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Bibliografie tematiche / Jewish women – Drama

Letteratura scientifica selezionata sul tema "Jewish women – Drama"

Autore: Grafiati

Pubblicato: 27 luglio 2024

Ultima modifica: 29 luglio 2024

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Articoli di riviste sul tema "Jewish women – Drama"

1

Trębacka, Katarzyna. "Między kamuflażem a stereotypem. Postać Żydówki w dramacie Gabrieli Zapolskiej Nerwowa awantura". Studia Judaica, n. 1 (47) (2021): 153–73. http://dx.doi.org/10.4467/24500100stj.21.006.14608.

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Between Camouflage and Stereotype: The Portrayal of a Jewish Woman in Gabriela Zapolska’s Drama “Nerwowa awantura” [The Nervous Row] The article is an attempt to analyze Gabriela Zapolska’s drama entitled Nerwowa awantura [The Nervous Row], first published in 2012. The aim of the study is to answer the question whether Zapolska, while adding Peruwianka to other figures of Jewish women in her literary output, succumbed to popular opinions and provided her with stereotypical features. Or, on the contrary, perhaps she created her protagonist in an innovative, unprecedented way? The author is trying to answer the question whether the ideas of emancipation and feminist movements, so close to the writer, an attempt to fight the existing patriarchal order and Victorian bourgeois customs, also resonate in Nerwowa awantura. The analysis shows that there are no figures of Jewish women in Zapolska’s oeuvre who are clearly burdened with stereotypical traits or are completely free of them. However, none of the Jewish female characters created by the playwright is so independent, liberated and able to achieve her goals as Peruwianka, and as a result she can be perceived as a new figure on the literary and theatrical map.

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2

Klapper, Melissa R. "The Drama of 1916: The American Jewish Community, Birth Control, and Two Yiddish Plays". Journal of the Gilded Age and Progressive Era 12, n. 4 (ottobre 2013): 502–34. http://dx.doi.org/10.1017/s1537781413000340.

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Jewish women played important roles in many aspects of the birth control movement, as activists, consumers, and distributors. Yet just as the legal system was not yet sure what to make of contraception, neither was the American Jewish community. While hundreds of thousands of Jewish women clearly limited their family size, both ambivalence toward birth control and pockets of outright opposition also persisted. This essay briefly examines the developments in the birth control movement during the pivotal year of 1916 in which Jewish women played important roles. The essay then turns to analysis of two Yiddish plays on the topic written that year. Neither play has ever before been translated in full. Because the Yiddish theater was a central American Jewish cultural institution, the production of plays on the subject of birth control in 1916 dramatized the importance of the issue within the American Jewish community. Though the plays quite possibly loom larger in retrospect than they did at the time and are notable more for content than literary merit, they nonetheless provide a critical lens through which to explore the complex relationship between American Jewry and the birth control movement.

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3

ABELIOVICH, RUTHIE. "Work and Play: Rolf Hochhuth's The Representative in Tel Aviv (1964)". Theatre Research International 45, n. 3 (ottobre 2020): 326–31. http://dx.doi.org/10.1017/s0307883320000334.

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This paper probes into the 1964 Israeli performance of Rolf Hochhuth's controversial drama The Representative. Staged by Habima National Theatre under the direction of Avraham Ninio, the majority of the cast engaged in this production comprised European-born Jewish refugees and Holocaust survivors. In its cultural context, the theatrical image of Jewish refugees dressed in Nazi uniforms or, conversely, staging visual, gestural or aural markers of Auschwitz prisoners imbued the drama with political meanings, triggering a debate about agency and forms of social and material participation in the aftermath of calamity. Examining the subterranean world of artists and craftsmen and women whose labour is deliberately obscured from view, I argue that the work of theatre emerges as a creative and generative energy that filters from the staged fiction into the ‘real’ world.

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4

Hess, Jonathan M. "Shylock’s Daughters: Philosemitism, Popular Culture, And The Liberal Imagination". transversal 13, n. 1 (1 marzo 2015): 28–43. http://dx.doi.org/10.1515/tra-2015-0005.

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Abstract S. H. Mosenthal’s blockbuster drama Deborah, popularized in the English-speaking world as Leah, The Forsaken, delivered generations of nineteenth-century theatergoers fantasies about Jewish women. This paper explores the rich performance history of this work, offering a new perspective on the role of popular culture in launching distinctly liberal forms of philosemitism.

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5

Bond, Helen K. "Josephus on Herod’s Domestic Intrigue in the Jewish War". Journal for the Study of Judaism 43, n. 3 (2012): 295–314. http://dx.doi.org/10.1163/157006312x644128.

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Abstract This article argues that women and domestic intrigue are prominent within the Herod narrative in Josephus’ Jewish War for a specific rhetorical reason. While the first half of the narrative presents the famous king in encomiastic terms, using him to illustrate Josephus’ contention that Jews generally were content to remain loyal to Rome, the second half of the account subtly presents a rather different thesis. Attention to domestic drama allowed Josephus to suggest that Herod was a man who was unable to control either his own emotions or his turbulent family, and so was unfit to rule. Ultimately for Josephus, the ideal constituency for Judaea is not monarchy (as represented by Herod) but the theocratic reign of priests.

