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<p class="MsoNormal" style="margin-bottom:.25in;line-height:normal"><b><span style="font-family:"Tahoma","sans-serif";color:#404040">Now Available online</span></b><span class="MsoHyperlink"><b><i><span style="font-family:"Tahoma","sans-serif""><o:p></o:p></span></i></b></span></p>
<p class="MsoNormal" style="margin-bottom:.25in;line-height:normal"><span class="MsoHyperlink"><i><span style="font-family:"Tahoma","sans-serif";text-decoration:none">CTR</span></i></span><span class="MsoHyperlink"><span style="font-family:"Tahoma","sans-serif";text-decoration:none"> </span></span><span class="MsoHyperlink"><span style="font-family:"Tahoma","sans-serif";text-decoration:none">153
/ Winter 2013</span></span><b><span style="font-family:"Tahoma","sans-serif""><br>
<a href="http://utpjournals.metapress.com/content/l176h4n001t3/">Jewish Performance</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom:12.0pt;line-height:normal;text-autospace:none;vertical-align:middle">
<span style="font-family:"Tahoma","sans-serif";color:black">This is the first issue of
<i>CTR</i> to address the development and production of performances in Canada that are rooted in the Jewish experience. Artists and scholars re-imagine traditional representations of Jewish culture, history, and ritual and highlight the diverse forms that
Jewish performance has taken in contemporary Canadian contexts: from plays on Jewish themes, to site-specific Jewish theatre, to Yiddish parades, to queer re-stagings of religious practice, to intermedia installations of mythic Jewish spaces. Many contributors
explore Jewish identity as a performance that takes place both on and offstage; in so doing, they resist fixed understandings of what it means to be Jewish, and explore Jewish identity as it is formed through multiple affiliations, alliances, and communities.
In narrating questions of self-definition, they ask how Jewish performance intersects with other diasporic communities to create new intercultural forms, and they investigate the importance of Jewish performance practices that actively negotiate cultural inequities
and socio-political realities. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom:.25in;line-height:normal;text-autospace:none;vertical-align:middle">
<span style="font-family:"Tahoma","sans-serif";color:black">The script,<i> Corpus
</i>by Darrah Teitel, is the winner of the Calgary Peace Play Competition and Canadian Jewish Playwriting Competition. It explores a Canadian scholar’s obsession with the Holocaust and the problems of sensationalizing traumatic history and memory.
<i>CTR Online </i>also offers a new slideshow feature, which displays an array of images from a half-century of productions at The Dora Wasserman Yiddish Theatre, one of Montreal’s cultural treasures.<o:p></o:p></span></p>
<p style="margin-bottom:12.0pt"><b><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif";color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">This issue contains:
<o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;line-height:normal">
<b><span style="font-family:"Tahoma","sans-serif""><a href="http://utpjournals.metapress.com/content/h35402233x167744/?p=038e2505d5a34960a5d4031efe2aeb03&pi=0">Jewish Performance in Canada</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom:.25in;line-height:normal"><span style="font-family:"Tahoma","sans-serif"">Belarie Zatzman and Laura Levin<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.153.001</span><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;line-height:normal">
<b><span style="font-family:"Tahoma","sans-serif""><a href="http://utpjournals.metapress.com/content/1k682500120633un/?p=038e2505d5a34960a5d4031efe2aeb03&pi=1">Between Biblical Tradition and Contemporary Audiences: Jewish Theatre Practice in Toronto</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom:12.0pt;line-height:normal"><span style="font-family:"Tahoma","sans-serif"">Joel Benabu and Barry Freeman<o:p></o:p></span></p>
