Готові списки джерел за темами / Judaism and theater

Добірка наукової літератури з теми "Judaism and theater"

Автор: Grafiati
Опубліковано: 26 липня 2024
Оновлено: 27 липня 2024

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Статті в журналах з теми "Judaism and theater"

1

Jay, Jeff. "The Problem of the Theater in Early Judaism." Journal for the Study of Judaism 44, no. 2 (2013): 218–53. http://dx.doi.org/10.1163/15700631-12340373.

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Abstract Some scholars have characterized Jewish participation in Roman theatrical institutions as a departure from normative Judaism, while others have distinguished Jews in the diaspora, who attend the theaters, from Jews in Palestine, who criticize and reject them. Both of these narratives are inadequate because scholars have failed to analyze the sources in terms of the cultural and discursive dynamics of Roman theater-going in general. Critiques and accommodations of the theater are common among Jews who lived in both the diaspora and Palestine, for the nature of theatrical culture itself provided Jews with opportunities for vigorous dialogical give-and-take under a Roman imperium in which theaters and their shows were of utmost political and social importance.
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2

Roberts, John H. "False Messiah." Journal of the American Musicological Society 63, no. 1 (2010): 45–97. http://dx.doi.org/10.1525/jams.2010.63.1.45.

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In closely connected studies Tassilo Erhardt and Michael Marissen have suggested that Handel's Messiah is fundamentally anti-Jewish. Erhardt, who based his conclusions on books thought to have been in the library of Charles Jennens, compiler of the Messiah libretto, argues that the text was intended as a defense of orthodox Christianity against Judaism as well as Deism; Marissen contends it “was designed to teach contempt for Jews and Judaism.” Closer examination of the theological literature of Jennens's day shows that the theories of both scholars are founded on selective and tendentious reading of the sources. Marissen's further claim that Handel consciously reinforced the libretto's supposed anti-Jewish connotations by means of motivic symbolism, orchestration, and chorale quotations rests on misconceptions about the composer's style. Jennens probably conceived Messiah not to counter either Deism or Judaism but to inspire his Christian audience to greater devotion. The preference he gave to Old Testament prophecy over New Testament narrative reflects a tacit contemporary prohibition against direct representation of Christ in the English theater.
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3

Rozik, Eli. "The adoption of theater by Judaism despite ritual: A study in the Purim‐Shpil." European Legacy 1, no. 3 (May 1996): 1231–35. http://dx.doi.org/10.1080/10848779608579555.

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4

Goodman, Daniel Ross. ""The Uncontrollability of Real Things": Operation Shylock, Sabbath's Theater, and Philip Roth's Falstaffian Theology of Judaism." Philip Roth Studies 16, no. 2 (2020): 39–59. http://dx.doi.org/10.1353/prs.2020.0013.

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5

Segal, Eliezer. "A Funny Thing Happened on My Way to Sodom." Journal for the Study of Judaism 46, no. 1 (February 10, 2015): 103–29. http://dx.doi.org/10.1163/15700631-12340094.

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As an illustration of the phenomena of “filtered absorption” or “controlled incorporation” of Greek and Roman culture into late classical Judaism, this article focuses on the depiction of Abraham’s servant, identified as Eliezer, in a passage in b. Sanh 109b, which consists largely of confrontations—several of them of a decidedly humorous or satirical nature—with the perverse laws, judges, and citizens of biblical Sodom. The manner in which Eliezer’s midrashic personality and role were fashioned by the rabbis evokes a familiar character from classical literature, namely the “clever slave” [servus callidus], a figure that was cultivated most famously by Plautus and which became a popular stock character in Roman theater. The article tries to reconstruct how the midrashic homilist adapted the Latin dramatic conventions for Jewish religious and exegetical purposes.Special attention is paid to the Talmud’s incorporation of the well-known motif of the “Procrustean bed”; noting the methodological and textual obstacles that plague our attempts to identify exactly which versions of that legend were being used by the Talmudic authors.
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6

Rainey, Sue. "Illustration “Urgently Required”: The Picturesque Palestine Project, 1878–83." Prospects 30 (October 2005): 181–260. http://dx.doi.org/10.1017/s0361233300002039.

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In the early 1880s, the book Picturesque Palestine, Sinai and Egypt brought to the American and British marketplace the most comprehensive visual survey of the Holy Land that had yet appeared. It came at a time when Protestant Christians in both countries felt the need was “urgent” for “accurate” illustrations of these regions that could serve to explain and “defend” the Scriptures against science and the new biblical criticism. To obtain such images, the publishing firms of D. Appleton in New York City and James S. Virtue in London sent the artists John Douglas Woodward and Harry Fenn on extended sketching trips in 1878 and 1879. Published serially from 1881 to 1883, Picturesque Palestine's nine hundred pages and six hundred black-and-white images would constitute the most conspicuous response to the contemporary appeals for illustrations of the Holy Land (Figure 1).At the same time, it would present these Eastern Mediterranean regions so significant to the history of Judaism, Christianity, and Islam through the lens of the picturesque — employing familiar aesthetic conventions long popular in British and American view books. In this approach, the artist or traveler searches for elements in the landscape that conform to preset ideas of what constitutes a picture — in this case, those distinguished by pleasing variety, irregularity of form, rough texture, and contrasts of light and dark. Thus, the book is a prime, and quite late, example of the “visualisation of the travel experience,” in which scenic tourism replaced the opportunity to meet and converse with others as the primary appeal of travel. Its comprehensive visual survey is also akin to the displays at the world's fairs so popular in this period that presented various regions and peoples as spectacle or theater.
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7

Ardizzola, Paola, and Joanna Grądzka. "Renato Rizzi." VITRUVIO - International Journal of Architectural Technology and Sustainability 7, no. 2 (December 30, 2022): 4–19. http://dx.doi.org/10.4995/vitruvioijats.2022.19041.

