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Theatre and Society in Israel

Published online by Cambridge University Press:  23 January 2009

Shoshana Weitz
Shoshana Weitz
Affiliation:
Shoshana WeitzLectures in the Theatre Arts Department, Tel Aviv University
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Extract

In Why We Need Broadway, the American scholar and critic Stanley Kaufmann depicts the theatre auditorium as the last remaining public meeting place for the lonely souls who together constitute Western society, a place where the concept of a public still exists, a place which attracts individuals who have paid out of their own pockets for a ticket which entitles them to share a personal experience with the strangers seated beside them in the dark, and with whom, for one evening, they become a community – or at least the closest thing to a community possible in the Western city of today.

Type
Articles
Information
Theatre Research International , Volume 13 , Issue 2 , Summer 1988 , pp. 105 - 122
Copyright
Copyright © International Federation for Theatre Research 1988

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References

Notes

1. Kaufmann, S., ‘Why We Need Broadway’, Performing Art Journal, no. 26/27, 1986, pp. 193–9.Google Scholar

2. Weitz, S. and Rahav, G., The Emergence of New Theatre Audience in Israel Tel-Aviv: Assaph no. 1, 1984.Google Scholar

3. N. Zemach is quoted in Levy, E., The National Theatre – Habima, (Hebrew) (Tel-Aviv; Eked Pub. 1981). p. 37.Google Scholar

4. A. Hameiri is quoted in Kohanski, M., The Hebrew Theatre, (Hebrew) (Jerusalem: Weidenfeld & Nicholson, 1974), p. 106.Google Scholar

5. See: Kohanski, M., pp. 104, 105, 174, 184, 198.Google Scholar

6. See: Weitz, S., and Rahav, G., ‘A Survey of Habima's Subscribers’, unpublished report, submitted to the Habima Theatre in June 1986.Google Scholar

7. See: Dvir, I., Sacrifice, presented at Israeli Fringe Festival, Acre 1985.Google Scholar

8. DrGamzu, H., Ha'aretz, 02 1949.Google Scholar

9. Eilon, A., The Israelis (Hebrew) (Jerusalem: Shoken Pub. 1971), p. 261.Google Scholar

10. See: Kishon, E., The marriage ContractGoogle Scholar, Lapid, J., The Negro Did His PartGoogle Scholar, and Meged, A., I Like Mike.Google Scholar

11. The oriental cleaning woman Aliza Mizrachi and the oriental newcomer Zalach Shabati were the most popular characters of the commercial theatre of the 1960's.

12. See; Keniuk, Y. ‘Satire-Indeed’, Davar (Hebrew) 03 13, 1969Google Scholar, and Ben-Ami, N., ‘The Talent and the Failure’, Maariv (Hebrew), 03 10, 1969.Google Scholar

13. This generation is well described in Ben-Amotz, D., I Don't Give A Fuck, (Hebrew) (Tel-Aviv:1970.)Google Scholar

14. See: Bar-Kadma, E., ‘The Rise and Fall of The Queen of the Bathtub’ Yediot Aharonot (Hebrew), 05 20, 1970.Google Scholar

15. Ibid.

16. See: Mittelpunct, H., The ApeGoogle Scholar, and Sobol, J., Jocker.Google Scholar

17. Baumol, W. J. and Bowen, W. G., Performing Arts: The Economic Dilemma, (New York: Twentieth Century Found., 1966).Google Scholar

18. Ben-Gurion, D., as quoted in Davar (Hebrew) 12, 15, 1951.Google Scholar

19. Shmeltzer, J. and Tzipori, H., The Organizational Aspects Related lo Bringing Artistic Performances to Development Areas, (Hebrew) (Jerusalem: The Ministry of Culture and Education, 1966), p. 50.Google Scholar

20. Katz, E. and Gurevitch, M., The Secularization of Culture, Culture and Communication in Israel, (London: Faber & Faber 1976), Introduction.Google Scholar

21. See: Lerner, M., KastnerGoogle Scholar, Hasfari, S., KiddushGoogle Scholar, Ben-Yosef, J., PardesGoogle Scholar and Mittelpunet, H., Temporary Separation.Google Scholar