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6

Włodek, Roman. "Od Za grzechy do Bezdomnych. Aleksander Marten (1898–1942?), artysta żydowskiej i polskiej kinematografii dźwiękowej". Studia Judaica, n. 2 (50) (22 dicembre 2022): 269–90. http://dx.doi.org/10.4467/10.4467/24500100stj.22.011.17181.

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From Al Khet (For the Sins) to On a Heym (Without a Home): Aleksander Marten (1898–1942?), a Filmmaker of Jewish and Polish Sound Cinematography Mordka Matys Tenenbaum (1898–1942?), also known as Aleksander Marten, is one of the least known Yiddish filmmakers. After ending his theatrical career in Germany and Austria, he went on to direct a Yiddish film Al khet (For the Sins) in Warsaw (1936). It was a melodramatic family story which brought him success and recognition both in Poland and in the diaspora, thus becoming the starting point of the so-called “golden age of Jewish cinema.” It was then that, among others, the following films were made: Yiddle with His Fiddle (Yidl mit’n fidl, dir. Joseph Green and Jan Nowina-Przybylski, 1936), The Handshake (Tkies kaf, dir. Henryk Szaro, 1937), The Dybbuk (Der Dibuk, dir. Michał Waszyński, 1937), and A Little Letter to Mother (A brivele der mamen, dir. Green and Leon Trystan, 1938). Marten, however, chose a different path. Following the example of filmmakers who worked both in Polish and Yiddish cinema, i.e., Szaro, Konrad Tom, Trystan, and Waszyński, the next year he decided to try his hand at Polish film, directing a sensational drama What Women Dream Of (O czym marzą kobiety). It bore a close resemblance, almost shot by shot, to the German film Was Frauen träumen (1933). In 1939, his other film Without a Home (On a heym) had its premiere. It was a drama about Jewish immigrants who struggled to adapt to new living conditions in America. It was also the last Yiddish film made in inter-war Poland.

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7

Włodek, Roman. "Od Za grzechy do Bezdomnych. Aleksander Marten (1898–1942?), artysta żydowskiej i polskiej kinematografii dźwiękowej". Studia Judaica, n. 2 (50) (22 dicembre 2022): 269–90. http://dx.doi.org/10.4467/24500100stj.22.011.17181.

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Abstract (sommario):

From Al Khet (For the Sins) to On a Heym (Without a Home): Aleksander Marten (1898–1942?), a Filmmaker of Jewish and Polish Sound Cinematography Mordka Matys Tenenbaum (1898–1942?), also known as Aleksander Marten, is one of the least known Yiddish filmmakers. After ending his theatrical career in Germany and Austria, he went on to direct a Yiddish film Al khet (For the Sins) in Warsaw (1936). It was a melodramatic family story which brought him success and recognition both in Poland and in the diaspora, thus becoming the starting point of the so-called “golden age of Jewish cinema.” It was then that, among others, the following films were made: Yiddle with His Fiddle (Yidl mit’n fidl, dir. Joseph Green and Jan Nowina-Przybylski, 1936), The Handshake (Tkies kaf, dir. Henryk Szaro, 1937), The Dybbuk (Der Dibuk, dir. Michał Waszyński, 1937), and A Little Letter to Mother (A brivele der mamen, dir. Green and Leon Trystan, 1938). Marten, however, chose a different path. Following the example of filmmakers who worked both in Polish and Yiddish cinema, i.e., Szaro, Konrad Tom, Trystan, and Waszyński, the next year he decided to try his hand at Polish film, directing a sensational drama What Women Dream Of (O czym marzą kobiety). It bore a close resemblance, almost shot by shot, to the German film Was Frauen träumen (1933). In 1939, his other film Without a Home (On a heym) had its premiere. It was a drama about Jewish immigrants who struggled to adapt to new living conditions in America. It was also the last Yiddish film made in inter-war Poland.

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8

Ojea Fernández, María Elena. "El proceso de lectura de Baltasar de Gertrudis Gómez de Avellaneda: Los personajes femeninos y su modo de actuación". Monteagudo, n. 25 (30 settembre 2020): 149–69. http://dx.doi.org/10.6018/monteagudo.447881.

