Dance Books

Book SynopsisThis volume of essays is the first collection of scholarly studies on the Yiddish theatre to appear in English. Drawing on a variety of academic disciplines, it considers the dramatic and musical repertoire of Yiddish theatre and their historical development, popular and critical reception of productions, and the practice and consequences of state censorship. The time-span covered is broad—from the Middle Ages to the twentieth century—as is the geographical range: Cracow, London, Moscow, New York, St Petersburg, Vienna, and Warsaw. Yiddish Theatre not only presents a comprehensive study of the field but also helps illustrate the significance of the Yiddish theatre as a vital form of expression in the Jewish world. Yiddish drama and theatre has had an enormous capacity to entertain audiences on six continents, while at the same time highlighting social, political, religious, and economic concerns of vital interest to the Jewish people. Yiddish Theatre is a valuable resource for scholars, university students, and general readers interested both in Yiddish theatre specifically and related fields such as Jewish literature and culture, east European history and culture, and European and American theatre. The book contains the most comprehensive bibliography to date of sources relating to the Yiddish theatre.CONTRIBUTORS: Ahuva Belkin, Joel Berkowitz Paola Bertolone, Miroslawa M. Bulat, Brigitte Dalinger, Barbara Henry, John Klier, David Mazower, Leonard Prager, Nahma Sandrow, Nina Warnke, Seth L. Wolitz.Trade Review‘A comprehensive study of the field . . . a wonderful read . . . A valuable resource for any person interested in the history of the Yiddish theatre, or anyone interested in Jewish literature and culture, or anyone interested in the history of theatre in general in eastern Europe and America.’ Sara Marcus, AJL Newsletter'There is nothing comparable in English . . . it is a pioneering volume that necessarily lays a foundation and implies an agenda for Yiddish theatre scholarship in the English-speaking world. Because it is the first and as yet only such publication in English, it will repay careful scrutiny in its parts and as a whole.' Michael C. Steinlauf, All about Jewish Theatre‘One the book’s best attributes is the ability of its contributors to place their subjects within larger European contexts . . . the calibre of the contributions is high, demonstrating the degree to which Yiddish theatre is attracting the attention of serious scholars . . . [the book] succeeds not only in its goal of presenting some of the most important new scholarship on Yiddish theatre, but more importantly in helping to bring the study of this integral component of Jewish culture into wider academic circles and into a more complex scholarly discourse.’ Jeffrey Veidlinger, Shofar‘Aside of the high level of papers there are many extra advantages of the book: selection of interesting plates and tables, many interesting texts (written in transcription for the sake of those not knowing Hebrew . . .), and above all detailed bibliography (34 pages) and thorough index.’ Przemyslaw Piekarski, Scripta Judaica Cracoviensia‘A stimulating and encouraging book that I am happy to recommend to the specialist and the curious reader alike . . . It is not only a politically opportune moment to investigate the history of Yiddish theatre . . . but also a time to create a comprehensive study of Jewish theatre, comparable to what has been done in publications on the history and traditions of Jewish film. It is a pleasure to acknowledge that Yiddish Theatre: New Approaches constitutes a very effective step in this direction.’ Yana Meerzon, Modern Language Review'A pioneering volume that necessarily lays a foundation and implies an agenda, for Yiddish theatre scholarship in the English-speaking world. Because it is the first and as yet the only such publication in English, it will repay careful scrutiny, both in its parts and as a whole.' Michael Steinlauf, Modern Jewish Studies‘The volume contains eleven excellent articles and has been produced by a publisher of repute: the Littman Library . . . All in all, Yiddish Theatre: New Approaches is a landmark in the field of Yiddish cultural history. It is a thought-provoking book, which will hopefully inspire new collective volumes and monographs.’ Gennady Estraikh, East European Jewish Affairs‘Carefully and lovingly edited . . . represents a genuinely heroic effort at elevating a genre . . . The scholarship is impeccable, and the contributors all serious scholars.’ S. Gittleman, ChoiceTable of ContentsNote on Transliteration and OrthographyList of PlatesList of TablesIntroduction: Writing the History of the Yiddish Theatre JOEL BERKOWITZI Purimshpil1. The ‘Low’ Culture of the Purimshpil AHUVA BELKINII Repertoire2. Romanticism and the Yiddish Theatre NAHMA SANDROW3. Jewish Plays on the Russian Stage: Moscow and St Petersburg, 1905–1917 BARBARA HENRY4. The Text of Goldfaden’s Di kishefmakherin and the Operetta Tradition PAOLA BERTOLONE5. Shulamis and Bar kokhba: Renewed Jewish Role Models in Goldfaden and Halkin SETH L. WOLITZIII Regional Centres6. Yiddish Theatre in Vienna, 1880–1938 BRIGITTE DALINGER7. Stories in Song: The Melo-deklamatsyes of Joseph Markovitsh DAVID MAZOWER8. From Goldfaden to Goldfaden in Cracow’s Jewish Theatres MIROSLAWA M. BUWATIV Censorship9. ‘Exit, Pursued by a Bear’: Russian Administrators and the Ban on Yiddish Theatre in Imperial Russia JOHN KLIER10. The Censorship of Sholem Asch’s Got fun nekome, London, 1946 LEONARD PRAGERV. Criticism11. The Child Who Wouldn’t Grow Up: Yiddish Theatre and its Critics NINA WARNKENotes on ContributorsBibliographyIndex

