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Mimesis Journal. Scritture Della Performance Mimesis Journal Books collana di «Mimesis Journal. Scritture della performance» ISSN 2283-8783 comitato scientifico Antonio Attisani Università degli Studi di Torino Florinda Cambria Università degli Studi di Milano Lorenzo Mango Università degli Studi L’Orientale di Napoli Tatiana Motta Lima Universidade Federal do Estado do Rio de Janeiro Franco Perrelli Università degli Studi di Torino Antonio Pizzo Università degli Studi di Torino Kris Salata Florida State University Carlo Sini Università degli Studi di Milano Éric Vautrin Université de Caën Mimesis Journal Books ISSN 2283-8783 1. Jerzy Grotowski. L’eredità vivente isbn 978-88-97523-29-1 a cura di Antonio Attisani ebook www.aAccademia.it/grotowski 2. Logiche della performance. isbn 978-88-97523-27-7 Dalla singolarità francescana alla nuova mimesi di Antonio Attisani ebook www.aAccademia.it/performance 3. Neodrammatico digitale. isbn 978-88-97523-37-6 Scena multimediale e racconto interattivo di Antonio Pizzo ebook www.aAccademia.it/neodrammatico 4. Lugné-Poe e l’Œuvre simbolista. isbn 978-88-97523-64-2 Una biografia tea trale (1869-1899) di Giuliana Altamura ebook www.aAccademia.it/lugnepoe 5. Teorie e visioni dell’esperienza “teatrale”. isbn 978-88-97523-87-1 L’arte performativa tra natura e culture di Edoar do Giovanni Carlotti ebook www.aAccademia.it/carlotti 6. Carmelo Bene fra tea tro e spettacolo isbn 978-88-97523-89-5 di Salvatore Vendittelli a cura di Armando Petrini ebook www.aAccademia.it/vendittelli 7. L’attore di fuoco. Martin Buber e il teatro isbn 978-88-99200-39-8 di Marcella Scopelliti ebook www.aAccademia.it/scopelliti 8. Le Jardin. Récits et réfléxions sur le travail isbn 978-88-99200-93-0 para-théâtral de Jerzy Grotowski entre 1973 et 1985 par François Kahn ebook www.aAccademia.it/kahn 9. La nascita del teatro ebraico. Persone, testi isbn 978-88-99200-95-4 e spettacoli dai primi esperimenti al 1948 di Raffaele Esposito ebook www.aAccademia.it/esposito La nascita Raffaele del teatro Esposito ebraico. Persone, testi e spettacoli dai primi esperimenti al 1948 La nascita del teatro ebraico Volume rea lizzato con il contributo del Dipartimento di Studi Umanistici dell’Università degli Studi di Torino Le ricerche per la realizzazione di questo volume sono state rese possibili dai fondi stanziati dal Dipartimento Asia, Africa e Mediterraneo dell’Università degli Studi di Napoli “L’Orientale”. © 2016 Accademia University Press via Carlo Alberto 55 I-10123 Torino Pubblicazione resa disponibile nei termini della licenza Creative Commons Attribuzione – Non commerciale – Non opere derivate 4.0 Possono applicarsi condizioni ulteriori contattando [email protected] prima edizione settembre 2016 isbn 978-88-99200-95-4 edizione digitale www.aAccademia.it/esposito book design boffetta.com Accademia University Press è un marchio registrato di proprietà di LEXIS Compagnia Editoriale in Torino srl Indice Prefazione Antonio Attisani IX Introduzione XIII Nota su trascrizione e pronuncia XVIII Abbreviazioni XXII Ringraziamenti XXIII I. Teatri d’inchiostro: drammaturgia ebraica prima della rinascita 1. Dalla Bibbia ai purim-shpiln 3 Ebraismo e teatro 4 Il tramonto del teatro nel medioevo 8 Le sorti in scena 11 Ester, dalla Bibbia 11 2. Primi passi tra Italia e Olanda 15 Il primo drammaturgo 