Dan Urian is associate professor in the Theatre Department at Tel Aviv University. He has published several books, including The Arab in Israeli Drama and Theatre (1997), Jewish Aspects of Israeli Culture (1999), TheJudaic Nature of Israeli Theatre (2000) and The Ethnic Problem in the Israeli Theatre (2004).
Hanna Meron began her long acting career as a four-year-old child prodigy, appearing in children’s theater, radio plays, and films. In 1945 she joined the recently founded Cameri Theater. She helped shape the company by becoxming active in management and as a member of the repertory committee, while also rising to prominence as one of Israel’s greatest actors.
Of all the theatrical professions, only actresses were truly partners in the enterprise of reviving Hebrew culture in the early twentieth century, and only in the 1980s did women writers and directors begin to work in Israeli theater. In the last few decades of the twentieth century and the first few decades of the twenty first, howeverwomen playwrights and directors have taken on increasingly prominent roles.
Prior to the 1980s, there was an almost total absence of women-related topics and women’s voices in Hebrew theater, but many talented women have fought for their voices to be heard on the Hebrew stage. Today, active women playwrights whose plays are presented in mainstage and fringe theaters have a significant impact on Hebrew theater.
