- Brief Notices
This volume begins with a list of figures (xi-xii), contributor biographies (xiii-xvi), and an introductory essay by the editor: "What is Jewish Theatre?" (1-14). The primary text includes essays in five sections. Section 1, "The World of Yiddish," includes: Ahuva Belkin, "Ritual Space as Theatrical Space in Jewish Folk Theatre" (15-24); Barbara Henry, "Jacob Gordin's Dialogue with Tolstoy: Di Kreytser Sonata (1902)" (25-48); Nathan Cohen, "Isaac Bashevis-Singer's Attitude to the Yiddish Theater as Shown in His Works" (49-64). Section 2, "Between Jews and Poles," includes: Michael C. Steinlauf, "Józio Grojeseszyk: A Jewish City Slicker on the Warsaw Popular Stage" (65-80); Anna Kuligowska-Korzeniewska, "The Polish Shulamis: Jewish Drama on the Polish Stage in the Late 19th-Early 20th Centuries" (81-100); Section 3, "Negotiating Identities in English, Italian and German," includes: Paola Bertolone, "Jewish Languages and Jewish Characters in Giovan Battista Andreini's Lo Schiavetto" (101-12); Shaul Bassi, " 'The Christian will turn Hebrew': Convincing Shylock on Stage" (113-32); Edna Nahshon, "Philosemitism on the London Stage: Sydney Grundy's An Old Jew" (133-52); Hans-Peter Bayerdörfer, "Jewish Self-Preservation and the 'Jewish Question' on the German Stage from 1900 to 1930" (153-74); Brigitte Dalinger, "Popular Jewish Drama in Vienna in the 1920s" (175-98). Section 4, "Presence and Absence in the American Theatre," includes: Ellen Schiff, "On Arriving Front and Center: American Jewish Identity on the American Stage" (199-214); Linda Ben-Zvi, "Generational Shifts in American Jewish Theatre (215-40). Section 5, "Performing the Holocaust/Debating Israel on Stage," includes: Robert Skloot, "Staying Ungooselike: The Holocaust and the Theatre of Choice" (241-56); Freddie Rokem, "Job's Soul and Otto Weininger's Torments: Jewish Themes in the Theatre of Hanoch Levin and Yehoshua Sobol" (257-68). The text concludes with an index (269-84) and two appendixes by Paolo Puppa: "Abraham's Scene (introductory essay)" (285-300) and "Abraham (dramatic monologue)" (301-7). [End Page 365]
This volume begins with a preface and acknowledgments (ix-x) and includes the following essays: Jeanette R. Malkin, "Introduction: Break a Leg!" (1-20); Steven E. Aschheim, "Reflections on Theatricality, Identity, and the Modern Jewish Experience" (21-38); Peter Jelavich, "How 'Jewish' Was Theatre in Imperial Berlin" (39-58); Anat Feinberg, "Stagestruck: Jewish Attitudes to the Theatre in Wilhelmine Germany" (59-76); Delphine Bechtel, "Yiddish Theatre and Its Impact on the German and Austrian Stage" (77-98); Bernhard Greiner, "German and Jewish 'Theatromania': Theodor Lessing's Theater-Seele between Goethe and Kafka" (99-115); Peter W. Marx, "Arnold Zweig and the Critics: Reconsidering the Jewish 'Contribution' to German Theatre" (116-31); Hans-Peter Bayerdörfer, "Jewish Cabaret Artists before 1933" (132-50); Jeanette R. Malkin, "Transforming in Public: Jewish Actors on the German Expressionist Stage" (151-73); Shelly Zer-Zion, "The Shaping of the Ostjude: Alexander Granach and Shimon Finkel in Berlin" (174-96); Lisa Silverman, "Max Reinhardt between Yiddish Theatre and the Salzburg Festival" (197-218); Erika Fischer-Lichte, "Theatre as Festive Play: Max Reinhardt's Productions of The Merchant of Venice" (219-31); Anat Feinberg, "The Unknown Leopold Jessner: German Theatre and Jewish Identity" (232-60); Freddie Rokem: "Epilogue" (261-68). The text concludes with works cited (269-90), contributor biographies (291-94), and an index (295-304).
This volume begins with an introduction by the editor (1-13) and includes the following essays: Alan Nadel, "Beginning Again, Again: Business in the Street in Jitney and Gem of the Ocean" (14-29); Dana A. Williams, "Contesting Black Male Responsibilities in August Wilson's Jitney" (30-40); Kimmika L. H. Williams-Witherspoon, "Challenging the Stereotypes of Black Manhood: The Hidden Transcript in Jitney" (41-49); Steven C. Tracy, "The Holyistic Blues of Seven Guitars" (50-70); Donald E...