There are few who are not aware of the gap between Israel and American Jews. This paper analyzes the dynamics and trends that generated and continue to fuel the rift, particularly salient amongst Jews thirty-five and younger. We then look to the arena of arts and letters to address these dynamics.
Works of art often raise serious questions, spark discussion, speak truth to power, move us to tears. Theatre is unique in the arts-and-letters arena; its physical immediacy and its history and tradition of addressing issues of concern to the body-politic, would appear to be an ideal vehicle to explore Israel’s functions—and disfunctions—with American Jews. But given the nature of the long-term trends pulling the two sides apart, it would appear to be asking much for plays to take on the yawning gap between Israelis and American Jews. Yet theatre, traditionally a powerful voice in Israel, could serve this role as bridge builder, explaining the differences between the two societies.
The author’s research probes recent Israeli theatre in terms of the issues that are addressed, both in the mainstream theatres and in the increasingly-influential “Fringe” theatre. Case-studies are analyzed that probe the weakening of “political” theatre in Israel; explore basic dilemmas in Israeli society itself; and analyze the problem of “transferability,” of transporting Israeli drama to American Jewish audiences, which for the most part has not been successful.
The question of the nature of the drama from Israel that might “bridge the gap” is best expressed by what actor Bert Lahr is reputed to have said when he acted in the American premiere of “Waiting for Godot”: “I don’t know if I understand it, but I have the nagging suspicion that it might be important.”