policy of Apartheid." Palestine Yearbook of International Law Online 22, no. 1 (February 26, 2021): 141–76. http://dx.doi.org/10.1163/22116141_022010_005.

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FISEK, EMINE. "I want to be the Palestinian Romeo!Arna's Childrenand the Romance with Theatre." Theatre Research International 37, no. 2 (May 3, 2012): 104–17. http://dx.doi.org/10.1017/s0307883312000028.

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

Dissertations / Theses on the topic "Freedom Theatre (West Bank)":

1

Varghese, Gabriel. "Theatre's counterpublics : Palestinian theatre in the West Bank after the Oslo Accords." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/21795.

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Since the 1990s, Palestinian theatrical activities in the West Bank have expanded exponentially. As well as local productions, Palestinian theatre-makers have presented their work to international audiences on a scale unprecedented in Palestinian history. By tracing the history of the five major theatre companies (Al-Kasaba Theatre, Ashtar Theatre, Al-Harah Theatre, The Freedom Theatre and Al-Rowwad) currently working in the West Bank, this groundbreaking project examines the role of theatre-makers in the formation of ‘abject counterpublics’. By placing theories of abjection and counterpublic formation in conversation with each other, this dissertation argues that theatre in the West Bank has been regulated by processes of social abjection and, yet, it is an important site for counterpublic formation. In this way Palestinian theatre has played an integral role in the formation of an abject counterpublic, a discursive and performative space in which theatre-makers contest Zionist discourse and Israeli state practices. What tactics, I ask, do theatre-makers use to disrupt, subvert and/or bypass the Zionist public sphere? What counter-discourse emerges from this site? How is such a counter-discourse articulated in performance spaces? And how does Palestinian theatre, in the logistical sense, work against a dominant discourse of erasure as well as continue to operate under conditions of settler-colonialism? This dissertation is the first major account of Palestinian theatre covering the last thirty years. Taking the end of the first intifada (1993) as its point of departure, and using original field research and interviews, this project fills a major gap in our knowledge of contemporary Palestinian theatre in the West Bank up to the present. The original contribution of my research to the fields of theatre studies and Palestine studies are twofold. Firstly, Reuven Snir’s Palestinian Theatre (2005) is currently the only book-length study up to the end of the first intifada. Whereas Snir’s book is limited to archival sources, my arguments rest upon original fieldwork (interviews, participant observation, performance analysis and case studies) carried out in the West Bank in 2014 and 2015. As such, it provides a richer, bottom-up analysis of theatre-making. Secondly, by introducing the term abject counterpublics and by placing the voices of theatre-makers at the centre of its enquiry, this study broadens discussions on abjection and counterpublic formation in Palestine.
2

Hassellöf, Carl. "Under Occupation : Citizens of the West Bank and their Experiences of Democracy and Freedom in Palestine." Thesis, Linköpings universitet, Institutionen för samhälls- och välfärdsstudier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-130094.

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This thesis handles the subjects of freedom and democracy on the West Bank, Palestine. The analysis builds on discourse theory with focuses on the informants’ reality and experiences. In order to highlight the difficulties they face in their daily lives under occupation and oppression this thesis focuses on how they express themselves in regards to freedom and democracy. The study has been carried out through fieldwork and qualitative interviews undertaken to ascertain the people’s opinions and views on subjects of democracy and freedom. The analysis handles subjects of inequalities, how fellow citizens get divided geographically and based on opinions held, the reasons behind it; as well as the role played by the occupation of the Palestinian territories in the fight for democracy and freedom for the informants.
3

Abusultan, Mahmoud. "A Palestinian Theatre: Experiences of Resistance, Sumud and Reaffirmation." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu161712185211754.

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Books on the topic "Freedom Theatre (West Bank)":

1

Wallin, Johanna, and Ola Johansson. The freedom theatre: Performing cultural resistance in Palestine. New Delhi, India: LeftWord, 2018.

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2

Varghese, Gabriel. Palestinian Theatre in the West Bank. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30247-4.

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3

Lein, Yehezkel. Forbidden roads: Israel's discriminatory road regime in the West Bank. Jerusalem: B'tselem, 2004.

