Yehuda (Jean-Bernard) Moraly, is professor emeritus of Theater Studies at the Hebrew University. He studied theatre and philosophy at the Sorbonne and acting with Jacques Lecoq, Pierre Debauche, and Antoine Vitez. Since 1972, he has taught at the Sorbonne, Rio de Janeiro U., Tel Aviv U, Bar Ilan U., and at the Hebrew University from 1982-2012. His fields of research are mainly French theater and film. His first book, Jean Genet, la vie écrite (Paris, 1988), opposed Genet's official image (as an uncultured outlaw) and showed him to be a highly cultured writer whose need to write determined all the aspects of his life, since his childhood. The ensuing publication of more comprehensive biographies of Genet has not erased the impact of this new conception, which has become a point of reference for research on Genet's work.
The second theme of his research, the theatrical creation of Paul Claudel, is not as far from the first as it may seem. In Claudel metteur en scène : la frontière entre les deux mondes( Besançon, 1998), Moraly opposes the accepted image of Paul Claudel as a paragon of arrière-garde theater. The book reveals unknown aspects of Claudel's work: his ballets, his theatrical experiments and his exploration of a new kind of musical theater.
Le Maître fou, (Nizet, 2009) analyzes Genet's theoretical texts on theater and art. These texts, neglected by scholarship, offer a key for the comprehension of Genet's dramatic work and are a deep reflection about the powers and the limits of artistic creation. L'oeuvre Impossible: Claudel, Genet, Fellini (Le Manuscrit, Paris 2013) deals mostly with Fellini's cinema.
His most recent work, Revolution au Paradis (Elkana, 2014), is devoted to the veiled representations of Jewish characters in Occupied France's theater and film (Les Enfants du Paradis, Volpone, La Folle de Chaillot, etc.). The undermining of generally admitted cultural images remains a consistent feature of his research.
Yehuda Moraly is also a playwright. His plays have been produced and published in France and in other countries : Les Catcheuses (Maison de la Culture de Nanterre, 1973), Sissi en enfer (Maison de la Culture de Rennes, 1975), Cendrillon (Théâtre des Champs-Elysées, 1980), Gimpel (Khan Theater, 1982), Le Tombeau des poupées (Palais de Chaillot, 1983), Strip (Avant-Scène, 1986), Etrangle-moi, mon amour (Jaffa, 1990;The Barcelona Dispute, (Jerusalem 1992 ), La Musique (France Culture, 1992), Voices (Aspeclaria 2006, 2012). In 2009, Continuum published his recent play, a one-woman show, Les merveilles du fond des mers ou un chef d'œuvre à gonfler soi-même.