15 Giuda Leone de’ Sommi (Yehuda Somo, circa 1527-1592) 16 La commedia del fidanzamento, di Giuda Leone de’ Sommi 17 Tra gli esuli sefarditi 20 L’espulsione degli ebrei dalla Spagna 20 3. Teatro senza teatri da Luzzatto alla Haskalah 30 Un ponte tra il vecchio e il nuovo 31 Moshe Chaim Luzzatto (1707-1746) 31 L’Illuminismo entra nel ghetto 38 L’ebraico e la cultura della Haskalah 38 La Rivoluzione Francese e le guerre napoleoniche 43 Il secolo dell’Europa orientale 44 La Haskalah nel XIX secolo 45 Verità e fede, di Abraham Dov Lebensohn 49 4. Rinascita linguistica e nazionale 54 Il sionismo e la lingua ebraica 55 Hibbat Zion e la Prima Aliyah 56 Lingua e nazione yiddish 57 Storia e nazione, materia per la scena 60 Yitzhak Katzenelson (1886-1944) 65 Indice II. Teatri erranti: spettacoli in ebraico tra Mosca, Berlino e Tel Aviv 5. Un pulpito al Teatro d’Arte di Mosca 71 Le origini di Habima 72 Nahum Zemach (1887-1939) 72 Hanna Rovina (1888-1980) 74 Celebrità collettiva 78 Sh. An-ski (1863-1920) 80 Tra due mondi: il dibbuk, di Sh. An-ski 81 6. Primi esperimenti tra Gerusalemme e Giaffa 100 Dilettanti con una missione 101 Menahem Gnessin (1882-1952) 104 Il Mandato Britannico 106 Professionisti tra gli stenti 106 Miriam Bernstein-Cohen (1895-1991) 108 7. A Berlino e ritorno 114 Il TAI 115 8. Dal kibbutz delle arti al cabaret satirico 120 VI Ohel, il Teatro dei Lavoratori 121 Teatri satirici 125 III. Teatri nazionali: la scena ebraica in Terra d’Israele e la nascita dello Stato 9. Habima cerca casa 135 Il tesoro, di Shalom Aleykhem 137 10. Qualcosa di originale: generi, autori e testi in ebraico 143 Teatro naturalistico 144 Melodramma storico 148 Teatro dei pionieri 151 Altri sguardi sulla realtà locale 155 11. Teatri e produzioni alle soglie dell’Indipendenza 157 Teatro borghese e teatro proletario, per così dire 157 Friedrich Lobe (1889-1958) 161 Presagi della catastrofe 164 Ultime volontà, di Nahum Sokolow 166 Mentre l’Europa brucia 175 Indice 12. Verso il teatro israeliano 184 Il Cameri 187 Yosef Millo (1916-1997) 188 Hanna Maron (1923-2014) 191 La rinascita dello Stato di Israele 193 Camminava per i campi, di Moshe Shamir 194 1948: prima e dopo 200 Appendici e bibliografia Elenco delle produzioni 209 Primi spettacoli amatoriali in Terra d’Israele 210 Habima: produzioni 1918-1948 213 Ohel: produzioni 1926-1948 217 Cameri: produzioni 1944-1948 219 Glossario 221 Cronologie 226 Storia ebraica fino al 1948 226 Teatro ebraico 1889-1948 229 VII Bibliografia 231 Testi teatrali in versione originale e in traduzione 231 Critica, storia e memorie 233 Risorse web 239 Indice dei nomi 241 Indice dei titoli 245 La nascita Prefazione del teatro ebraico Antonio Attisani Con questo volume dedicato al teatro ebraico dalle origini IX al 1948 e il seguente sul teatro dalla fondazione dello Stato di Israele a oggi si viene a colmare una grave lacuna della pubblicistica non solo italiana. Lo stesso accade con i volu- mi della serie «Tutto era musica», contraddistinta dal colore verde, dedicati al teatro yiddish, e con gli altri che si aggiun- geranno a questa collana dalla copertina rossa, per esempio quello sul Re Lear yiddish del Teatro Ebraico di Mosca o quel- lo che antologizza le memorie degli attori. Si sta realizzando in questo modo un’impresa editoriale che non ha eguali nel mondo. Alla limitata diffusione di queste prime pubblica- zioni in lingua