Zionist meta-narrative. In this article, I discuss how Mizrahi theater artists portray the little-known history of Middle Eastern Jews for Israeli youth. I focus on two productions first staged in the 1980s at the Orna Porat Theater for Children and
Performing History of Mizrahi Jews
Police Power and Popular Culture in Colonial Algerian Theater
The Majestic theater of Algiers, nestled in the working-class seaside neighborhood of Bab-el-Oued, came alive at night. Crowds of Algérois flocked to the entrance, queuing up to see the latest production. At the Majestic, they could indulge in
Performative Protest in the Scared City of Damascus
of interest. Indeed, elements from the fields of theater and performance were not prominent during the tension of the moment, yet demonstrations and flying demonstrations extended aspects of my theatrical career in Syria between 2009 and 2011, when I
The Genesis of Sartre’s Theatrical Career in Writings to, with, and by Beauvoir
Dennis A. Gilbert
criticizes in The Words . While the examples given in “Reading” suggest that the eventual nature of Sartre’s “Writing” would be narrative prose, references to theater and the use of theatrical terms are not at all absent from this autobiography. The problem
Dennis A. Gilbert
My article focuses on Le Théâtre existentialiste (Existentialist Theater) by Simone de Beauvoir, recently translated and published in the volume of the Beauvoir Series on her literary writings. The first part introduces the original sound recording of this text and the circumstances behind its possible production in New York City in 1947 and my discovery of it at Wellesley College in 1996. The second part analyzes the divisions of Beauvoir's remarks as she presents Jean-Paul Sartre, Albert Camus, and their principal plays from the period of the Occupation: The Flies, No Exit, and Caligula. The third part then evaluates certain of Beauvoir's key concepts in terms of how they were able to define adequately the substance of existentialist theater for a postwar American audience and whether they remain valid for a more contemporary theatrical public some six decades later.
Adrian Van Den Hoven
This article analyzes articles and interviews published in Sartre on Theater and focuses on five plays (Bariona, The Flies, No Exit and The Condemned of Altona) in order to arrive at a coherent conception of Sartre's theater. Sartre views the stage as “belonging to a different imaginary realm“ in which the characters' language, gestures and the props function in a synecdochical relationship in respect to the spectators. It is their task to grasp these “signs“ and bundle them into a coherent and meaningful whole. Because Sartre views the theater as an imaginary realm, he can free himself from the strictures of his philosophy: 1) the irreversibility of time; 2) the fact that life does not give us a second chance; and 3) that death means that our life falls into the public domain. This freedom allows Sartre to deal with temporality in a novel way and to deal with “life after death“ as life simply continued. Conversely, he can scramble temporality for psychological reasons in order to bring out deep rooted personal conflicts, as he does in The Condemned of Altona.
Dennis A. Gilbert
At a time when a "return to Sartre" is being heralded in France and elsewhere in preparation for the celebration of the centennial of his birth, it seems appropriate to ponder the nature and tenor of this renewal. To which aspects of Sartre's work are we returning as the centennial approaches, and are we doing so with fresh eyes or with the same critical prejudices that have obscured our appreciation of this work in the past? If one looks for answers to Bernard-Henri Lévy (aka BHL), the principal instigator of this current renewal, with specific regard to the genre that interests us in these pages—the theater—one is going to be sorely disappointed. For while Lévy considers Sartre "the first [writer]—the only [writer]—to know how to split himself equally well between being a theoretician and an accomplished storyteller," he lavishes this praise solely on the theory and practice of Sartre's novels: "The concept of engagement is not a political concept stressing the social duties of the writer; it is a philosophical concept highlighting the metaphysical powers of language. … Sartre … has never really written a novel with a [totalizing] thesis or message" (BHL 85, 86).
, places, and practices. I will discuss three activities that I identify as transversal since they redefine notions of action, politics, engagement, and community from both artistic and activist perspectives: (1) performances of the counter-theater group
Print Culture and Visual Satire in Restoration Paris
Restoration-era discourse on the montagnes russes—early roller coasters—reveals how leisure activity could become a lightning rod for perspectives on public space, tensions among social groups, and expressions of patriotism. Eager to profit from the montagnes russes craze, boulevard theaters hosted a number of plays on the subject. Through the buffoonish character M. Calicot, one such comedy—entitled The Battle of the Mountains— caricatured young clothing-trade salesclerks who frequented roller-coaster parks. The play provoked the ire of some of these men, who “waged war” on the Variety Theater, where the play was performed. The conflict in turn sparked satires in print, visual, and other media. These cultural productions both reflected the short-lived mania for roller coasters and shaped attitudes in their own right, all while employing laughter to deal with postwar trauma.
. G. Kozlov, in his papers about the history of the Magadan Musical Theater of Drama from 1930 to the 1950s, has investigated that period since its very beginning, when the first artistic troops formed; he has also provided the details and nuances of