Introduction

At this end of the theatrical spectrum, we find noncommercial and experimental theaters that eschew the proscenium stage in favor of arrangements such as arena and thrust stages and environmental theater, in the belief that physical closeness between actors and audience will enhance a sense of intim...

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Bibliographic Details
Published in:American Jewish history 2003-03, Vol.91 (1), p.1
Main Author: Nahshon, Edna
Format: Article
Language:English
Subjects:
Gibson, Mel
Levinson, Barry
Online Access:Get full text
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Summary:At this end of the theatrical spectrum, we find noncommercial and experimental theaters that eschew the proscenium stage in favor of arrangements such as arena and thrust stages and environmental theater, in the belief that physical closeness between actors and audience will enhance a sense of intimacy and community akin to that generated by folk- and medieval church-based theatrical productions. [...]as one moves from essay to essay, it becomes clear that, though historical, they are cloaked by contemporaneity. While current developments in the Israeli-Palestinian conflict so demonstratively ghost Katz's narrative, even topics of more antiquarian nature gain timeliness in light of the current debate concerning the nexus of antisemitism, religion, and entertainment triggered by Mel Gibson's film, The Passion of the Christ.
ISSN:0164-0178
1086-3141