New Article: Omer & Zafrir-Reuven, The Development of Street Patterns in Israeli Cities

Omer, Itzhak, and Orna Zafrir-Reuven. “The Development of Street Patterns in Israeli Cities.” Journal of Urban and Regional Analysis 7.2 (2015): 113-27.

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URL: http://www.jurareview.ro/2015_7_2/a1_72.pdf [PDF]

 

Abstract

Street patterns of Israeli cities were investigated by comparing three time periods of urban development: (I) the late 19th century until the establishment of the state of Israel in 1948; (II) 1948 until the 1980s; and (III) the late 1980s until the present. These time periods are related respectively to the pre-modern, modern and late-modern urban planning approach. Representative urban street networks were examined in selected cities by means of morphological analysis of typical street pattern properties: curvature, fragmentation, connectivity, continuity and differentiation. The study results reveal significant differences between the street patterns of the three examined periods in the development of cities in Israel. The results show clearly the gradual trends in the intensification of curvature, fragmentation, complexity and hierarchical organization of street networks as well as the weakening of the network’s internal and external connectivity. The implications of these changes on connectivity and spatial integration are discussed with respect to planning approaches.

 

 

 

New Book: Levy, Israeli Theatre (in Hebrew)

Levy, Shimon. Israeli Theatre. Time, Space, Plot. Tel Aviv: Resling, 2016 (in Hebrew).

 

 

In the absence of a well-established tradition of drama, the new Hebrew theatre in Palestine at the beginning of the 20th century, is caught in a fruitful and fascinating bind. Processes of secularization and liberalization among world Jewry and pre-State Israel fostered openness towards the theatre. This relatively new art in Jewish tradition was also seen as entertainment, but in its early years it was primarily employed as an educational and ideological tool in the service of Zionist national needs in the struggle for the creation of a Hebrew culture. The dramatic nature of this change in the status of Jews and Israel not only summoned a revived reading of Jewish history, but also its staging, pun intended, on the Hebrew stage, in the Land of Israel, and of course – the Hebrew language.

This book addresses issues and topics of Israeli drama and theatre from a social-artistic perspective. The prologue treats the development of a Jewish-Hebrew-Israeli theatre against the backdrop of secularization of the Jewish community from the early 19th century to its flourish in contemporary Israel. The basic conditions for theatre in general and Israeli theatre in particular are discussed in a chapter on space in Israeli drama. Theatrical props are discussed in a chapter which examines the idiosyncrasy of local drama through one of the elements of its space design. The Hebrew Bible and Judaism are addressed in a chapter on secular sanctity, characteristic to our stage. Another component of Israeli identity, its attitude toward Arabs, wars and the protracted conflict, is discussed in a chapter entitled “captive in fiction.” A discussion of three giants in Israeli drama – Nissim Aloni, Joshua Sobol and Hanoch Levin – is structured by the meta-theatrical intentionalism of each of them. the Acco Festival, an annual event since 1980, is discussed as a key component in the Israeli theatrical scene. The book concludes with a eulogy for the Hebrew radio drama, a celebrated genre in its heyday until it was marginalized by television, but its significant contribution to Israeli drama nevertheless remains.

 

SHIMON LEVY is a Professor Emeritus of Theatre at Tel Aviv University, where he taught for many years, and was chair of the Department of Theatre Arts. His main areas of research are Hebrew-Israeli theatre and drama, the works of Samuel Beckett, and theories of chaos in relation to theatre. He has published dozens of articles, and hundreds of essays on theatre in Hebrew, English, and German, as well as about ten books. He has translated over 100 plays for the stage, and continues to be active as a director in Israel and abroad.