<h2 style="margin-bottom:6.0pt;line-height:normal"><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif";color:black;font-weight:normal">Abstract</span><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif";font-weight:normal">
<o:p></o:p></span></h2>
<p style="margin-bottom:.25in"><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif"">Joel Benabu and Barry Freeman in conversation with four Toronto-based Jewish Canadian theatre playwrights and producers: Esther Arbeid (Theatre/Film Programmer at
the Miles Nadal Jewish Community Centre), Hannah Moscovitch (Playwright), Avery Saltzman (Co-Artistic Director of the Harold Green Jewish Theatre Company), and Julie Tepperman (Playwright, Actor, and Co-Artistic Director of Convergence Theatre). Topics discussed
include Jewish sub-communities in Toronto, audiences to Jewish plays, the challenge of producing politically or artistically provocative work, and the relationship between Jewish ritual and performance traditions. The article is an edited version of a two-hour
conversation held at the Miles Nadal Jewish Community Centre in Toronto, 23 December 2011.<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.153.002</span><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;line-height:normal">
<b><span style="font-family:"Tahoma","sans-serif""><a href="http://utpjournals.metapress.com/content/951p434x362151r8/?p=038e2505d5a34960a5d4031efe2aeb03&pi=2">In the Mosaic: Jewish Identities in Canadian Performance and Installation Art</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom:12.0pt;line-height:normal"><span style="font-family:"Tahoma","sans-serif"">Carol Zemel<o:p></o:p></span></p>
<h2 style="margin-bottom:6.0pt;line-height:normal"><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif";color:black;font-weight:normal">Abstract</span><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif";font-weight:normal">
<o:p></o:p></span></h2>
<p style="margin-bottom:.25in"><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif"">This essay considers contemporary Jewish installation and performance art in Canada. With an emphasis on diasporic and identity issues in Canada’s multicultural
mosaic, the article focuses on works by Vera Frenkel, Melissa Schiff, and Tobaron Waxman, and explores their treatment of place and home, gender, and ritual.<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.153.003</span><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;line-height:normal">
<b><span style="font-family:"Tahoma","sans-serif""><a href="http://utpjournals.metapress.com/content/h73hw6j10n6l2427/?p=038e2505d5a34960a5d4031efe2aeb03&pi=3">The
<i>YICHUD</i> Room: Performing Jewish Spaces</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom:12.0pt;line-height:normal"><span style="font-family:"Tahoma","sans-serif"">Shira Schwartz, Julie Tepperman and Aaron Willis<o:p></o:p></span></p>
<h2 style="margin-bottom:6.0pt;line-height:normal"><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif";color:black;font-weight:normal">Abstract</span><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif";font-weight:normal">
<o:p></o:p></span></h2>
<p style="margin-bottom:.25in"><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif"">“The
<i>YICHUD</i>Room: Performing Jewish Spaces” explores the similarities between theatrical and ritual practices as exemplified in the Theatre Passe Muraille/Convergence Theatre production of
<i>YICHUD (Seclusion)</i> by Julie Tepperman. The efficacy of both ritual and theatre lie in the strength and specificity of the intention(s) they communicate to their participants/audience, and the way in which they sanctify or sacralise space.
