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This first in-depth study of the reception of ancient Greek drama in Israeli theatre over the last 70 years offers ground-breaking analysis of a wide range of translations, adaptations, and new writing, and how performances of these works were created and staged at key points in the development of Israeli culture.
Inhaltsverzeichnis
- Frontmatter
- List of Illustrations
- 1: Introduction
- Between Athens and Jerusalem
- Weaving together histories and traditions
- Israeli theatre and its audiences
- A survey of scholarship
- Scope of the study
- Book structure
- 2: Habima: Outsidedness as a catalyst of creativity
- First encounters with the Greek Classical repertoire
- In lieu of summary: The Nissim Aloni effect
- 3: The Cameri: In search of local theatrical identity
- A Modern Hebrew theatre in Tel Aviv
- Summary
- 4: Experimentations: Putting the aesthetics of performance into practice
- Aryeh Sachs: Experimenting with ritual theatre
- Yossi Yizraely: Experimentations with stage imagery
- Edna Shavit: Experiments with Classicism
- Summary
- 5: Aristophanes and the Occupied Territories
- Text and socio-political context
- Hanoch Levin: Contention, defiance, and protest
- Summary
- 6: The Trojan War and Israeli-Palestinian conflict
- Theatrical responses to the Six Day War (1967)
- Theatrical responses to the Lebanon War (1981)
- Summary
- 7: Lysistrata: Between entertainment and protest
- Lysistrata on the Israeli stages
- Summary
- 8: Nissim Aloni: Oedipus Tyrannus in an immigrant society
- The myth of King Oedipus: Migrant and autochthon
- Summary
- 9: Hanoch Levin: From ancient myths to modern tragedy
- Israel in the aftermath of the Six Day War (1967)
- Levin's dialogue with Euripides
- Levin's dialogue with Aeschylus: The Moaners (1999)
- Summary
- 10: Classical presences and 'post dramatic' performances
- Ruth Kanner: Processing communal grief
- Troy revisited in the third millennium
- Ilan Ronen: Theatre as a memory machine
- Rina Yerushalmi: Lessons of the past
- Hanan Snir: From politics to psychodrama
- Summary
- 11: The Classical tradition in university theatre
- First encounters: Sophocles' Antigone (1969)
- From theory to practice: Yizraely reads Aristotle
- Research and practice: Greek tragedy
- In lieu of summary: The General and the Sea (2015)
- 12: Israeli theatre: A snapshot of today and future prospects
- Appendix: Performances of Greek and Roman drama in Israel
- Endmatter
- Bibliography
- Index
Über den Autor / die Autorin
Nurit Yaari is Professor of Theatre Studies in the Department of Theatre Arts within the David and Yolanda Katz Faculty of the Arts at Tel Aviv University. She previously held a Visiting Professorship at INALCO (Institut National des Langues et Civilisations Orientales) in Paris. She has published widely in Hebrew, English, and French on contemporary French theatre, Israeli theatre, and on the reception of Greek tragedy in Israeli theatre and modern dance, including the monograph
Le théâtre de Hanokh Levin: Ensemble à l'ombre des canons (Editions Théâtrales, 2008), and the edited collection
Inter-Art Journey: Exploring the Common Grounds of the Arts. Studies in Honor of Eli Rozik (Sussex Academic, 2015). Professor Yaari is also currently serving as an artistic consultant for the Khan Theatre of Jerusalem.
Zusammenfassung
This first in-depth study of the reception of ancient Greek drama in Israeli theatre over the last 70 years offers ground-breaking analysis of a wide range of translations, adaptations, and new writing, and how performances of these works were created and staged at key points in the development of Israeli culture.
Zusatztext
Nurit Yaari's study of the 'clasical tradition' on Israeli stages, appropriately pulished in the Classical Presences series at Oxford University Press, is an exemplary study of a complex and multifaceted cultural encounter between the past and the present: the integration of the classical Greek and Roman legacies into the gradually emerging Israeli theatre culture.
