Performing Iraqi-Jewish History on the Israeli Stage
The analysis of the following two Israeli plays is the focus of this article: Ghosts in the Cellar (Haifa Theatre, 1983) by Sami Michael, and The Father's Daughters (Hashahar Theatre, 2015) by Gilit Itzhaki. These plays deal with the Farhud – a pogrom which took place in Iraq in 1941, in which...
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Online Access: | http://dx.doi.org/10.1017/s0307883319000294 https://www.cambridge.org/core/services/aop-cambridge-core/content/view/S0307883319000294 |
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crcambridgeupr:10.1017/s0307883319000294 2024-03-03T08:48:35+00:00 Performing Iraqi-Jewish History on the Israeli Stage SHEM-TOV, NAPHTALY 2019 http://dx.doi.org/10.1017/s0307883319000294 https://www.cambridge.org/core/services/aop-cambridge-core/content/view/S0307883319000294 en eng Cambridge University Press (CUP) https://www.cambridge.org/core/terms Theatre Research International volume 44, issue 3, page 248-261 ISSN 0307-8833 1474-0672 Literature and Literary Theory Visual Arts and Performing Arts journal-article 2019 crcambridgeupr https://doi.org/10.1017/s0307883319000294 2024-02-08T08:35:30Z The analysis of the following two Israeli plays is the focus of this article: Ghosts in the Cellar (Haifa Theatre, 1983) by Sami Michael, and The Father's Daughters (Hashahar Theatre, 2015) by Gilit Itzhaki. These plays deal with the Farhud – a pogrom which took place in Iraq in 1941, in which two hundred Iraqi Jews were massacred by an Iraqi nationalist mob. The Farhud has become a traumatic event in the memory of this Jewish community. Using the concept of ‘performing history’ as advanced by Freddie Rokem, I observe how these plays, as theatre of a marginalized group, engage in the production of memory and history as well as in the processing of grief. These plays present the Farhud and correspond with the Zionist narrative in two respects: (1) they present the traumatic historical event of these Middle Eastern Jews in the light of its disappearance in Zionist history, and (2) their performance includes Arab cultural and language elements of Iraqi-Jewish identity, and thus implicitly points out the complex situation of the Arab–Israeli conflict. Article in Journal/Newspaper sami sami Cambridge University Press Theatre Research International 44 3 248 261 |
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Open Polar |
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Cambridge University Press |
op_collection_id |
crcambridgeupr |
language |
English |
topic |
Literature and Literary Theory Visual Arts and Performing Arts |
spellingShingle |
Literature and Literary Theory Visual Arts and Performing Arts SHEM-TOV, NAPHTALY Performing Iraqi-Jewish History on the Israeli Stage |
topic_facet |
Literature and Literary Theory Visual Arts and Performing Arts |
description |
The analysis of the following two Israeli plays is the focus of this article: Ghosts in the Cellar (Haifa Theatre, 1983) by Sami Michael, and The Father's Daughters (Hashahar Theatre, 2015) by Gilit Itzhaki. These plays deal with the Farhud – a pogrom which took place in Iraq in 1941, in which two hundred Iraqi Jews were massacred by an Iraqi nationalist mob. The Farhud has become a traumatic event in the memory of this Jewish community. Using the concept of ‘performing history’ as advanced by Freddie Rokem, I observe how these plays, as theatre of a marginalized group, engage in the production of memory and history as well as in the processing of grief. These plays present the Farhud and correspond with the Zionist narrative in two respects: (1) they present the traumatic historical event of these Middle Eastern Jews in the light of its disappearance in Zionist history, and (2) their performance includes Arab cultural and language elements of Iraqi-Jewish identity, and thus implicitly points out the complex situation of the Arab–Israeli conflict. |
format |
Article in Journal/Newspaper |
author |
SHEM-TOV, NAPHTALY |
author_facet |
SHEM-TOV, NAPHTALY |
author_sort |
SHEM-TOV, NAPHTALY |
title |
Performing Iraqi-Jewish History on the Israeli Stage |
title_short |
Performing Iraqi-Jewish History on the Israeli Stage |
title_full |
Performing Iraqi-Jewish History on the Israeli Stage |
title_fullStr |
Performing Iraqi-Jewish History on the Israeli Stage |
title_full_unstemmed |
Performing Iraqi-Jewish History on the Israeli Stage |
title_sort |
performing iraqi-jewish history on the israeli stage |
publisher |
Cambridge University Press (CUP) |
publishDate |
2019 |
url |
http://dx.doi.org/10.1017/s0307883319000294 https://www.cambridge.org/core/services/aop-cambridge-core/content/view/S0307883319000294 |
genre |
sami sami |
genre_facet |
sami sami |
op_source |
Theatre Research International volume 44, issue 3, page 248-261 ISSN 0307-8833 1474-0672 |
op_rights |
https://www.cambridge.org/core/terms |
op_doi |
https://doi.org/10.1017/s0307883319000294 |
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Theatre Research International |
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44 |
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3 |
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248 |
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261 |
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