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Libri sul tema "Jewish State Theatre"

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Autore: Grafiati

Pubblicato: 25 luglio 2024

Ultima modifica: 26 luglio 2024

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1

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

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2

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

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3

Freeden, Herbert. Jüdisches Theater in Nazideutschland. Frankfurt/M: Ullstein, 1985.

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4

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

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5

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

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6

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

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7

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

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8

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

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9

Adler, Jacob P. Jacob Adler: A life on the stage : a memoir. New York: Applause, 2001.

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10

Buhle, Paul, e Harvey Pekar. Yiddishkeit: Jewish vernacular and the new land. New York: Abrams ComicArts, 2011.

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11

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. Yerushalayim: Hotsaʼat sefarim ʻa. sh. Y.L. Magnes, ha-Universiṭah ha-ʻIvrit, 2017.

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12

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

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13

Ragussis, Michael. Theatrical nation: Jews and other outlandish Englishmen on the Georgian stage. Philadelphia: University of Pennsylvania Press, 2010.

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14

Hans-Peter, Bayerdörfer, e Schönert Jörg, a cura di. Theater gegen das Vergessen: Bühnenarbeit und Drama bei George Tabori. Tübingen: Niemeyer, 1997.

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15

Granach, Alexander. From the shtetl to the stage: The odyssey of a wandering actor. New Brunswick, N.J: Transaction Publishers, 2010.

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16

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

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17

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

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18

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

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19

Most, Andrea. Making Americans: Jews and the Broadway musical. Cambridge, Mass: Harvard University Press, 2004.

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20

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. Hamburg: tredition, 2011.

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21

Shakespeare, William. Othello. Mineola, N.Y: Dover Publications, 2009.

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22

Shakespeare, William. The tragedy of Othello, the Moor of Venice. New York: Washington Square Press, 1993.

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23

Shakespeare, William. Othello. 3^a ed. Walton-on Thames: Thomas Nelson and Sons, 1997.

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24

Shakespeare, William. Othello. New York: SparkNotes, 2003.

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25

Shakespeare, William. Othello. New Haven, Conn: Yale University Press, 2005.

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26

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 institutions as postwar alliances formed between the United States and Israeli governments. This chapter further shows Sokolow’s role in disseminating American modern dance through the bodies of her students abroad, through her work with the Inbal Yemenite Dance Group (Inbal Dance Theater) and Lyric Theatre. In turn, the way those dancers performed Graham’s technique and Sokolow’s choreography changed American modernism.

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27

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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28

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 movement, the emergence of Jewish nationalism, and the rebirth of Hebrew as a language of everyday life. Finally, the chapter traces the development of parallel strands of theatre that preceded the Israeli theatre and shadowed the emergence of the political infrastructure of the future State of Israel.

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29

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

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30

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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31

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 presenters and companies including the Negro Cultural Committee, the New York State Committee for the Communist Party, Nuevo Grupo Mexicano de Clásicas y Modernas, and Inbal Dance Theater, this book highlights Sokolow’s work among developments in ethnic definitions, diaspora, and nationalism in the United States, Mexico, and Israel. Critical reception documented Sokolow’s career from a leading proletarian choreographer to one of modernist alienation, and reflected the assimilation of her generation of Jews, children of Eastern European immigrants, from the marginalized working class to the American middle-class mainstream. Equally affected by the Holocaust and the Second Red Scare, Sokolow’s choreography evidences her political–aesthetic statements that resonate as clearly in today’s political climate as they did then. Sokolow’s kinesthetic imprints circulated American corporeality through modern dance training, as her students in New York, Mexico City, and Tel Aviv fit their bodies into Graham’s codified shapes. Honest Bodies details how cultural ideologies circulate internationally through choreography and dancers’ physicalities and how American modernism influenced and was influenced by this circulation’s physical residue.

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32

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 grappled onstage for political leverage among emigrants and Argentines, behind the curtain, conflicts simmered within partisan institutions and among theatergoers. Publicly they projected unity, but offstage nationalist, antifascist, and Zionist populations were rife with infighting on issues of political allegiance, cultural identity and, especially, integration with their Argentine hosts. The book reveals interchange and even mimicry between antifascist and nationalist German cultural institutions. Furthermore, performances at both theaters also fit into contemporary invocations of diasporas, including taboos and postponements of return to the native country, connections among multiple communities, and forms of longing, memory, and (dis)identification. Sharply divergent at first glance, their shared condition as cultural institutions of emigrant populations caused the antifascist Free German Stage and the nationalist German Theater to adopt parallel tactics in community-building, intercultural relationships, and dramatic performance. Its cross-cultural, polyglot blend of German, Jewish, and Latin American studies gives the book a wide, interdisciplinary academic appeal and offers a novel intervention in Exile studies through the lens of theater, in which both victims of Nazism and its adherents remain in focus.

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33

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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34

Quint, Alyssa, a cura di. 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 discussion of the texts and stage histories for two of the three that have them. The introduction offers biographical information about each playwright and looks at what ambit they were each active in, taking into consideration gender norms. It also engages an array of recent sources and angles on intersecting questions of theater and gender in a landmark volume of vital significance to students of women’s history, modern Jewish history, cultural history and theatre history.

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35

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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36

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

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37

Nahshon, Edna. New York's Yiddish theater: From the Bowery to Broadway. 2016.

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38

Nahshon, Edna, e 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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39

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

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40

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

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41

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

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42

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

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43

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

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44

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

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45

Theatrical Liberalism. New York University Press, 2013.

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46

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

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47

Theatrical Liberalism Jews And Popular Entertainment In America. New York University Press, 2013.

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48

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

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49

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

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50

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

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