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Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2011) 55 (3 (211)): 153–155.
Published: 01 September 2011
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Who can pay for the exercise of First Amendment rights? Two Jewish writers, two character studies, and the very expensive beauty of free speech protection under the law.
Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2011) 55 (3 (211)): 40–49.
Published: 01 September 2011
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Jewish choreographers have consistently created dances that embody the shifting role of Israel in American Jewish life. Countering the Zionism of mid-century dances about Israel, contemporary Jewish American choreographers such as Liz Lerman and Kristen Smiarowski actively question the ideology of unconditional support, deftly grapple with the Israeli-Palestinian conflict, and situate performance as an opportunity for activism, inquiry, and debate.
Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2011) 55 (3 (211)): 124–133.
Published: 01 September 2011
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The Lower East Side has long served as a “sacralized spot” of Jewish memory, in Hasia Diner's words. But in Once Upon a Time in America , Sergio Leone—neither Jewish nor American—demystifies the images and performances that went into the sacralization of this space, and in so doing radically questions the politics of memory that gathered around it.
Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2011) 55 (3 (211)): 90–99.
Published: 01 September 2011
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Negotiating the balancing act of Jewish, American, and queer identities inevitably entails some thrills, chills, and spills, especially if you are a solo circus theatre artist who juggles from the stoops of Brooklyn through the snows of Anchorage to the stages of San Francisco.
Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2011) 55 (3 (211)): 68–71.
Published: 01 September 2011
Abstract
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How does one pass as Jewish? What are the signs? How many layers of costume and persona does it take to be perceived as Jewish? The bearded Jew, devil horns, Jewish noses, and other such accouterments and myths are the materiality of this series of self portraits.
Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2011) 55 (3 (211)): 21–30.
Published: 01 September 2011
Abstract
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The Bottle Dance in Fiddler on the Roof was inspired by what the director/choreographer Jerome Robbins called “field research” at Orthodox Jewish weddings. Reshaped and expanded by Robbins's masterful showbiz sensibility, it became a show-stopping number—and, thus transformed, filtered back out of the musical into Jewish celebrations to confer “tradition.”
Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2011) 55 (3 (211)): 50–56.
Published: 01 September 2011
Abstract
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What if we read “queer” Eastern European Jews not through a Central European psychoanalytic lens, but through the analytic resources of Ashkenaz? Could queer studies approaches to Yiddish culture, in their reliance on Freudian and post-Freudian perspectives, have failed to see the full contours of traditional Jewish erotic systems?
Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2011) 55 (3 (211)): 134–143.
Published: 01 September 2011
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“You know who else is Jewish?” is a question with a long history in American popular culture. How have contemporary forms of media distribution such as Web 2.0 changed the way American Jews ask and answer it? What does this mean for the performance of Jewish American identity?
Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2011) 55 (3 (211)): 72–79.
Published: 01 September 2011
Abstract
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During the late 19th century, the first portrayal of a Jewish woman on the American stage occurred in Leah the Forsaken . This successful production subjugated the Jewess by filling the title role with Kate Bateman, a non-Jewish actress, thus presenting a sanitized and palatable Jew for the middle-class Christian audience.
Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2011) 55 (3 (211)): 100–109.
Published: 01 September 2011
Abstract
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The photographs of Larry Sultan and Cindy Sherman, considered in the context of American Jewish identification, make a case for self-love as a part of seeing and performing Jewish.
Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2011) 55 (3 (211)): 31–39.
Published: 01 September 2011
Abstract
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When Milk and Honey opened on Broadway in 1961, it presented a unique setting: the relatively new state of Israel. The musical superficially glorifies the future of an exciting new land. More deeply, we find “restorative nostalgia” for Israel's biblical roots, stemming from sublimated grief and disavowal of the Holocaust.
Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2011) 55 (3 (211)): 18–20.
Published: 01 September 2011
Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2011) 55 (3 (211)): 80–89.
Published: 01 September 2011
Abstract
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Irwin Keller performs on the pulpit as Reb Irwin of Congregation Ner Shalom in Cotati, California, but his better-known role is as Winnie with the Kinsey Sicks, “America's Favorite Dragapella Beautyshop Quartet.” Keller speaks in an interview about performing a double life.
Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2011) 55 (3 (211)): 57–67.
Published: 01 September 2011
Abstract
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In July 1933, thousands gathered during Chicago's World's Fair to witness the spectacular Zionist pageant, The Romance of a People. Boldly, The Romance figured Jewish redemption as central to humanity's upward climb. Thus, Jews were presented in the pageant as civilizing agents, bringing Western progress to empty Eastern space.
Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2011) 55 (3 (211)): 110–123.
Published: 01 September 2011
Abstract
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Contemporary painter Deborah Kass appropriates the forms of post-war masters such as Andy Warhol, Jackson Pollock, and Frank Stella in her work, but her subject choices are often conscious manifestations of her nostalgic identifications with middlebrow Jewish artists and Broadway musicals. Her radical take on nostalgia draws from lyrics, idiomatic sayings, and iconic Jewish figures to promote a progressive rather than conservative agenda. Kass's performative interventions insert her feminist-Jewish-lesbian self squarely at the center of visual culture's frame and on the stage of art's history.
Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2011) 55 (3 (211)): 144–152.
Published: 01 September 2011
Abstract
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Jewishness is neither a set of beliefs nor the participation in a community, but rather recognition of one's self in response to a force in the world. While we are “always already Jewish,” waiting to be hailed, our sense of identity remains phantasmic. It is this sense of longing, rather than any kind of belonging, that may be most helpful in elaborating an ethical diasporic identity.