Messiahs of 1933: How American Yiddish Theatre Survived Adversity Through SatireTemple University Press, 7 трав. 2008 р. - 320 стор. Joel Schechter has rediscovered the funny and often politically-charged plays of the American Yiddish theatre of the 1930s. In Messiahs of 1933 he celebrates their satire, their radical imagination, and their commitment to social change. He introduces readers to the once-famous writers and actors—Moishe Nadir, David Pinski, Yosl Cutler, and others—who brought into artistic form their visions of peace, social justice, and satire for all. Messiahs of 1933 greatly enlarges our understanding of Yiddish theatre and culture in the United States. It examines the innovative stage performances created by the Artef collective, the Modicut puppeteers, and the Yiddish Unit of the Federal Theatre Project. And it introduces to contemporary readers some of the most popular theatre actors of the 30s, including Leo Fuchs, Menasha Skulnik, and Yetta Zwerling. Throughout, it includes relevant photographs and contemporary comic strips, along with the first English-language publication of excerpts from the featured plays. |
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... briefly recalls some of the satiric sketches the “great humorist” Nadir wrote for Maurice Schwartz.8 Schwartz collaborated with Nadir again after his negative newspaper reviews of plays led some theatre producers to ban the critic from ...
... briefly about one scene in a Yiddish play at Artef (Haunch, Paunch, and Jowl) that displeased him.21 He knew Artef's artists, and they knew him to some extent, although they never collaborated. (Earlier, when Brecht's Threepenny Opera ...
... briefly could be heard on stage again in a radical American play. But that is another story.22) Without question, the audience for messianic and satiric Yiddish theatre in the thirties was small, compared to the audience attending ...
... briefly suspected of Communist tendencies; producers Zipkin and Menachem Yosef decide such attributions would not be profitable, and instead decide on a capitalistic merger of their holdings. (Today their outrageous bottom-line decision ...
... briefly figures in Nadir's Rivington Street, performed by Artef in 1932, and discussed in Chapter 2.) Politically conscious artists who quarreled in Yiddish over the abuse. Figure 1.2 Artef's 1936 advertisement for Sholem Aleichem's ...
Зміст
1 | |
37 | |
How Soviet Yiddish Satire Fared in America | 57 |
The Society of the Sorely Perplexed Takes the Stage | 71 |
It Cant Happen Here in Yiddish | 105 |
The Tailor Becomes a Storekeeper | 121 |
Popular Yiddish Theatre Reconsidered | 141 |
The Yiddish Puppetry of Maud and Cutler | 157 |
Sholem Aleichemand the Communists | 203 |
The Yiddish AntiWar Catalogue Reconsidered | 221 |
Still Waiting for the Messiah | 231 |
Appendix | 239 |
Acknowledgments | 245 |
Notes | 247 |
Bibliography | 279 |
Index | 287 |
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Messiahs of 1933: How American Yiddish Theatre Survived Adversity through Satire Joel Schechter Попередній перегляд недоступний - 2008 |
Messiahs of 1933: How American Yiddish Theatre Survived Adversity Through Satire Joel Schechter Попередній перегляд недоступний |