Moni Ovadia is one of the staunchest defenders of Jewish culture in Italy. In 1984 he began his journey into theatre, first in collaboration with artists from the international scene, such as Bolek Polivka, Tadeusz Kantor, Franco Parenti, and then, gradually, proposing himself as the creator, director, actor and leader of an absolutely peculiar «musical theatre», in which his previous experiences are grafted onto his vein of extraordinary entertainer, speaker and humourist. The leitmotif of his performances and of his vast record and book production is the composite and multifaceted tradition, the «cultural and real wandering» of the Jewish people, of which he feels he is the son and representative, that continuous immersion in different languages and sounds inherited from a culture that the dictatorships and totalitarian ideologies of the 20th century would have liked to wipe out, and which he remembers for the future. Moni Ovadia's Dybbuk is a shining example of his theatrical activity. Staged in 1995 at the Franco Parenti theatre in Milan, this play is a fabulous reinterpretation of Sh. An-sky's original work and aims to show in all its power how the myth of Dybbuk can be reinterpreted to reflect and show the cruelty of the Shoah. The Paper will describe Moni Ovadia’s Dybbuk production, its characteristics and how it served the Italian public to reflect on the tragedy of the Holocaust.
How can I sing in a world as empty to me as a desert? Moni Ovadia, the Dybbuk and the Holocaust / G. Gorla. ((Intervento presentato al convegno Dybbuk: Undisciplining the archive tenutosi a Jerusalem nel 2022.
How can I sing in a world as empty to me as a desert? Moni Ovadia, the Dybbuk and the Holocaust
G. Gorla
2022
Abstract
Moni Ovadia is one of the staunchest defenders of Jewish culture in Italy. In 1984 he began his journey into theatre, first in collaboration with artists from the international scene, such as Bolek Polivka, Tadeusz Kantor, Franco Parenti, and then, gradually, proposing himself as the creator, director, actor and leader of an absolutely peculiar «musical theatre», in which his previous experiences are grafted onto his vein of extraordinary entertainer, speaker and humourist. The leitmotif of his performances and of his vast record and book production is the composite and multifaceted tradition, the «cultural and real wandering» of the Jewish people, of which he feels he is the son and representative, that continuous immersion in different languages and sounds inherited from a culture that the dictatorships and totalitarian ideologies of the 20th century would have liked to wipe out, and which he remembers for the future. Moni Ovadia's Dybbuk is a shining example of his theatrical activity. Staged in 1995 at the Franco Parenti theatre in Milan, this play is a fabulous reinterpretation of Sh. An-sky's original work and aims to show in all its power how the myth of Dybbuk can be reinterpreted to reflect and show the cruelty of the Shoah. The Paper will describe Moni Ovadia’s Dybbuk production, its characteristics and how it served the Italian public to reflect on the tragedy of the Holocaust.File | Dimensione | Formato | |
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