This paper probes into the 1964 Israeli performance of Rolf Hochhuth's controversial drama The Representative. Staged by Habima National Theatre under the direction of Avraham Ninio, the majority of the cast engaged in this production comprised European-born Jewish refugees and Holocaust survivors. In its cultural context, the theatrical image of Jewish refugees dressed in Nazi uniforms or, conversely, staging visual, gestural or aural markers of Auschwitz prisoners imbued the drama with political meanings, triggering a debate about agency and forms of social and material participation in the aftermath of calamity. Examining the subterranean world of artists and craftsmen and women whose labour is deliberately obscured from view, I argue that the work of theatre emerges as a creative and generative energy that filters from the staged fiction into the ‘real’ world.

中文翻译：

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工作和娱乐：Rolf Hochhuth 的特拉维夫代表 (1964)

本文探讨了 1964 年以色列对罗尔夫·霍赫胡斯的争议戏剧的表演代表. 由哈比马国家剧院在 Avraham Ninio 的指导下上演，参与这部作品的大多数演员都是在欧洲出生的犹太难民和大屠杀幸存者。在其文化背景下，身着纳粹制服的犹太难民的戏剧形象，或者相反地，奥斯维辛集中营囚犯的视觉、手势或听觉标记使该剧充满了政治意义，引发了一场关于社会和物质参与的能动性和形式的辩论。灾后。审视艺术家、工匠和女性的地下世界，他们的劳动被故意遮蔽，我认为戏剧作品作为一种创造性和生成性的能量出现，从舞台小说过滤到“真实”世界。