1952 HABIMA PROGRAM Theatre SHAKESPEARE Israel TAMING OF THE SHREW Hebrew JEWISH

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1952 HABIMA PROGRAM Theatre SHAKESPEARE Israel TAMING OF THE SHREW Hebrew JEWISH:
$59.00

DESCRIPTION : Up for sale is an ultrarare item which combines Literature, Theatre, Dance , Culture , Shakespeare, Israeli & Jewish cultural life, Tel Aviv cultural life and more. It’s the illustrated and photographed program for the 3.6.1952 premiere of the legendary SHAKESPEARE piece “THE TAMING OF THE SHREW” in Hebrew, Translated by the acclaimed Israeli poet and author Raphael Eliaz by the HABIMA Theatre. The program is accompanied by a few articles regarding the piece , Shakespeare , The Elizabethan Theatre etc . Hebrew & English .6\" x 6.5\" .16 pp. Good condition ( Pls look at scan for accurate AS IS images ). Will be sent inside a protective packaging .
PAYMENTS : Payment method accepted : Paypal .SHIPPMENT : Shipp worldwide via registered airmail is $ 7 . Will be sent inside a protective packaging . Handling within 3-5 days after payment. Estimated Int\'l duration around 14 days.

Although it is impossible to date The Taming of the Shrew exactly, evidence marks it as one of Shakespeare\'s earliest comedies, written most likely in the late 1580s or early 1590s. In the Shakespeare chronology, Shrew appears to have been written about 8-10 years before Much Ado About Nothing (1598), another comedy to which it is often compared. Although the plots themselves are dissimilar, each play gives us a bold and saucy pair of protagonists who enter into a battle of wits. Much of the cleverness and verbal acumen found in Much Ado is already apparent in Shrew, suggesting that, even early in his career, Shakespeare was extraordinarily skilled in character development, able to pit a headstrong hero and heroine against each other with fantastic results. Shrew shows us a dramatist who is sophisticated in his characterization and his ability to deal with multiple plots, as well as to address socially relevant topics, bringing them to the forefront for our consideration and discussion. Like all of Shakespeare\'s other plays, The Taming of the Shrew can be traced to a variety of sources. Unlike most other plays, however, specific texts are difficult to pinpoint. We know that the primary plot, the story of Katherine and Petruchio, finds its roots in folk tales and songs common in Shakespeare\'s day. In fact, while growing up, Shakespeare was surrounded by a very public debate over the nature of women, including specific arguments on a woman\'s duty and role in marriage. Shakespeare drew heavily from this debate. Just as the main story line has its roots in popular debate, so too does the play\'s Induction. Although inductions were not uncommon in sixteenth- and seventeenth-century dramas, The Taming of the Shrew is the only play in which Shakespeare features this particular framing device. For The Taming of the Shrew\'s Induction, Shakespeare features the tale of a beggar who finds himself mysteriously in power in a rich man\'s world. Like the tales of shrewish wives, tales of beggars miraculously transformed were featured in a London jest-book (1570) and were commonly featured in sixteenth-century English ballads of which Shakespeare was quite likely familiar The Bianca subplot also has its roots in sources with which Shakespeare would have been familiar. Unlike the Kate/Petruchio plot, which can only be traced to general pamphlets and debates, the Bianca subplot comes from George Gascoigne\'s Supposes (1566, 1573), a translation of Ariosto\'s I Suppositi (1509).Regardless of where Shakespeare drew the basis for the text, the fact remains that he masterfully presents us with a well-founded, carefully developed drama that can\'t help but get us talking. From the Induction, which seems to end mysteriously and abruptly, to Katherine\'s final speech on wifely duty, we can\'t help but find layer upon layer of meaning buried in this early, but great, comedy. Shakespeare uses his skill expertly, bringing out themes we still debate today, over 400 years later. Performance History of The Taming of the Shrew Largely because of the themes addressed in The Taming of the Shrew (marriage, duty, identity, family, and so on), the play has experienced great popularity through the years, although tracing the play\'s exact performance history is difficult. Little evidence of early productions survives, though we know the play was popular at least into the 1630s. Dramatist John Fletcher created a sequel to Shakespeare\'s work with his 1611 play The