The analysis of the following two Israeli plays is the focus of this article:Ghosts in the Cellar(Haifa Theatre, 1983) by Sami Michael, andThe Father's Daughters(Hashahar Theatre, 2015) by Gilit Itzhaki. These plays deal with the Farhud – a pogrom which took place in Iraq in 1941, in which two hundred Iraqi Jews were massacred by an Iraqi nationalist mob. The Farhud has become a traumatic event in the memory of this Jewish community. Using the concept of ‘performing history’ as advanced by Freddie Rokem, I observe how these plays, as theatre of a marginalized group, engage in the production of memory and history as well as in the processing of grief. These plays present the Farhud and correspond with the Zionist narrative in two respects: (1) they present the traumatic historical event of these Middle Eastern Jews in the light of its disappearance in Zionist history, and (2) their performance includes Arab cultural and language elements of Iraqi-Jewish identity, and thus implicitly points out the complex situation of the Arab–Israeli conflict.

中文翻译：

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在以色列舞台上表演伊拉克犹太历史

以下两部以色列剧的分析是本文的重点：地窖里的鬼魂（海法剧院，1983 年）由 Sami Michael 和父亲的女儿们（Hashahar 剧院，2015 年），作者 Gilit Itzhaki。这些戏剧讲述的是 1941 年发生在伊拉克的法胡德大屠杀，其中 200 名伊拉克犹太人被伊拉克民族主义暴徒屠杀。Farhud 事件已成为这个犹太社区记忆中的一个创伤事件。使用弗雷迪·罗克姆（Freddie Rokem）提出的“表演历史”的概念，我观察这些戏剧作为边缘群体的戏剧，如何参与记忆和历史的生产以及悲伤的处理。这些戏剧呈现了法胡德，并在两个方面与犹太复国主义的叙述相呼应：（1）它们根据这些中东犹太人在犹太复国主义历史中的消失呈现了他们的创伤性历史事件，以及（2）它们的表演包括阿拉伯文化和语言伊拉克犹太人身份的元素，