Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Con questo volume dedicato al teatro ebraico dalle origini al 1948 si viene a colmare una grave lacuna della pubblicistica non solo italiana. Secondo un luogo comune assai diffuso, l’antropologia e la cultura ebraiche sarebbero caratterizzate da un interdetto assoluto nei confronti del teatro. Qui si dimostra ampiamente che un’attenzione nei confronti del teatro – o per meglio dire dell’espressione performativa – tanto intensa quanto peculiare abbia caratterizzato tutta la storia dell’ebraismo. Dall’episodio biblico di Ester alle rappresentazioni carnevalesche del Purim e poi, a partire dalla metà dell’Ottocento, al teatro yiddish, la cultura ebraica è stata costantemente in dialogo con le varie forme della teatralità, sia adattando ai propri scopi modelli delle culture nazionali sia elaborandone di propri. L’excursus di questo volume si ferma all’altezza del 1948, spartiacque di una storia diversa, quella del nuovo Stato d’Israele, uno dei più importanti “esperimenti di modernità” del XX e XXI secolo. Verso la fine di questa prima parte il teatro ebraico incrocia il proprio destino con quello del teatro yiddish. Qui si dà il caso singolare di una civiltà che si è espressa, al momento dell’ingresso nella modernità, in due sistemi teatrali molto differenti, a partire dalla lingua, e spesso in contrasto tra loro. Ed è proprio in questo momento che – nell’intreccio tra impresa sionista, recupero dell’antica lingua e costruzione identitaria dell’Ebreo Nuovo – prende vita il teatro nazionale di Israele.

Jewish theater --- Theater, Yiddish --- History. --- Yiddish theater --- Theater --- Theater, Hebrew --- Theater, Jewish --- Jewish entertainers --- Jews --- jüdisches theater --- Israel --- jiddisch

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Roman comedy evolved early in the war-torn 200s BCE. Troupes of lower-class and slave actors traveled through a militarized landscape full of displaced persons and the newly enslaved; together, the actors made comedy to address mixed-class, hybrid, multilingual audiences. Surveying the whole of the Plautine corpus, where slaves are central figures, and the extant fragments of early comedy, this book is grounded in the history of slavery and integrates theories of resistant speech, humor, and performance. Part I shows how actors joked about what people feared - natal alienation, beatings, sexual abuse, hard labor, hunger, poverty - and how street-theater forms confronted debt, violence, and war loss. Part II catalogues the onstage expression of what people desired: revenge, honor, free will, legal personhood, family, marriage, sex, food, free speech; a way home, through memory; and manumission, or escape - all complicated by the actors' maleness. Comedy starts with anger.

Theater --- Latin drama (Comedy) --- Actors --- Theater and society --- Slavery --- Civilization, Classical --- Society and theater --- Stage actors --- Theater actors --- Theatrical actors --- Artists --- Entertainers --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Classical civilization --- Civilization, Ancient --- Classicism --- Abolition of slavery --- Antislavery --- Enslavement --- Mui tsai --- Ownership of slaves --- Servitude --- Slave keeping --- Slave system --- Slaveholding --- Thralldom --- Crimes against humanity --- Serfdom --- Slaveholders --- Slaves --- History --- History and criticism --- Social conditions --- Social status --- Social aspects --- E-books --- Civilization, Classical. --- History. --- History and criticism. --- Social conditions. --- Plautus, Titus Maccius. --- Enslaved persons