Woman\'s Prize, or The Tamer Tamed wherein Petruchio, now a widower, marries for a second time only to have his wife treat him much the way he initially treated Kate. Aside from contemporary spin-offs, in 1663 the Restoration stage became home to a popular production of Shakespeare\'s Shrew. After 1663, though, The Taming of the Shrew slipped off the boards, and we have no record of a production in its original form again until 1844. In the meantime, however, a number of adaptations flourished. John Lacy\'s Sauny the Scot (1667), a crude farce, was popular for about a century. Although Lacy opted not to include the Christopher Sly scenario, Charles Johnson included it in his 1716 largely political work, The Cobbler of Preston. It wasn\'t until David Garrick\'s abbreviated version of Shrew entitled Catherine and Petruchio (1754) that Lacy\'s Sauny was fully replaced. Garrick\'s work eliminated the Induction, as well as the Bianca subplot. This adaptation also maintained its popularity for about a hundred years. Noted Shakespearean actor John Phillip Kemble also produced an abbreviated version of Shrew which competed directly with Garrick\'s and featured what would become one of Petruchio\'s trademarks during the eighteenth and nineteenth centuries: cracking a horsewhip to demonstrate his ability as shrew-tamer. Shakespeare\'s version of The Taming of the Shrew was revived in 1844, over 180 years after it had last been produced. By the end of the nineteenth century, Shakespeare\'s Shrew was favored over adaptations by audiences all over the globe. Since then, Shrew has been produced countless times for the stage, as well as for film and television. Although the advent of feminism has caused some audiences to question the relevance of Shrew, the play\'s eternal popularity suggests that this well-written and developed play possesses a timelessness which delights audiences, generation after generation. The HabimaTheatre (Hebrew: הבימה - התיאטרון הלאומי‎, lit. \"The Stage\"), is the national theatreof Israel and one of the first Hebrew language theatres. It is located inHabima Square in the center of Tel Aviv.Habima was founded by Nahum Zemach in Białystokin Poland in 1912. Because its performances were in Hebrew and it dealt withissues of the Jewish people, it met with persecution by the Czarist government.Beginning in 1918, it operated under the auspices of the Moscow Art Theatre,which some consider its true beginning. It encountered difficulties under theSoviet government as well after the Russian Revolution.Stanislavski arrangedfor the mainly Jewish Polish actors to be trained by Yevgeny Vakhtangov. ThePeople\'s Commissar of Nationalities Affairs, Joseph Stalin, also authorized thetheatre\'s creation.International tour In 1926,the theatre left the Soviet Union to tour abroad, including in the UnitedStates. Zemach and some actors stayed in New York City, where their productionshad met with success. Their productions included plays from the Jewish folktradition, and they were performed in Hebrew. The company split up, with somemembers choosing to stay in New York.Lodz ImpactThe theatre visited Lodz pre-war and the photographer and artist MendelGrossman photographed the actors and actresses from the wings. His life waschanged as a result of the visit of the theatre.Establishmentin Palestine Other members of the theatre took the company to MandatePalestine in 1928.At that time the Habima Players invited director AlekseiDikiy from the Moscow Art Theatre to help them. Dikiy directed two successfulplays for Habima: one was Der Oytser (The Treasure), a play in Yiddishby Sholom Aleichem, which premiered on December 29, 1928. The second was TheCrown, a play by David Calderon that premiered on May 23, 1929 in Tel Aviv.With the success of Dikiy\'s directorship in the season of 1928/29, Habimagained reputation as a national Jewish theatre with a permanent repertoire andstage in Tel Aviv.The image of actress Hana Rovina starring as Leah\'le in thehistorical Habima production of S. Ansky\'s The Dybbuk (performed byHabima in the Hebrew-language translation by Hayyim Nahman Bialik) is acultural icon that to many represents Jewish and Israeli theatre.In 1945, thecompany built a theatre in Tel Aviv, which it occupied before completion.National Theatre of Israel Habima has been officiallyconsidered the national theatre of Israel since 1958, the year in which itreceived the Israel Prize for theatre.This was the first year in which thePrize was awarded to an organization. In the 21st century, Habima employs 80actors, and another 120 staff members work at the complex.