italiana si cercherà di porre rimedio in futu- ro con la ricerca di sponsorizzazioni pubbliche o private ed eventualmente l’aiuto di altri editori per arrivare a edizioni adeguatamente illustrate e in inglese. Questa eccezionalità è tanto più necessaria se si considera che secondo un luogo comune assai diffuso l’antropologia e la cultura ebraiche sarebbero caratterizzate da un interdetto assoluto nei confronti del teatro, cosa assolutamente non vera. Sia in questo volume quanto nel primo sul teatro yiddish si dimostra ampiamente come quell’interdetto si riferisse al tea- tro della decadenza romana e come invece un’attenzione nei Prefazione confronti del teatro – o per meglio dire dell’espressione per- Antonio Attisani formativa – tanto intensa quanto peculiare abbia caratterizzato tutta la storia dell’ebraismo. In quel quadro il teatro ha assunto molteplici forme, più di quanto sia avvenuto in altre civiltà. Dall’episodio biblico di Ester, di chiara ispirazione teatrale, all’Exagôgê´, primo testo esplicitamente drammaturgico, passan- do per le significative produzioni testuali del rinascimento e dell’età barocca, per arrivare alle rappresentazioni carnevale- sche del Purim e poi, a partire dalla metà dell’Ottocento, al tea- tro yiddish, la cultura ebraica è stata costantemente in dialogo con le varie forme della teatralità, sia adattando ai propri scopi modelli delle culture nazionali sia elaborandone di propri. Si può obiettare che in molti casi si è trattato di un teatro scritto, forse irrealizzabile o mai realizzato in scena e dun- que destinato alla sola lettura. Ciò è certamente vero, ma in proposito bisogna considerare almeno tre fattori: anzitutto un testo drammaturgico si legge diversamente da quelli in prosa, in esso le vicende e i contrasti tra personaggi sono evidenziati in modo da “aprirli” poeticamente, mettendo i de- stinatari di fronte a un tema irrisolto, un tema al tempo stesso X “eterno” e declinato nei contesti storici cui appartengono i personaggi e gli spettatori; inoltre, un testo drammaturgico è immaginazione e suggerimento di un teatro inesistente, forse impossibile, ma non per questo meno incisivo di quello realizzato in scena; infine si consideri che la drammaturgia ebraica aveva una platea di potenziali destinatari molto più vasta delle ristrette élite che sole, nelle altre culture, godeva- no del privilegio della lettura. In questo quadro, inoltre, si sono verificate due altissi- me eccezioni come il mantovano Giuda Leone de’ Sommi e Guglielmo da Pesaro, figure che in ambito storiografico non sono adeguatamente conosciute e valutate come meri- tano pur essendo fondamentali nella definizione del teatro e della danza moderni. E questo stesso quadro va a sua volta osservato nel contesto assai più ampio delle arti dinamiche (musica, canto, poesia), che dalla Bibbia e la pratica religiosa (si pensi al Cantico dei cantici ma anche alla ritualità sinagoga- le e persino allo studio e alla recitazione dei testi sacri) fino alla cultura popolare e alla quotidianità sono aspetti costanti della vita del popolo ebraico. L’excursus di questo primo volume si ferma, come s’è det- to, all’altezza del 1948, spartiacque di una storia diversa, quel- Prefazione la del nuovo Stato d’Israele, uno dei più importanti “espe- Antonio Attisani rimenti di modernità” del XX e XXI secolo.
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