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Abstract (sommario):

La recepción inicial del drama bíblico Baltasar de Gertrudis Gómez de Avellaneda no sólo destacaba las virtudes del pueblo judío frente al paganismo de la corte de Babilonia, sino que analizaba el hastío vital del rey tirano. Sin embargo, nuestro proceso de lectura prefiera subrayar la importancia de los personajes femeninos, porque si bien la autora no traiciona las normas de la jerarquía dominante, sí concede una voz diferenciada a la mujer, cuyo modo de actuación se aleja del estereotipo fijado por la cultura oficial. The initial reception of the biblical drama Baltasar by Gertrudis Gómez de Avellaneda is not only focused on defending the values of the Jewish people against the paganism of the Babylonian court, but also on the tedium vitae of the tyrant king. Nevertheless, our reading process wishes to underline the importance of the female characters, because while the author does not betray the rules of the dominant hierarchy, it does grant a differentiated voice to women, whose characterization move away from the stereotype marked out byofficial culture

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9

Lev-Aladgem, Shulamith. "Bare Theatre of a Bare Life: a Community-Based Project in Jaffa". New Theatre Quarterly 33, n. 2 (12 aprile 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 audience. This performance is examined as a special kind of women-based community theatre, termed here ‘the bare theatre’, to indicate a form that articulates the bare daily life of women trapped between internal and external oppressive power regimes. Shulamith Lev-Aladgem is chair of the Theatre Arts Department at Tel Aviv University, a trained actress, and a community-based theatre practitioner. Her recent publications include Theatre in Co-Communities: Articulating Power (2010) and Standing Front Stage: Resistance, Celebration, and Subversion in Israeli Community-Based Theatre (2010), as well as articles in Research in Drama Education and Israeli Sociology.

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10

Filipowicz, Halina. "Trespassing through Silences". Polish Review 67, n. 3 (1 ottobre 2022): 55–67. http://dx.doi.org/10.5406/23300841.67.3.06.

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Abstract In critical commentary, Czarny piasek [Black sand, 1959], Andrzej Bobkowski's only play, is surrounded by a sense of unease. Read through the lens of his other writings, it is decried as an offshoot of the blinkered ideas he propounded elsewhere. My approach, in contrast, is that of a drama scholar. I propose to read Black Sand as a play in its own right and to examine its tangled skein of dramaturgical and rhetorical strategies. Part a psychological drama on the torment of personal relations, part a nimble satire on a group of immigrants and refugees, and part a kind of romantic comedy in which the heroine, a young Jewish woman, resists her father's attempts to control her sex life, Black Sand is fraught with interpretive challenges. With the usual caveat that no single interpretation is ever fully adequate, I want to open the way for a more nuanced understanding of Black Sand by looking at it from the perspective of Holocaust drama studies.

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Più fonti

Libri sul tema "Jewish women – Drama"

1

Blacher, Cohen Sarah, a cura di. Making a scene: The contemporary drama of Jewish-American women. Syracuse, N.Y: Syracuse University Press, 1996.

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2

Blacher, Cohen Sarah, a cura di. Making a scene: The contemporary drama of Jewish-American women. Syracuse, N.Y: Syracuse University Press, 1997.

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3

Cachapa, Possidónio. Shalom. Lisboa: Assírio & Alvim, 2001.

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4

Rumble, P. Barry. Aunt Sophie's latkes. Studio City, CA: Players Press, 1995.

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5

Ephraim, Michelle. Reading the Jewish woman on the Elizabethan stage. Aldershot, Hants, England: Ashgate, 2007.

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6

Tova, Theresa. Still the night. [Winnipeg]: Scirocco Drama, 1998.

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7

Yolanda, Moreno Koch, Izquierdo Benito Ricardo e Universidad de Castilla-La Mancha, a cura di. Hijas de Israel, mujeres de Sefarad: De las aljamas de Sefarad al drama del exilio. Cuenca: Ediciones de la Universidad de Castilla-La Mancha, 2010.

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8

Rami, Danon, e Teʼaṭron ha-Ḳameri shel Tel-Aviv, a cura di. Shaindeleh: Meʻah rabanim neged ishah : [program]. Tel Aviv]: Cameri Theatre of Tel Aviv, 1993.

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9

Lisa, Kron, a cura di. 2.5 minute ride: And, 101 humiliating stories. New York: Theatre Communications Group, 2001.

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10

Albee, Edward. A delicate balance: A play. New York: Plume, 1997.

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Capitoli di libri sul tema "Jewish women – Drama"

1

Lassner, Phyllis. "Dramas of the Kindertransport and Its Aftermath". In Anglo-Jewish Women Writing the Holocaust, 75–102. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230227361_4.

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2

Lassner, Phyllis. "Displaced Witnesses: Julia Pascal’s and Sue Frumin’s Holocaust Dramas". In Anglo-Jewish Women Writing the Holocaust, 156–85. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230227361_7.

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3

Thomas, Alfred. "Writing Jews, Writing Women: Chaucer’s “The Prioress’s Tale” and The Sacred Drama of Medieval Europe". In Reading Women in Late Medieval Europe, 45–77. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137542601_3.

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4

"‘Madam Rabbi’: Representations of Jewish Women in English Renaissance Drama". In Masculinity, Anti-Semitism and Early Modern English Literature, 63–84. Routledge, 2017. http://dx.doi.org/10.4324/9781315249544-11.

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