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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... performed melodramas and musicals, and provided theatrical escapes from national crisis rather than confrontations with it. Sharing the 1933 Yiddish theatre season (but not the Artef stage) with Nadir's play in New York were Love for ...
... performed first in 1929 and then in 1933. Long before Zero Mostel portrayed a scheming theatrical producer in a film created by Mel Brooks, Nadir developed this earlier comic version of The Producers. Nadir's confidence men sell tickets ...
... performed by the same company in the 1930s, Nadir collaborated with the distinguished Yiddish director, Maurice Schwartz, who staged several of his plays, including The Last Jew in 1921. His three-act musical, The Tragedy of Nothing ...
... is any indication. Yiddish writer Lamed Shapiro saw Act One of Messiah in America performed in 1929, and recalled the audience around him laughing at the white-bearded messiah, “a GalicianJew and a wimp, [who] couldn't manage 10 / Chapter ...
... perform heavy labor or stand on his feet for long. Stage directions in Act One call for the old man to faint. The crowd exclaims: “He fell, our messiah.” This messiah's later boxing victory verges on the miraculous, even if he has a ...
Зміст
1 | |
The Lower East Side Arises | 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 |
279 | |
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 |