FOOTNOTES
- The Habimah—Israel's National Theater 1917–1977 A Study of Cultural Nationalism (Columbia University Press, New York, $22.10.)
- Goldman , Emma . 1921 . the famous anarchist, wrote about her visit to Stanislavsky in Moscow in: “We found him among mountains of trunks, boxes and bags. His studio had again been requisitioned. It had happened so many times before that he no longer minded it any more than his periodic house arrests, he told us.”
- From the start, Zemach insisted that Habimah's speech would be Hebrew in the Sephardi pronunciation, as spoken in Palestine and not the Ashkenazi one which he saw as the speech of the galuth.
- Strassberg , Lee . a pupil of Stanislavsky and a pioneer of his ‘method’ in the US, spoke bitterly about what he considered to be Habimah's ignorance of the master's technique, when he directed the company in Tel Aviv, in the fifties. This was not just an example of theatrical backbiting; Habimah's teacher in Moscow was Vakhtargov, who rejected many of Stanislavsky's ideas. Habimah was never a ‘method’ theatre.
- Artaud , Antonin . The Dybbuk the creator of the Theatre of Cruelty and an opponent of realism in the theatre, wanted to make a film of which he considered to be a reflection of ‘the glory of the Jews’. Like the great majority of Artaud's projects the film never materialised.
- Modern Hebrew Drama (Weidenfeld and Nicolson, London. Price £12.50.)