“We can tell that this hostility to Israel is as artificially constructed as any antisemitism by looking at the list of theatre groups [performing at the Globe Theatre World Shakespeare Festival in London] against which the enlightened ones organized no boycott. Antizionists have created a whole new ‘-ism’, a worldview, around their campaign against Israel. Within it, a caricature of Israel is endowed with huge symbolic significance which relates only here and there to the actual state, to the complex conflict and to the diversity of existing Israelis. If the Palestinians stand, in the antizionist imagination, as symbolic of all the victims of ‘the west’ or ‘imperialism’ then Israel is thrust into the centre of the world as being symbolic of oppression everywhere. Like antisemitism, antizionism imagines Jews as being central to all that is bad in the world.”
From the truly brilliant reflections by David Hirsh on the Habima Theatre’s performance of “The Merchant of Venice” in London. David prefaces his post with the often debated question: “Is the Merchant of Venice an antisemitic play or is it a play which intimately depicts the anatomy of persecution, exclusion and bullying?” The way David tackles this question is particularly powerful because he combines his impressions from the play with his thoughts about the BDS protesters who tried to disrupt the performance.
At CiFWatch, Adam Levick has an excellent post on the review of the Habima production by the Guardian’s theatre critic, who, unsurprisingly, happens to be an enthusiastic admirer of Caryl Churchill’s antisemitic play “Seven Jewish Children.” It’s only natural then that the Guardian’s theatre critic can’t help herself when she sees the broken Shylock at the end of the play: why mention anything about antisemitism if you feel so strongly that it’s “impossible not to think of other displaced people, too, most particularly the Palestinians”…