This article argues that Hebrew theatre is defined by a hegemonic Ashkenaziness that has been present from its beginning and which continues today. It identifies four main components of this hegemony, each of which is examined in turn. The first two components, Hebrew culture and Eurocentrism, are analyzed in relation to the repertoire of plays presented at such theatres as Habima, Ohel, and Cameri. This repertoire combines Yiddish plays and translations of European plays, while also reproducing Orientalist attitudes towards Mizrahi culture. The third component, privileged citizenship, centres on the privileges afforded to Ashkenazi artists and actors in the theatre when compared to Mizrahi actors, especially in terms of casting decisions. Finally, hegemonic Ashkenaziness is defined by membership of the middle class, which, in the theatre, leads to productions being targeted at an Ashkenazi audience and its cultural capital.

中文翻译：

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希伯来戏剧的霸权德系风格

本文认为，希伯来戏剧是由一种霸权的德系犹太人所定义的，这种霸权从一开始就存在，并且一直延续到今天。它确定了这种霸权的四个主要组成部分，并依次对每个组成部分进行了研究。前两个组成部分，即希伯来文化和欧洲中心主义，是根据哈比玛剧院、奥赫尔剧院和卡梅里剧院上演的剧目来分析的。该剧目结合了意第绪语戏剧和欧洲戏剧的翻译，同时也再现了东方主义对米兹拉希文化的态度。第三部分是特权公民身份，重点是与米兹拉希演员相比，阿什肯纳兹艺术家和剧院演员所享有的特权，特别是在选角决定方面。最后，霸权的阿什肯纳兹主义是由中产阶级成员所定义的，这导致戏剧中的作品以阿什肯纳兹观众及其文化资本为目标。