The Yiddishin Argentine theatre
DOI:
https://doi.org/10.17851/1982-3053.3.5.22-28Keywords:
Yiddish Theater, Argentina, JudaismAbstract
Analysis of three instances of Yiddish theatre in Buenos Aires. The first, a theatre spoken in Yiddish that comes from the contexts of immigration, that has to do with the millenarian life of the Jewish, the memories of the shetl, and the pogroms. The second is the theatre of the experience in the region of Argentina, related to the narrative, already in Yiddish, already in castellano. The third exemplifies the start of the extinction of Yiddish, having spectators with different migratory roots, that won’t understand the Yiddish, with the growing debility of Yiddish in the collectivity, or by effect of assimilation or by the tragic act that Yiddish had developed the huge debility imposed by Nazism, which will eventually lead to the death of the language that, in Argentina and several other places, was most identified with the Jewish.
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DURBAN, Paula. Mazel Tov Buenos Aires. Américas [edición en castellano] 59.5, 2007, p. 58-59.
FOSTER, David William. Argentine Jewish Dramatists: Aspects of a Nacional Consciousness. En su Cultural Diversity in Latin American Literature. Albuquerque: University of New Mexico Press, 1994. p. 95-150 e p. 161-163.
FOSTER, David William. César Tiempo and Jewish-Argentine Theater. En su The Argentine Teatro Independiente, 1930-1955. York, South Carolina: Spanish Literatura Publishing Co., 1986. p. 110-116.
FOSTER, David William. Espacio escénico y lenguaje. Buenos Aires: Galerena, 1998.
GLICKMAN, Nora. Max Berliner and Cipe Lincovsky: Two Great Actors of the Yiddish/Spanish Theater. Yiddish/Modern Jewish Studies 14.1, 2004. p. 50-56.
HARSHAV, Benjamín. The Meaning of Yiddish. New Haven: Yale University Press, 1990.
ROZENMACHER, Germán. Réquiem para un viernes a la noche. Buenos Aires, Talía, 1964.
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