<i>YICHUD (Seclusion)</i> offers a particularly interesting example of how ritual and theatre dovetail with each other as the play itself is set in the religiously observant world of orthodox Judaism. An examination of this play in performance, a play centred
on Jewish wedding rituals, demonstrates the creation of a highly charged atmosphere that immerses the audience in an event that is religiously authentic and dramatically truthful.<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.153.004</span><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;line-height:normal">
<b><span style="font-family:"Tahoma","sans-serif""><a href="http://utpjournals.metapress.com/content/953625t061r5k322/?p=038e2505d5a34960a5d4031efe2aeb03&pi=4">My Life in Jewish Theatre: A Coming-Out Story</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom:12.0pt;line-height:normal"><span style="font-family:"Tahoma","sans-serif"">Kayla Gordon<o:p></o:p></span></p>
<h2 style="margin-bottom:6.0pt;line-height:normal"><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif";color:black;font-weight:normal">Abstract</span><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif";font-weight:normal">
<o:p></o:p></span></h2>
<p style="margin-bottom:.25in"><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif"">Kayla Gordon looks back at almost 15 years of working in Jewish Theatre. She discusses her involvement with the Governor General’s Award-winning play
<i>Tangled</i> Souls, a theatre piece developed with young people from Winnipeg and Norway House. She also reflects on her work as Artistic Director of the Winnipeg Jewish Theatre, Executive Director of the Association for Jewish Theatre, and her more recent
role as Artistic Director of Winnipeg Studio Theatre. Along the way, she considers the future of Jewish theatre in Canada and the importance of reaching new audiences.<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.153.005</span><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;line-height:normal">
<b><span style="font-family:"Tahoma","sans-serif""><a href="http://utpjournals.metapress.com/content/91413110283730u1/?p=038e2505d5a34960a5d4031efe2aeb03&pi=5">Jewish Theatre in Vancouver Has Chutzpah!</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom:12.0pt;line-height:normal"><span style="font-family:"Tahoma","sans-serif"">Amanda Lockitch<o:p></o:p></span></p>
<h2 style="margin-bottom:6.0pt;line-height:normal"><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif";color:black;font-weight:normal">Abstract
<o:p></o:p></span></h2>
<p style="margin-bottom:.25in"><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif"">This article illustrates diverse Jewish Canadian theatrical experiences showcased at the Chutzpah! Festival by discussing two cutting edge productions: Kendra Fanconi’s
<i>The One That Got Away</i> (2002) and Itai Erdal’s <i>How to Disappear Completely</i>. These productions demonstrate the growth of the Chutzpah! Festival from its 2001 inception to its current place as a leading annual arts festival in Vancouver. There is
no distinguishable group that solely presents Jewish theatre in Vancouver, but its vibrant theatre community includes many individuals who create or participate in work that explores Jewish themes and material whether or not they themselves, or their collaborators,
are Jewish.<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.153.006</span><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom:12.0pt;line-height:normal"><b><span style="font-family:"Tahoma","sans-serif""><a href="http://utpjournals.metapress.com/content/9p271t66770m2739/?p=038e2505d5a34960a5d4031efe2aeb03&pi=6">Yiddish Theatre beyond Montreal:
<i>Die Folkshpieler</i> in Ottawa</a></span></b><span style="font-family:"Tahoma","sans-serif""><br>
Rebecca Margolis<o:p></o:p></span></p>
<h2 style="margin-bottom:6.0pt;line-height:normal"><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif";color:black;font-weight:normal">Abstract</span><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif";font-weight:normal">
<o:p></o:p></span></h2>
<p style="margin-bottom:.25in"><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif"">Yiddish theatre in Canada and abroad consists primarily of amateur community groups. One of these groups,
<i>Die Folkshpieler</i> (the People’s Players, founded 2002) is housed in Canada’s capital city. Although most of the group’s members and audiences are not fluent Yiddish speakers, these events have come to occupy an important role in the cultural life of the
local Jewish community. This study examines the production of Yiddish theatre in Ottawa through the lens of “postvernacular Yiddish,” where the symbolic value of the language exceeds its communicative functions. The performativity of Yiddish theatre allows
for participants to engage with a language that resonates deeply with them as well as to explore new parts of themselves. Using interviews with
<i>Die Folkshpieler</i> writer-director, Shirley Steinberg, and one of its long-time participants and occasional writer, Rubin Friedman, the study suggests that Yiddish theatre functions as a means of negotiating Canadian Jewish identity.<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.153.007</span><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;line-height:normal">
