Shelly Zer-Zion
Biographic Data
| ID | 5096487 |
|---|---|
| NAME | Shelly Zer-Zion |
| GIVEN NAMES | Shelly |
| FAMILY NAME | Zer-Zion |
| SIGNATURE | ZER-ZION S |
| AFFILIATIONS | University of Haifa |
| ORCID | 0000-0001-6536-5930 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 7 |
| WORKS AS AUTHOR | 7 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2014 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Theatrical performance as a transnational vehicle
David Bergelson’s “I Shall Not Die but Live” takes place during the Nazi invasion of the USSR, in a collective settlement adjacent to an agricultural experimentation farm in the Ukraine. The world premiere of the play took place in Habima in May 1944. It was the first theatre production performed in an Eretz-Israeli theatre to deal with the extermination of the Jews during the Holocaust. This article follows the transnational network facilitated …
The maternal roles of Hanna Rovina
During the years of WWII, when Hanna Rovina was in her fifties, her cultural image as “the mother of the nation” coalesced in the Yishuv. This article explores this public image, while looking at two of her successful dramatic roles of that time, the title roles in Jacob Gordin’s Mirele Efros, Karel Čapek’s The Mother and an exemplary performance that she gave in Italy for the soldiers of the Jewish Brigade. These performances reveal how Rovina’s…
Hard to Be a Jew in Mandatory Tel Aviv
This article addresses two Hebrew stage adaptations based on Sholem Aleichem’s Der blutike shpas (The Bloody Hoax) produced in Mandatory Palestine: Hard to Be a Jew, which premiered at Habima in December 1936, and a parody of this play, titled Easy to Be a Jew, which premiered at Ha-matateh, the satirical Yishuv theater company, in June 1937. These productions constituted a symbolic zone of boundary-work between the Yiddish culture associated wit…
The Merchant of Venice in Mandatory Palestine and the State of Israel
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Ester Rokhl Kaminska and the legitimization of Yiddish theatre
Ester Rokhl Kaminska (1870–1925) was the star of the Warsaw Yiddish theatre scene. She began her acting career in the early 1890s, performing shund (cheap) operettas in small, itinerant troupes. In 1905 she established a theatre in Warsaw with her husband, in which she served as leading actress and manager, until her death. She belonged to the first generation of Yiddish theatre artists who introduced the medium of theatre into Eastern European J…
Sholem Aleichem in Weimar Berlin
Am 28. April 1928 begann die Gastspielreise des Moskauer jiddischen Theaters GOSET in Berlin mit »200.000«, einer jiddischen Bühnenadaption von Shalom Aleichems Dos Groyse Gevin, die von Berliner Kritikern hochgelobt wurde. 1929 kam Habima zum dritten Mal nach Berlin und war beim lokalen Publikum bereits renommiert. Habimas Repertoire bestand unter anderem aus »Der Schatz«, einer hebräischen Adaption von Shalom Aleichems Di Gold Greber. In Gegens…
Embodying Hebrew Culture
Ought there to be no entertainments in a republic? On the contrary, there ought to be many. It is in republics that they were born, it is in their bosom that they are seen to flourish with a truly
Embodying Hebrew Culture
Ought there to be no entertainments in a republic? On the contrary, there ought to be many. It is in republics that they were born, it is in their bosom that they are seen to flourish with a truly
Sholem Aleichem in Weimar Berlin
Am 28. April 1928 begann die Gastspielreise des Moskauer jiddischen Theaters GOSET in Berlin mit »200.000«, einer jiddischen Bühnenadaption von Shalom Aleichems Dos Groyse Gevin, die von Berliner Kritikern hochgelobt wurde. 1929 kam Habima zum dritten Mal nach Berlin und war beim lokalen Publikum bereits renommiert. Habimas Repertoire bestand unter anderem aus »Der Schatz«, einer hebräischen Adaption von Shalom Aleichems Di Gold Greber. In Gegens…
Embodying Hebrew Culture
Ought there to be no entertainments in a republic? On the contrary, there ought to be many. It is in republics that they were born, it is in their bosom that they are seen to flourish with a truly
The Merchant of Venice in Mandatory Palestine and the State of Israel
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Ester Rokhl Kaminska and the legitimization of Yiddish theatre
Ester Rokhl Kaminska (1870–1925) was the star of the Warsaw Yiddish theatre scene. She began her acting career in the early 1890s, performing shund (cheap) operettas in small, itinerant troupes. In 1905 she established a theatre in Warsaw with her husband, in which she served as leading actress and manager, until her death. She belonged to the first generation of Yiddish theatre artists who introduced the medium of theatre into Eastern European J…
Hard to Be a Jew in Mandatory Tel Aviv
This article addresses two Hebrew stage adaptations based on Sholem Aleichem’s Der blutike shpas (The Bloody Hoax) produced in Mandatory Palestine: Hard to Be a Jew, which premiered at Habima in December 1936, and a parody of this play, titled Easy to Be a Jew, which premiered at Ha-matateh, the satirical Yishuv theater company, in June 1937. These productions constituted a symbolic zone of boundary-work between the Yiddish culture associated wit…
The maternal roles of Hanna Rovina
During the years of WWII, when Hanna Rovina was in her fifties, her cultural image as “the mother of the nation” coalesced in the Yishuv. This article explores this public image, while looking at two of her successful dramatic roles of that time, the title roles in Jacob Gordin’s Mirele Efros, Karel Čapek’s The Mother and an exemplary performance that she gave in Italy for the soldiers of the Jewish Brigade. These performances reveal how Rovina’s…
Theatrical performance as a transnational vehicle
David Bergelson’s “I Shall Not Die but Live” takes place during the Nazi invasion of the USSR, in a collective settlement adjacent to an agricultural experimentation farm in the Ukraine. The world premiere of the play took place in Habima in May 1944. It was the first theatre production performed in an Eretz-Israeli theatre to deal with the extermination of the Jews during the Holocaust. This article follows the transnational network facilitated …
History (6 works) · Judaism (6 works) · Ancient history (5 works) · Archaeology (5 works) · Jewish and Middle Eastern Studies (5 works) · Art (4 works) · History (4 works) · Political science (4 works) · Law (3 works) · Literature (3 works)