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Falloon, Virgil. Excessive secrecy, lack of guidelines: A report on military censorship in the West Bank. 2nd ed. Ramallah, West Bank, via Israel: Al-Haq/Law in the Service of Man, 1986.

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5

Barsella, Anat. Ground to a halt: Denial of Palestinians' freedom of movement in the West Bank. Jerusalem: B'Tselem, 2007.

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Barsella, Anat. Ground to a halt: Denial of Palestinians' freedom of movement in the West Bank. Jerusalem: B'Tselem, 2007.

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Barsella, Anat. Ground to a halt: Denial of Palestinians' freedom of movement in the West Bank. Jerusalem: B'Tselem, 2007.

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8

Ziv, Hadas. At Israel's will: The permits policy in the West Bank : position paper, Physicians for Human Rights-Israel. Tel-Aviv: Physicians for Human Rights-Israel, 2003.

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9

Lein, Yehezkel. Be-masṿeh shel biṭaḥon: Harḥavat hitnaḥaluyot be-ḥasut mikhshol ha-hafradah. Yerushalayim: B'Tselem, 2005.

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Lein, Yehezkel. Under the guise of security: Routing the separation barrier to enable the expansion of Israeli settlements in the West Bank. [Jerusalem]: B'Tselem, 2005.

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Book chapters on the topic "Freedom Theatre (West Bank)":

1

Varghese, Gabriel. "Introduction." In Palestinian Theatre in the West Bank, 1–23. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30247-4_1.

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Varghese, Gabriel. "Cultural Intifada, Beautiful Resistance." In Palestinian Theatre in the West Bank, 25–63. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30247-4_2.

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Varghese, Gabriel. "Aren’t We Human?" In Palestinian Theatre in the West Bank, 65–90. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30247-4_3.

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Varghese, Gabriel. "A Stage of One’s Own." In Palestinian Theatre in the West Bank, 91–118. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30247-4_4.

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Varghese, Gabriel. "Acting on the Pain of Others." In Palestinian Theatre in the West Bank, 119–48. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30247-4_5.

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Gado, Yasmine. "Corporate Complicity in Human Rights Abuses under Oslo." In The Oslo Accords. American University in Cairo Press, 2017. http://dx.doi.org/10.5743/cairo/9789774167706.003.0022.

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This chapter discusses the role of corporations in human rights violations under Oslo. Oslo provided Israel with legal control over a majority of West Bank land and control over the passage of people and goods across borders, giving Israel greater freedom to build and expand the settlements in Area C, exploit its natural resources, and build the “separation wall” inside the West Bank. These activities have provided lucrative opportunities for corporate exploitation, and in most cases Israel could not conduct them without corporate assistance. The involvement of corporations in providing goods and services relating to Israel's occupation of the West Bank has been categorized by researchers into three areas: the settlement industry, exploitation of captive consumer and labor markets, and population control.
7

Niebylski, Jakub. "Wielka Wojna na nadwiślańskim przedpolu Twierdzy Kraków / The Great War on the Vistula River outskirts of the Kraków Fortress." In Kartki z dziejów igołomskiego powiśla, 251–70. Wydawnictwo i Pracownia Archeologiczna PROFIL-ARCHEO, 2020. http://dx.doi.org/10.33547/igolomia2020.14.

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The study presents a description of the theatre of war operations on the left bank of theVistula River, on the eastern foreground of the Austro-Hungarian Kraków Fortress during the Great War, later called World War I. The fighting took place in the area of the former Russian partition, on November 16–25, 1914 and December 2–6, 1914. They were fought in the area occupied from August 6, 1914 by Austria-Hungary after the declaration of war on Russia. In historiography, these fights are called the Battle of Kraków. It was aimed at stopping the Russian offensive heading west and preventing the capture of the Kraków Fortress and stopping the further march of Russian army on Silesia, Bohemia and Berlin. The result of these actions was the military success of the Austro-Hungarian army, breaking the front and pushing the Russian troops eastwards, paid for with great personal losses on both sides and the destruction of local infrastructure. The testimonies of these events are war graves and cemeteries located in the battlefields, as well as numerous finds – remains of battles.
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Niebylski, Jakub. "Wielka Wojna na nadwiślańskim przedpolu Twierdzy Kraków / The Great War on the Vistula River outskirts of the Kraków Fortress." In Kartki z dziejów igołomskiego powiśla, 291–310. 2nd ed. Wydawnictwo i Pracownia Archeologiczna Profil-Archeo, 2021. http://dx.doi.org/10.33547/igolomia2021.16.

