Yair Lipshitz
Dr. Yair Lipshitz is a Senior Lecturer at the Department of Theatre Arts and Head of the Cymbalista Jewish Heritage Center at Tel Aviv University.
Yair's research examines the various intersections between theatre, performance and Jewish religious traditions - and more broadly, between theatre and religion. He is the author of "The Holy Tongue, Comedy's Version: Intertextual Dramas on the Stage of 'A Comedy of Betrothal'" (Hebrew, 2010), "Embodied Tradition: Theatrical Performances of Jewish Texts" (Hebrew, 2016), and "Theatre & Judaism" (English, 2019). His current projects focus on messianic temporalities in Hebrew theatre and on the performativity of rabbinic literature. Yair is also interested in the performance of role-playing games.
Yair's research examines the various intersections between theatre, performance and Jewish religious traditions - and more broadly, between theatre and religion. He is the author of "The Holy Tongue, Comedy's Version: Intertextual Dramas on the Stage of 'A Comedy of Betrothal'" (Hebrew, 2010), "Embodied Tradition: Theatrical Performances of Jewish Texts" (Hebrew, 2016), and "Theatre & Judaism" (English, 2019). His current projects focus on messianic temporalities in Hebrew theatre and on the performativity of rabbinic literature. Yair is also interested in the performance of role-playing games.
less
InterestsView All (17)
Uploads
This sensitivity to performance, the book claims, is apparent also in the case of his Hebrew play, in which de' Sommi specifically explores the dynamics between text and performance, between the Hebrew tongue with its many layers and the Italian comic theatre. As Hebrew-speaking drama was practically a nonexistent phenomenon before de' Sommi's times (and still an extremely rare one for a long while afterwards) – his play constitutes a novel and daring attempt in relocating Hebrew from the field of Jewish textual culture to the one of Renaissance Italian theatre. In writing Tsahut bedihuta deqiddushin, de' Sommi uses Hebrew not just as a language for written literature – but, probably for the first time in Jewish history, as a language designated for embodied theatrical praxis. The core argument of this book, therefore, is that Tsahut bedihuta deqiddushin is an exceptional and highly fruitful site of intersections between the performative practices of Italian Renaissance comedy and the textual traditions of Jewish culture. The play suggests a unique, performative route through which Italian comedy can offer new horizons of knowledge for Jewish textual culture and of language itself.
This sensitivity to performance, the book claims, is apparent also in the case of his Hebrew play, in which de' Sommi specifically explores the dynamics between text and performance, between the Hebrew tongue with its many layers and the Italian comic theatre. As Hebrew-speaking drama was practically a nonexistent phenomenon before de' Sommi's times (and still an extremely rare one for a long while afterwards) – his play constitutes a novel and daring attempt in relocating Hebrew from the field of Jewish textual culture to the one of Renaissance Italian theatre. In writing Tsahut bedihuta deqiddushin, de' Sommi uses Hebrew not just as a language for written literature – but, probably for the first time in Jewish history, as a language designated for embodied theatrical praxis. The core argument of this book, therefore, is that Tsahut bedihuta deqiddushin is an exceptional and highly fruitful site of intersections between the performative practices of Italian Renaissance comedy and the textual traditions of Jewish culture. The play suggests a unique, performative route through which Italian comedy can offer new horizons of knowledge for Jewish textual culture and of language itself.