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A Jew in the Dark: The Aesthetics of Absence—Monodrama as Evocation and Formation of ‘Genetic’ Collective Memory

Published online by Cambridge University Press:  23 January 2009

Gad Kaynar
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Extract

This is the story of a Jew from Israel, who dreams that he is a Marrano priest in Spain, who dreams that he is a Jew in Israel.… And as the reader stands between these mirrors.… and looks at the faces doubly reflected all around, there is certainly no need to tell him whose face he is seeing.

Type
Articles
Information
Theatre Research International , Volume 25 , Issue 1 , Spring 2000 , pp. 53 - 63
Copyright
Copyright © International Federation for Theatre Research 2000

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References

Notes

1. Nahoom, Jonathan Ben, The Confession of Andres Gonzales (Tel Aviv: Zmora-Bitan, 1991), p. 133.Google Scholar

2. Young, Jordan R., Acting Solo: The Art of One-Man Shows (Beverly Hills, CA: Moonstone Press, 1989), p. 26.Google Scholar

3. ‘Vorstellungsakte’ in Wolfgang Iser's terminology. See Der Akt des Lesens (Munich: Fink, 1976), p. 63.

4. Ibid., p. 222.

5. Iser's ‘implied reader’ is a ‘hollow structure’ in the textual scheme which the reader has to occupy. See Ibid., pp. 61 & 66.

6. Kaynar, Gad, ‘The Actor as Performer of the Implied Spectator's Role’, Theatre Research International, Vol. 22, No. 1, Spring 1997, p. 53.CrossRefGoogle Scholar

7. Carlson, Marvin, Performance: A Critical Introduction (London & New York: Routledge, 1996), p. 104.Google Scholar

8. Displayed in recent years in the stunning virtuosity of his performance as Trufaldino in Habimah's hit, The Servant of Two Masters. See Kaynar, , ‘The Actor as Performer’, pp. 49–62.Google Scholar

9. Langbaum, Robert, The Poetry of Experience: The Dramatic Monologue in Modern Literary Tradition (New York: Norton, 1957), p. 78.Google Scholar

10. Foster, Hal, ‘Postmodernism; a Preface’, in Foster, , ed. The Anti-Aesthetic: Essays on Postmodern Culture (Port Townsend, Washington: Bay Press, 1983), p. xv.Google Scholar

11. Geis, Deborah R., Postmodern Theatric(k)s: Monologue in Contemporary American Drama (Ann Arbor: The University of Michigan Press, 1993), p. 32.Google Scholar

12. Hutcheon, Linda, The Politics of Postmodernism (New York and London: Routledge, 1989), pp. ix–x.CrossRefGoogle Scholar

13. Ibid., p. 22.

14. ‘I don't want to know any more about Einstein than what everyone knows about Einstein. I just want to know what the man in the street knows because that's what they'll bring to the work.’ In Shyer, Laurence, Robert Wilson and his Collaborators (New York: Theatre Communications Group, 1989), p. 216.Google Scholar

15. Chaikin, Joseph, ‘Notes on Acting Time and Repetition’, in Three Works by the Open Theater, ed. Malpede, Karen (New York: Drama Book Specialists, 1974), p. 34.Google Scholar

16. Kaye, Nick, Postmodernism and Performance (New York: St. Martin's Press, 1994), pp. 22–3.CrossRefGoogle Scholar

17. ‘die Virtualität des … nicht mehr manifestierten Bedingungshorizont aktuel werden zu lassen’ (my translation). Iser, Wolgang, ‘Negativität als tertium quid von Darstellung und Rezeption’, in Positionen der Negativität, Weinrich, Harald ed. (Munich: Fink, 1975), p. 531.Google Scholar