Dorit Yerushalmi
Biographic Data
| ID | 4433435 |
|---|---|
| NAME | Dorit Yerushalmi |
| GIVEN NAMES | Dorit |
| FAMILY NAME | Yerushalmi |
| SIGNATURE | YERUSHALMI D |
| AFFILIATIONS | University of Haifa |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Performative Returns to Haifa: Rethinking Palestinian Theater in a “Wounded City”
Theatrical events in “adaptive reused buildings” reflect Haifa's history as a “wounded city” and enact a performative return, creating a dual presence of Palestinian urbanism: the ghostly presence of historical victims uprooted from the city and the contemporary community's presence. This article explores three Palestinian theaters in Haifa as case studies: Stage 2 in Wadi Salib, embracing a return to Arabic as a performance language; Al-Midan, r…
Local Ghetto: Staging Sobol’s Play in a shifting cultural and political Context
Performances of Colonial Absurd: Tell Me Something by Ruth Kanner Theatre Group
This article offers a close reading of Tell Me Something—A Spoken Exhibition by Ruth Kanner Theatre Group and introduces the term “rhizomatic dramaturgy” to describe a performative practice at once based in colonial reality and working toward its dismantling. Rhizomatic dramaturgy exposes how language both props up colonial structures and has the potential to erase or reimagine them. Tell Me Something is a postdramatic work constructed as a serie…
How Does Khashabi Theatre Produce a ‘Dual Presence’ of Palestinian Urbanism? Ghosts and Memory in Its First Season, Haifa, 2015–2016
This article casts a spotlight on Khashabi Theatre, one of several independent Palestinian venues in Haifa. It explores Khashabi's dramaturgical–performative discourse with ghosts, and thereby examines how it produces a ‘dual presence’ of Palestinian urbanism: the ghostly presence of victims of history who were uprooted from the city, and the presence of the contemporary community that, by converging at the theatre, plays a key part in the reviva…
Can Theatre Repair Damaged Urban Fabric? Toward a “Thick” Description of Haifa’s Wadi Salib Theatre Center
This article explores roles of theatre as an urban cultural institution in Haifa’s politics, urban order, and spatial imagination—a “wounded city” (Till, 2012) infused with Jewish and Palestinian histories. The case study is the theatre center in Wadi Salib, founded in 1983 in a repurposed Palestinian building. The author proposes a theatre historiography of crises, dimming hopes, and even failure that temper the sense that theatre-makers can ena…
Stop the Show: The Al-Midan theatre scandal and the dynamics of delegitimization
On 17 April 2015, in honour of Palestinian Prisoners’ Day, A Parallel Time was performed with Hebrew translation the first time at the Palestinian-Arab Al-Midan Theatre. The play, created by Bashar Murkus, was inspired by the personal story and writings of Walid Daka, a Palestinian citizen of Israel convicted for aiding in the murder of soldier Moshe Tamam. On the night of the performance, niece of the deceased soldier Ortal Tamam led a demonstra…
Legacies, archives, afterlife: Re-envisioning the Li-La-Lo theatre (Tel Aviv, 1944–1948)
This article suggests re-reading documents that remain from Li-La-Lo theatrical events, which include playbills, programmes, photos, archive files, and television shows. Through this historiographic way of working, that is, the re-reading of what remains from past performances but differently, this article will demonstrate what Tel Aviv offered to the artists, what the theatre as a cultural institution offered to the residents of the city and, in…
Toward a Balanced History: “Ohel,” the “Workers Theatre of Eretz Yisrael” as a Cultural Alternative to Habima (1935–1946)
Ohel (Hebrew: tent) is the only theatre among the troupes established in Tel Aviv in the 1920s that survived the serious threat posed by the famous Habima when the latter settled in Tel Aviv in 1931. This article offers a history whose aim is to balance between Habima and its central position, and the marginal position of Ohel in traditional history, as well as offering an interpretation of new materials that undermine the accepted myths of the H…
The theatrical ammunition of the 1967 war
This article discusses the effects of the Six Day War on plays performed in the 1967/68 and 1968/69 theater seasons, in an attempt to demonstrate the great variety of the plays produced and their direct and indirect links to the cultural narrative. Israeli theater exploited the cultural ammunition furnished by the war, thereby demonstrating its own relevance and active participation in the battle waged by the state. At the same time, however, it …
From a Transient to a Resident: The Acco Festival of Alternative Israeli Theatre, 2001–2004
As artistic director of the Acco Festival (2001–2004), Atay Citron turned the Festival into a showcase of intercultural and interdisciplinary events. Citron established Acco as the site for Arab-Jewish dialogue, a place where Jewish and Arab artists worked together for the first time
Toward a Balanced History: “Ohel,” the “Workers Theatre of Eretz Yisrael” as a Cultural Alternative to Habima (1935–1946)
