From Jerusalem to Athens by Nurit Yaari

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Reviewed by: From Jerusalem to Athens by Nurit Yaari Shiraz Biggie FROM JERUSALEM TO ATHENS. By Nurit Yaari. Oxford University Press. 2018. 480 pp. Hardcover and ebook, $140.00. Discussions of Israeli theatre, and Jewish theatre in general, often begin with the Talmudic prohibition against the theatre sparked by the encounter and rejection of Hellenism. Nurit Yaari’s book, From Jerusalem to Athens, is no exception, but builds from the idea that the Jewish rabbinical tradition (Jerusalem) and the classical tradition (Athens) are critical and often intertwined influences on Israel’s modern theatre. Yaari argues the contemporary encounter with classical Greek theatre has influenced Israeli artists to address questions of identity and “engage in an intellectual, artistic, and political dialogue with both Jewish culture (the particular) and classical Greek drama (the universal)” (p. 7). From the very beginning, Yaari establishes the role of Greek theatre as a “universal” to be reckoned with through a specific production. In her introduction, she situates the origins of Hebrew theatre with efforts dating back to the Italian Renaissance and Enlightenment periods that combined classical Greek drama elements with the Hebrew language. After establishing this precedent, the book focuses on productions staged either just before or within the modern State of Israel. Yaari’s work is expansive, looking at three types of productions: first, those directly following and using the Greek texts in translation; second, those created by theatrical artists across other traditions that are in dialogue with Greek drama (Anouilh, etc.); and, finally and critically, those native Israeli-written dramas inspired by Greek texts. The book is most exciting and illuminating in discussing the latter, offering significant new insights and approaches to the works in question. The book’s chapter organization is based on particular points of inquiry, such as chapters that explore a theatrical company, a specific Greek or Israeli playwright, conflict, or directorial approaches. Her book traces and frames the theatre of Israel in relation to “Athens” and how this interchange allowed for rich experimentation for Israeli theatre makers. Underlying her book is the broad question of theatre history—why this particular play here and now? Thus, many of the individual chapters are directly related to wars and conflicts in which Israel has played a part and seek to make arguments beyond not only the theatre itself, but on a changing Israeli society. Her book’s strength and weakness lie in this comprehensive mapping of “Athens” onto the “Jerusalem” of Israeli theatre. Yaari looks at 70 years of Israeli theatre (1945–2015), covering 22 Greek plays and touching on approximately 86 productions. Periodically, this [End Page 604] expansiveness obscures an overall through-line to the manuscript in favor of specific chapter arguments. The book occasionally places different productions in conjunction with contemporary Israeli events; the author does not always provide enough context on these events for the reader who is less familiar with Israeli society. As a contribution to the study of Israeli theatre, using the argument that the encounter between “Athens” and “Jerusalem” has been fruitful, the book offers a new way of viewing Israeli drama and its significant figures and adds to the growing English-language scholarship that aims to take Israeli theatre beyond its diasporic origins. One of Yaari’s methodological strengths, which allows her to intertwine a production’s reception with its cultural context, focuses on staging rather than only the play texts. She includes not only the play’s translation but a comprehensive discussion of all the elements of theatrical language, using production photos, designs, interviews, and reviews to piece together a picture of the theatrical event. She also draws on her own vast experience with and reception of many of the productions included. This multifaceted approach helps establish for the readera strong impression oftheactualproductions that are importantto her overall analysis. This approach also helps clarify the line between critical and audience response that marks not only the individual productions, but also the theatre culture of Israel more generally. The first two chapters approach two of Israel’s most well-known theatres, Habima (Israel’s National Theatre) and the Cameri (Tel Aviv’s municipal theatre), looking at their first attempts at classical drama in the mid-1940s...