3 research outputs found

    Memory and History in Israeli Post-Apocalyptic Theatre Zahava Caspi

    Get PDF
    Past catastrophes function as primary models for apocalyptic dystopias and as catalysts of imagined retrospection. Their function as paradigms of memory enables them to shed a sobering light on contemporary dangers as well as to trigger desirable change. The relation between memory, history, and post-apocalyptic theatre should therefore be examined with a view not only to the circumstances that give rise to such theatre, but also to the meanings that emerge from the catastrophic historical episodes which function as paradigms of memory. In the following article I shall discuss two Israeli dystopian plays, Joshua Sobol’s The Jerusalem Syndrome (1987) and Shimon Buzaglo’s Black Rain (2007), and their performances in Israeli theatre. I will examine the efficacy of apocalyptic theatre rooted in historical memory, by activating new forms of Theatre (Sobol: Polydrama; Buzaglo: Theatre as a Testimonial Medium) relative to other avenues of historical commemoration, in averting future dangers rooted in a deficient present

    Trauma, Apocalypse, and Ethics in Israeli Theater

    Get PDF
    In her article Trauma, Apocalypse, and Ethics in Israeli Theater Zahava Caspi traces the traumatic experience as a point of departure in apocalyptic plays in Israeli literature. Caspi argues that in Israeli apocalyptic plays a critical gap opens up between the fictional narrative that ends with destruction and the theatrical apparatus that creates a sense of continuity. The theatrical text delivers a message to the audience inviting them to increase their engagement with and accountability for continuity not merely during the theatrical event, but more significantly, once the performance is over. The play\u27s moral imperative to provide a positive ending to the apocalyptic narrative in the world outside the auditorium thus counters the effect of its ending on the stage. Caspi postulates that it is the active involvement with the play by its audience what makes theater a more ethical medium than any other
    corecore