Scholars of early-twentieth-century Buenos Aires—an international theatre hub— disproportionately emphasize Spanish-language performances. This tendency erases the histories of immigrant performing artists, such as Yiddish-speaking Jews who fled en masse to Argentina in order to escape rising antisemitism in Europe and Russia. By focusing on Yiddish theatre in Buenos Aires, this dissertation contributes a multicultural and transnational approach to Argentinean theatre history. I show how antisemitic, antitheatrical, and misogynist assumptions (especially that all Jews were prostitutes and pimps with “low brow” theatrical preferences) have prevented scholars from understanding how Jewish immigrant artists shaped the Argentinean theatrical avant-gardes. In doing so, I demonstrate how applying feminist historical methods to Yiddish theatre ephemera, newspaper articles, and other sources enriches scholarship on Latin American modernisms, multicultural theatre history, and Jewish cultural studies.

Creator

• Markenson, Casey Tova

DOI

• https://doi.org/10.21985/n2-qab1-jc82

Subject

• Judaic studies
• Theater history
• Latin American studies

Language

• en

Alternate Identifier

• etdadmin_upload_756700
• http://dissertations.umi.com/northwestern:15198

Keyword

• Sexuality
• Gender
• Buenos Aires
• Yiddish theatre
• Avant-garde
• Modernism

Date created

• 2020-01-01

Resource type

• Dissertation

Rights statement

• In Copyright