Ohel (Hebrew: tent) is the only theatre among the troupes established in Tel Aviv in the 1920s that survived the serious threat posed by the famous Habima when the latter settled in Tel Aviv in 1931. This article offers a history whose aim is to balance between Habima and its central position, and the marginal position of Ohel in traditional history, as well as offering an interpretation of new materials that undermine the accepted myths of the H…
From a Transient to a Resident: The Acco Festival of Alternative Israeli Theatre, 2001–2004
As artistic director of the Acco Festival (2001–2004), Atay Citron turned the Festival into a showcase of intercultural and interdisciplinary events. Citron established Acco as the site for Arab-Jewish dialogue, a place where Jewish and Arab artists worked together for the first time
The theatrical ammunition of the 1967 war
This article discusses the effects of the Six Day War on plays performed in the 1967/68 and 1968/69 theater seasons, in an attempt to demonstrate the great variety of the plays produced and their direct and indirect links to the cultural narrative. Israeli theater exploited the cultural ammunition furnished by the war, thereby demonstrating its own relevance and active participation in the battle waged by the state. At the same time, however, it …
Toward a Balanced History: “Ohel,” the “Workers Theatre of Eretz Yisrael” as a Cultural Alternative to Habima (1935–1946)
Ohel (Hebrew: tent) is the only theatre among the troupes established in Tel Aviv in the 1920s that survived the serious threat posed by the famous Habima when the latter settled in Tel Aviv in 1931. This article offers a history whose aim is to balance between Habima and its central position, and the marginal position of Ohel in traditional history, as well as offering an interpretation of new materials that undermine the accepted myths of the H…
Legacies, archives, afterlife: Re-envisioning the Li-La-Lo theatre (Tel Aviv, 1944–1948)
This article suggests re-reading documents that remain from Li-La-Lo theatrical events, which include playbills, programmes, photos, archive files, and television shows. Through this historiographic way of working, that is, the re-reading of what remains from past performances but differently, this article will demonstrate what Tel Aviv offered to the artists, what the theatre as a cultural institution offered to the residents of the city and, in…
Stop the Show: The Al-Midan theatre scandal and the dynamics of delegitimization
On 17 April 2015, in honour of Palestinian Prisoners’ Day, A Parallel Time was performed with Hebrew translation the first time at the Palestinian-Arab Al-Midan Theatre. The play, created by Bashar Murkus, was inspired by the personal story and writings of Walid Daka, a Palestinian citizen of Israel convicted for aiding in the murder of soldier Moshe Tamam. On the night of the performance, niece of the deceased soldier Ortal Tamam led a demonstra…
Can Theatre Repair Damaged Urban Fabric? Toward a “Thick” Description of Haifa’s Wadi Salib Theatre Center
This article explores roles of theatre as an urban cultural institution in Haifa’s politics, urban order, and spatial imagination—a “wounded city” (Till, 2012) infused with Jewish and Palestinian histories. The case study is the theatre center in Wadi Salib, founded in 1983 in a repurposed Palestinian building. The author proposes a theatre historiography of crises, dimming hopes, and even failure that temper the sense that theatre-makers can ena…
How Does Khashabi Theatre Produce a ‘Dual Presence’ of Palestinian Urbanism? Ghosts and Memory in Its First Season, Haifa, 2015–2016
This article casts a spotlight on Khashabi Theatre, one of several independent Palestinian venues in Haifa. It explores Khashabi's dramaturgical–performative discourse with ghosts, and thereby examines how it produces a ‘dual presence’ of Palestinian urbanism: the ghostly presence of victims of history who were uprooted from the city, and the presence of the contemporary community that, by converging at the theatre, plays a key part in the reviva…
Performances of Colonial Absurd: Tell Me Something by Ruth Kanner Theatre Group
This article offers a close reading of Tell Me Something—A Spoken Exhibition by Ruth Kanner Theatre Group and introduces the term “rhizomatic dramaturgy” to describe a performative practice at once based in colonial reality and working toward its dismantling. Rhizomatic dramaturgy exposes how language both props up colonial structures and has the potential to erase or reimagine them. Tell Me Something is a postdramatic work constructed as a serie…
Local Ghetto: Staging Sobol’s Play in a shifting cultural and political Context
Performative Returns to Haifa: Rethinking Palestinian Theater in a “Wounded City”
Theatrical events in “adaptive reused buildings” reflect Haifa's history as a “wounded city” and enact a performative return, creating a dual presence of Palestinian urbanism: the ghostly presence of historical victims uprooted from the city and the contemporary community's presence. This article explores three Palestinian theaters in Haifa as case studies: Stage 2 in Wadi Salib, embracing a return to Arabic as a performance language; Al-Midan, r…
History (9 works) · Art (8 works) · Jewish and Middle Eastern Studies (7 works) · Theatre and Performance Studies (7 works) · Sociology (6 works) · Archaeology (5 works) · History (5 works) · Law (5 works) · Literature (5 works) · Political science (5 works)