Jewish Drama & Theatre : From Rabbinical Intolerance to Secular Liberalism.
Jewish theater has followed a tortuous path from extreme rabbinical intolerance to eventual secular liberalism, with its openness to the heritages of both Judaism as a culture and prominent foreign cultures, to the extent of multicultural integration. Arguing that since biblical times until the 17th...
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| Format: | Electronic eBook |
| Language: | English |
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Chicago :
Sussex Academic Press,
2013
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| Local Note: | ProQuest Ebook Central |
Table of Contents:
- Front Cover; Dedication; Title Page; Copyright Page; Contents; Acknowledgements; Introduction
- Dramatic and Theatrical Creativity; Elements of Jewish theatre; The medium; The narrative; The system of values; The language; Nonverbal codes; The author; Theatre and ritual; Basic notions and analytical tools; Structure of the book; Part I: Tangential Jewish Drama; 1: Jewish Theatre and Ritual Origin; Advent of ancient drama/theatre; Cambridge School of Anthropology; Shamanist theory; Performance theory; Re-creation theory; The charm of ritual theories; 2: The Book of Job as Greek Tragedy.
- Between frame and bodyFictional structure; Considerations of medium; Deus ex machina; Possible performing cast; Jewish nature of the book; 3: Ezekiel's Exagoge; Fragments; Between prologue and ending; The Exagoge as drama; The Exagoge as Greek tragedy; The purpose of the Exagoge; 4: The Binding of Isaac in Theatre; The Binding in the Bible; The Binding in Christian theatre; Motifs from Genesis; Departures from Genesis; Staging the Brome version; An attempt at interpretation; The Binding in Christian art; The Jewish contribution; 5: Fernando de Rojas' La Celestina; Narrative.
- Celestina, procuress, witch and mender of hymensParmeno's witch mother; Calixto's idolatry; Melibea's 'honra'; Pleberio's experience of the absurd; La Celestina and psychology; Social criticism; Fictional structure; Literary fiction or drama?; Christian motifs; Jewish motifs; 6: Felipe Godinez' The Queen Esther; The Queen Esther; Biblical motifs; Departures from the Bible; The prophesy motif; Interpretation; 7: Leone de' Sommi's A Comedy of Betrothal; Narrative; Lipshitz: The role of language; Scolnicov: Serlio's stage design; Levy: Artistic assessment; The play-script's Jewish nature.
- Hebrew drama after de' SommiPart II: Advent of Yiddish Theatre; 8: Adoption of Theatre despite Ritual; The ritual of Purim; Rule of misrule; 9: Sephardi Roots of Jewish Parody; Sephardi parody; Parody's paths of propagation; A wider definition of 'parody'; Parodies of the Scroll of Esther; 10: The Nature of Carnival; Spirit of carnival; Mask and disguise; Carnivalesque parodies of ritual; 11: The Purim-shpil; Element of theatre; Jewish narratives; A Jewish language; Parodic element; Carnivalesque element; Circumstances of performance; From ritual to secular theatre; 12: The Purim-rabbi.
- The Feast of FoolsA model of the custom; Circumstances of performance; Elements of the mock ritual; 13: A Tribute to Yiddish Theatre; Goldfaden's The Sorceress; The 'Shund' theatre; Gordin's Mire'le Efros; Ansky's The Dybbuk; Leivick's The Golem; 14: The Languages of the Jews and Jewish Theatre; Hebrew; Aramaic; Yiddish; Ladino; National languages of host cultures; The Jewish Enlightenment movement; Yiddish and Hebrew in literature and drama; Part III: The Jewish Nature of Israeli Theatre; 15: Sacred Narratives in Secular Contexts; Reconsidering myth; Basic features of myth.