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Book SynopsisScores of books exist about the life and teachings of the Russian spiritual visionary G.I. Gurdjieff (~1866-1949), yet few devote significant coverage to the Gurdjieff Movements. These several-hundred precise and mostly asymmetrical gestures, arranged into detailed choreographies for groups of practitioners, were designed by Gurdjieff himself. This new book reconsiders the eminent role of the Movements, revealing them as a vital yet often-neglected component in the transmission of Gurdjieffs legacy. Van Dullemen, whose first Movements teacher received her instruction from Gurdjieff himself, is in a unique position to offer background, theory and first-hand experience about this subject. He is a professional musician and a long-time practitioner of the Gurdjieff work who trained in these Movements and served as a master accompanist for the practice for over thirty years. No book can teach the Movements, the author clearly asserts. And, he makes no such attempt here. Far from an instruction manual, this book offers invaluable insight into and greater understanding of the whys and wherefores of this fourth arm of the vast teaching that comprises Gurdjieffs complete communication: his books, his oral teachings, his music and finally his Movements. Along with fascinating stories of his own journey of discovery, van Dullemen has skillfully integrated: autobiographical descriptions of the master Gurdjieff; interviews with direct pupils of Gurdjieff; diligent research within a wide range of firsthand sources; descriptions of the scientific, cultural and social climate during Gurdjieffs time, and; the relationship between these and his teaching. The book is also a rare accomplishment. While highly authoritative, it is nonetheless written in a direct style with clear language, making it accessible to the public at large who may have interest, but little background, in this esoteric science and practice.

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Book SynopsisIn Choreographing Agonism, author Goran Petrović Lotina offers new insight into the connections between politics and performance. Exploring the political and philosophical roots of a number of recent leftist civil movements, Petrović Lotina forcefully argues for a re-imagining of artistic performance as an instrument of democracy capable of contesting a dominant politics.Inspired by post-Marxist theories of discourse theory, hegemony, conflict, and pluralism, and using tension as a guiding philosophical, political, and artistic force, the book expands the politico-philosophical debate on theories of performance. It offers both scholars and practitioners of performance a thought-provoking analysis of the ways in which artistic performance can be viewed politically as ‘agonistic choreo-political practice,’ a powerful strategy for mobilising alternative ways of living together and invigorating democracy.Choreographing Agonism makes a bold and innovative contribution to the discussion of political and philosophical thought in the field of Performance Studies.Trade Review“Choreographing Agonism is a unique and timely addition to the intersecting fields of politico-philosophical thought and performance studies, offering new interdisciplinary connections between structures of thought underscored by a passionate political impulse.” (Tom Drayton, European Journal of Theatre and Performance, Issue 4, June, 2022)Table of ContentsChapter 1. Introduction.- Chapter 2. Constructing the people.- Chapter 3. The choreography of articulation.- Chapter 4. Political strategies and Performance Studies.- Chapter 5. Discourse theory and artistic performances.- Chapter 6. Tension: a guiding force in performance, philosophy, and politics.- Chapter 7. Drama: an encounter between the performance and the audience.- Chapter 8. Affects and opinion formation.- Chapter 9. Identifications.- Bibliography.- Index.

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Book SynopsisJamaica’s rich culture is known the world over; and every aspect of this culture has been influenced by Jamaica’s African heritage. From speech to dress, and spirituality to dance, from food to folklore and from music to art and religion, African retentions from the time of slavery have become more than preserved aspects of Jamaica’s past; African traditions have become part and parcel of Jamaican culture.In this Reader, Coester and Bender have compiled some of the most important ethnographic work by noted researchers which, although previously published, have been exceptionally difficult to access by the growing community of scholars of African-Caribbean and Jamaican studies. Several seminal articles on aspects of African-Jamaican culture are included in this rich and valuable collection that describes and analyses the elements that make up a distinctive African-Jamaican ethos.

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