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The study presents a description of the theatre of war operations on the left bank of theVistula River, on the eastern foreground of the Austro-Hungarian Kraków Fortress during the Great War, later called World War I. The fighting took place in the area of the former Russian partition, on November 16–25, 1914 and December 2–6, 1914. They were fought in the area occupied from August 6, 1914 by Austria-Hungary after the declaration of war on Russia. In historiography, these fights are called the Battle of Kraków. It was aimed at stopping the Russian offensive heading west and preventing the capture of the Kraków Fortress and stopping the further march of Russian army on Silesia, Bohemia and Berlin. The result of these actions was the military success of the Austro-Hungarian army, breaking the front and pushing the Russian troops eastwards, paid for with great personal losses on both sides and the destruction of local infrastructure. The testimonies of these events are war graves and cemeteries located in the battlefields, as well as numerous finds – remains of battles.
9

"was seen (as he often still is) as characteristically ‘heavy’, boring and lacking in a sense of humour, or at least irony – in fact the kind of playwright he himself deplored in his own, rational theatre. Furthermore, he was a Marxist and thus his ideas were (and are) unlikely to be suited to the mainly bourgeois institution of British theatre and theatregoers. Since Brecht’s ideology has so often been a barrier to a full appreciation of his work in Britain, and consequently appears regularly in this book, it is worth briefly spelling out here the basis and implications of his political beliefs. Brecht’s commitment to the classic Marxist tradition of ‘dialectical materialism’ (the idea that the individual is created by socio-political and economic factors and is, therefore, able to change his circumstances and environment) provided a ‘legitimacy’ (in his view at least) for an interventionist form of theatre. Brecht’s ‘discovery’ of Marxism (in 1928/9) confirmed his already well-developed idea that theatre should have a social function. As he said, he ‘had written a whole pile of Marxist plays without knowing it’ (Völker, 1979, p. 110). His ‘epic theatre’ was based on the concept of the primary importance of production in social life and it was intended to demonstrate socialism as the constant revolutionising of the forces and relations within the processes of production. Brecht often spoke of his form of theatre as one designed to make a contribution to ‘the full unfettering of everybody’s productivity’ (Suvin, 1984, p.20). He would admit, however, that in order for epic theatre to work fully, the actors involved in the production needed to share a Marxist view of the world. Certainly many theatre critics and historians would agree that without a knowledge of Marxist philosophy and aesthetics, it is virtually impossible to grasp the full meaning of Brecht’s plays. For example, Marxist philosophy is fundamental to Brecht’s dramaturgical exploration of the relationship between the individual and society. As a playwright, he builds up a complex framework of social, political, economic, historical and personal factors, which determine the character as an individual; his phrase for this is ‘statistical causality’. This approach to characterisation enables Brecht to demonstrate through his plays a wider range of possibilities for human behaviour than is the case with more ‘naturalistic’, psychologically-based drama. Brecht’s politics have, of course, been used frequently against him – as a reason for rejecting his artistic achievements, and as a ‘stick’ with which to beat him and expose the apparent hypocrisy in his personal behaviour. His detractors often draw attention to the fact that he never actually joined the Communist Party and that, after returning to East Berlin in 1949, he obtained an Austrian passport (1950), gave exclusive publishing rights to his writing to a West German publisher, and maintained a Swiss bank account. Equally notably, Brecht even refused to sign a binding contract with his own company, the Berliner Ensemble, until 1953, when he signed a form of ‘open’ agreement. In extenuation, it might be claimed that after his years in exile, when his artistic ambitions and activities had been inevitably limited,." In Performing Brecht, 12. Routledge, 2002. http://dx.doi.org/10.4324/9780203129838-8.

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