<b><span style="font-family:"Tahoma","sans-serif""><a href="http://utpjournals.metapress.com/content/94447725w1p67254/?p=038e2505d5a34960a5d4031efe2aeb03&pi=7">Becoming Archive
<i>ribcage: this wide passage</i></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom:12.0pt;line-height:normal"><span style="font-family:"Tahoma","sans-serif"">Heather Hermant<o:p></o:p></span></p>
<h2 style="margin-bottom:6.0pt;line-height:normal"><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif";color:black;font-weight:normal">Abstract</span><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif";font-weight:normal">
<o:p></o:p></span></h2>
<p style="margin-bottom:.25in"><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif"">Hermant describes ribcage: this wide passage (dir. Diane Roberts), which weaves together the story of “multi-crosser” Esther Brandeau (“first Jewish person in Canada”)
with Hermant's archival search for this individual and with her own queer settler histories. This assemblage takes the form of what Hermant calls “ceremonial archival performance.” Photos demonstrate ribcage’s interdisciplinarity, featuring physical theatre,
spoken word, video, and live fiddle.<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.153.008</span><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;line-height:normal">
<b><span style="font-family:"Tahoma","sans-serif""><a href="http://utpjournals.metapress.com/content/k638t15278816103/?p=038e2505d5a34960a5d4031efe2aeb03&pi=8">What Comes First, Being a Playwright or Being a Jew?: Snapshots of Seven Canadian Writers</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom:12.0pt;line-height:normal"><span style="font-family:"Tahoma","sans-serif"">Lynn Slotkin<o:p></o:p></span></p>
<h2 style="margin-bottom:6.0pt;line-height:normal"><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif";color:black;font-weight:normal">Abstract</span><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif";font-weight:normal">
<o:p></o:p></span></h2>
<p style="margin-bottom:.25in"><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif"">Seven Canadian Jewish Playwrights—Daniel Karasik, Hannah Moscovitch, Michael Nathanson, Adam Pettle, Alex Poch-Goldin, Michael Rubenfeld, and Emil Sher—comment on
how their being Jewish has informed their work and influenced how they write and what they write about.<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.153.009</span><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;line-height:normal">
<b><span style="font-family:"Tahoma","sans-serif""><a href="http://utpjournals.metapress.com/content/4l4148j62530413h/?p=038e2505d5a34960a5d4031efe2aeb03&pi=9">Studio 180’s Political Engagements: Finding the Jewish Soul in Canadian Theatre</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom:12.0pt;line-height:normal"><span style="font-family:"Tahoma","sans-serif"">Laura Levin, Belarie Zatzman and Joel Greenberg<o:p></o:p></span></p>
<h2 style="margin-bottom:6.0pt;line-height:normal"><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif";color:black;font-weight:normal">Abstract
<o:p></o:p></span></h2>
<p style="margin-bottom:.25in"><span style="font-size:11.0pt;font-family:"Tahoma","sans-serif"">Laura Levin and Belarie Zatzman converse with Studio 180’s Artistic Director Joel Greenberg about Jewish theatre as an art of social justice. They discuss Studio
180 Theatre’s political mandate, its aim to provoke public discourse, and previous productions that have served as a form of community engagement. They also explore Studio 180’s staging of plays with intercultural themes, histories of racial conflict, and
the oppression of minority groups. Studio 180 productions discussed here include:
<i>The Laramie Project, The Arab-Israeli Cookbook, Parade, Our Class, The Normal Heart</i>, and
<i>Clybourne Park</i>.<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.153.010</span><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom:6.0pt;line-height:normal"><b><span style="font-family:"Tahoma","sans-serif";color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">Script<o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;line-height:normal">
<b><span style="font-family:"Tahoma","sans-serif""><a href="http://utpjournals.metapress.com/content/5tj8426kquuu20q1/?p=d96566359f69406b9761174869fe9486&pi=10">Corpus</a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-bottom:.25in;line-height:normal"><span style="font-family:"Tahoma","sans-serif"">Darrah Teitel<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.153.011</span><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom:.25in;line-height:normal"><b><span style="font-family:"Tahoma","sans-serif""><a href="http://utpjournals.metapress.com/content/dl164n7718rj271j/?p=d96566359f69406b9761174869fe9486&pi=11">Views and Reviews</a></span></b><span style="font-family:"Tahoma","sans-serif""><br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/ctr.153.012</span><o:p></o:p></span></p>
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