2011/01/01 by Corina L. Petrescu · 1 citation
Psychology · Social Sciences · #Memory, Trauma, and Commemoration #Jewish and Middle Eastern Studies #Italian Fascism and Post-war Society #The Holocaust #Yiddish #Covert #Judaism #Communism #History #Antisemitism #Political science #Literature #Law #Art #Politics #Archaeology #Philosophy #Linguistics
paper · doi:10.1057/9780230118416_12
openalex publication_date 2011/01/01 · openalex created_date 2025/10/10 · openalex updated_date 2026/06/25
Yiddish theater 1 had not been a rarity in Bucharest, Romania, since Abraham Goldfaden had arrived there with his troupe in 1877. Yet, it is surprising that in the immediate aftermath of the Shoah, it was the Yiddish stage, in a country that had seen more than its share of horrors due to racial laws and discrimination, to first thematize the Jewish trauma. Two performances by Yiddish language theaters in Bucharest brought the experiences of the Shoah to the stage in 1945 and 1949. Their engagement of the topic, I believe, refutes claims that in Romania’s postwar phase Yiddish theater was only a mouthpiece for the country’s new Communist authorities2 and testifies to the theater’s potential as a tool for educating as well as providing covert critical social commentary. These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.