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Ladino Theatre LADINO THEATRE : TRAGEDY , CULTURAL POLITICS AND REPRESENTING THE PAST IN THE SEPHARDIC JEWISH DIASPORA BY MARA MARIE LOCKOWANDT DEPARTMENT OF DRAMA AND THEATRE ROYAL HOLLOWAY , UNIVERSITY OF LONDON SUBMITTED FOR THE DEGREE DOCTOR OF PHILOSOPHY SEPTEMBER 2012 1 DECLARATION OF AUTHORSHIP I Mara Lockowandt hereby declare that this thesis and the work presented in it are entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ___21 September, 2012 ______ 2 - ABSTRACT - This thesis considers the role of performances in the modern Sephardic diaspora. Live performances have been an integral part of Sephardic life for centuries: songs and narratives in Ladino (Judeo-Spanish) are performed to mark life cycle events, religious holidays, remember the past, and maintain cultural distinctiveness. Despite the decline of Ladino throughout the twentieth century, the language continues to be utilized in singing, storytelling, and dramatic events, often as a means of connecting a community to their diasporic past. In light of the ongoing value of Ladino in performance, the present study undertakes a wide historical examination of Sephardic performances from the nineteenth century to the present day to consider the shifting significance of Ladino and representing the past in constructing ethnic and cultural identities. Two key periods in modern Sephardi history are considered: 1) the emergence and development of modern Sephardi Theatre in the Ottoman Empire; 2) the revitalisation of Sephardi theatre during the late twentieth century in Israel and the United States. A relational approach is utilized throughout this work, as forwarded in contemporary scholarship on diaspora and performance, to draw connections between different migratory experiences and cross-cultural encounters. Through application of this approach we show how Sephardi Theatre and the use of Ladino developed through specific socio-historical and political circumstances - and especially through relations vis-à- vis the Ashkenazim. Within each period we demonstrate how particular social and political structures and interests impacted theatrical forms as well as the role of language in performance. During the twentieth century, we identify a shift in the performance work of Sephardic artists away from dramatic representations and towards musical or storytelling events intended to increase accessibility and interest in Sephardi culture. 3 While succeeding in bringing Sephardi traditions to international stages, it is argued that such performances overlook historical and contemporary experiences of marginalisation and conflate variegated Sephardic identities in a manner that risks homogenization and that may impede future linguistic and cultural usability. Nevertheless, this thesis points to the ongoing importance of performance-based events amongst the Sephardim in strengthening connections to their culture and diasporic histories. 4 - TABLE OF CONTENTS - List of Figures ....................................................................................................................... 8 Abbreviations ....................................................................................................................... 9 I. INTRODUCTION:MODERN SEPHARDI THEATRE AND PERFORMANCE.13 DEFINING THE SEPHARDIM ............................................................................................. 21 THEORETICAL FRAMEWORK : INVESTIGATING A RELATIONAL APPROACH ................. 27 Jewish Historiography and Sephardic Modernity ...................................................... 29 Diaspora and Performance ......................................................................................... 34 TRADITIONS , CULTURAL AUTHENTICITY AND REPRESENTATIONS OF THE PAST ...... 44 METHODOLOGY .............................................................................................................. 48 Materials ...................................................................................................................... 50 OVERVIEW OF THE CHAPTERS ....................................................................................... 53 CONCLUSION ................................................................................................................... 56 II. THE SEPHARDIC CONTEXT: HISTORY AND PRESENT SITUATION....... 58 THE HISTORY OF THE SEPHARDIC DIASPORA ............................................................... 58 Origins in Medieval Spain........................................................................................... 58 Crisis in the Iberian Peninsula .................................................................................... 59 The Sephardim in the Ottoman Empire.................................................................... 62 Theatre Traditions in the Ottoman Empire............................................................... 64 The Nineteenth Century ............................................................................................. 66 Theatre in the Nineteenth Century............................................................................. 70 THE SEPHARDIC AMERICAN EXPERIENCE ..................................................................... 72 Sephardi Theatre in America...................................................................................... 75 JUDEO -SPANISH , JUDEZMO , LADINO : THE LANGUAGE OF THE SEPHARDIM ............... 79 THE PRESENT SITUATION OF THE SEPHARDIM ............................................................. 81 CONCLUSION ................................................................................................................... 83 III. ALLA FRANKA!: INVESTIGATING THE FRENCH IMPACT ON SEPHARDI THEATRE .......................................................................................................................... 85 INTRODUCTION ............................................................................................................... 85 ALLIANCE ISRAÉLITE UNIVERSELLE : EDUCATIONAL REFORMS AND THEATRICAL INFLUENCES ..................................................................................................................... 89 5 TRANSLATING AND ADAPTING MOLIÈRE IN OTTOMAN SEPHARDIC THEATRE ....... 101 A Theatre of Morals.................................................................................................. 108 ASSIMILATION TO NATIONALISM : STAGING RACINE 'S ESTHER ................................. 114 CONCLUSION ................................................................................................................. 126 IV. SEPHARDI ZIONIST THEATRE AND THE EMERGENCE OF MODERN TRAGEDIES..................................................................................................................... 128 INTRODUCTION ............................................................................................................. 128 OVERVIEW OF THE DREYFUS AFFAIR ........................................................................... 132 DREYFUS NARRATIVES IN THE LADINO PRESS AND CULTURAL PRODUCTS .............. 134 The Press ................................................................................................................... 134 Novels ........................................................................................................................ 138 Poetry ......................................................................................................................... 139 Dramatic Dialogue .................................................................................................... 140 Dramatic Representations......................................................................................... 142 JAC LORIA 'S DREYFUS .................................................................................................... 143 Dramatic Themes and Theatrical Styles .................................................................. 146 Investigating the Influence of Dutch Theatrical Texts in Jac Loria's Dreyfus......... 153 RECEPTIONS TO DRAMATIZATIONS OF THE DREYFUS AFFAIR ................................... 158 ZIONIST THEATRE : STAGING VIOLENCE , RACISM AND JEWISH NATIONALISM ........ 163 NARRATING A TRAGIC HISTORY .................................................................................. 174 CONCLUSION ................................................................................................................. 178 PART II ............................................................................................................................. 179 V. THE LADINO PLAYERS: PERFORMANCES IN THE AMERICAN SEPHARDIC REVITALIZATION MOVEMENT...................................................... 181 INTRODUCTION ............................................................................................................. 181 QUINCENTENNIAL COMMEMORATIONS AND THE SEPHARDI CULTURAL REVIVAL .. 185 THE EMERGENCE OF THE LADINO PLAYERS ............................................................... 189 COEXISTENCE IN THE SEPHARDI -AMERICAN IMMIGRANT PLAYS .............................. 191 LANGUAGE IDEOLOGIES IN PREZENTANDO DE UNA MEGILAH PARA MYESTROS DIYAS ........................................................................................................................................ 205 CODE -SWITCHING IN LADINO REVERIES ..................................................................... 211 LANGUAGE IMPACT
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