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Full Professor in Architectural Design at the Instituto Universitario di Architettura (IUAV) in Venice, he carries out an intense intellectual activity by connecting teaching, theory, research, and practice. Prize of the Italian Presidency of the Republic for architecture 2017, he has delivered seminars and lectures in some of the main universities including Harvard, UIC Chicago, ETH, etc. From 1984 to 1992 he collaborated with Peter Eisenman, New York, on the projects Romeo and Juliet, Verona (1986, Stone Lion, III Architecture Biennale of Venice), La Villette Park, Paris (1986), Monte Paschi, Siena (1988), etc. Among the main international projects: Great Egyptian Museum, Cairo (2002, third prize); MOMA Warsaw (2007, Honorable Mention); John Paul II Center, Krakow (2007, special mention); Torre della Ricerca, Padua (2008, fourth prize, in collaboration with Peter Eisenman); Museum of Judaism, Ferrara (2010, Special Mention). Main projects completed: Ghiaie Sports Area, Trento (1984-1998); Fortunato Depero Museum of Futurism, Rovereto (1992-2008); Gdańsk Shakespearean Theater (2004-2013). His projects are published in the main international magazines such as Casabella, Domus, Architectural Review, Detail, and have been exhibited at the Venice Biennale (1984, 1985, 1996, 2002, 2010 and 2016), Triennale di Milano, Accademia di San Luca, etc. Awards: Fritz Höger, Berlin, 2017; Architizer A, Belgium, 2016; Iconic Award, Monaco DB, 2015; Gold Medal, Milan, 2015, 2009; Golden Compass, Milan, 2015, 2011; Council of Europe, Landscape Award, 2009. Some significant publications: Il Cosmo della Bildung, Mimesis 2016; Unexpected Parma, MUP 2013; The Daìmon of Architecture, Mimesis 2014; John Hejduk, Incarnatio, Marsilio 2010; The Divine of the Landscape, Marsilio 2008; John Hejduk BRONX, Manual in verse, Mimesis 2020. He recently founded in Venice the Nuova Scuola Architettura, a free school that focuses on the urgency of a new (heretical) gaze at Architecture, a necessity which derives from the cultural abyss of our time. The Accademia Nazionale di San Luca in Rome is currently paying a tribute to his oeuvre in a grand exhibition of gypsum models and maquettes titled “eden-eden. Renato Rizzi”, which can be visited until March third, 2023.
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8

Ardizzola, Paola, and Joanna Grądzka. "Renato Rizzi." VITRUVIO - International Journal of Architectural Technology and Sustainability 7, no. 2 (December 30, 2022): 4–19. http://dx.doi.org/10.4995/vitruvio-ijats.2022.19041.

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Full Professor in Architectural Design at the Instituto Universitario di Architettura (IUAV) in Venice, he carries out an intense intellectual activity by connecting teaching, theory, research, and practice. Prize of the Italian Presidency of the Republic for architecture 2017, he has delivered seminars and lectures in some of the main universities including Harvard, UIC Chicago, ETH, etc. From 1984 to 1992 he collaborated with Peter Eisenman, New York, on the projects Romeo and Juliet, Verona (1986, Stone Lion, III Architecture Biennale of Venice), La Villette Park, Paris (1986), Monte Paschi, Siena (1988), etc. Among the main international projects: Great Egyptian Museum, Cairo (2002, third prize); MOMA Warsaw (2007, Honorable Mention); John Paul II Center, Krakow (2007, special mention); Torre della Ricerca, Padua (2008, fourth prize, in collaboration with Peter Eisenman); Museum of Judaism, Ferrara (2010, Special Mention). Main projects completed: Ghiaie Sports Area, Trento (1984-1998); Fortunato Depero Museum of Futurism, Rovereto (1992-2008); Gdańsk Shakespearean Theater (2004-2013). His projects are published in the main international magazines such as Casabella, Domus, Architectural Review, Detail, and have been exhibited at the Venice Biennale (1984, 1985, 1996, 2002, 2010 and 2016), Triennale di Milano, Accademia di San Luca, etc. Awards: Fritz Höger, Berlin, 2017; Architizer A, Belgium, 2016; Iconic Award, Monaco DB, 2015; Gold Medal, Milan, 2015, 2009; Golden Compass, Milan, 2015, 2011; Council of Europe, Landscape Award, 2009. Some significant publications: Il Cosmo della Bildung, Mimesis 2016; Unexpected Parma, MUP 2013; The Daìmon of Architecture, Mimesis 2014; John Hejduk, Incarnatio, Marsilio 2010; The Divine of the Landscape, Marsilio 2008; John Hejduk BRONX, Manual in verse, Mimesis 2020. He recently founded in Venice the Nuova Scuola Architettura, a free school that focuses on the urgency of a new (heretical) gaze at Architecture, a necessity which derives from the cultural abyss of our time. The Accademia Nazionale di San Luca in Rome is currently paying a tribute to his oeuvre in a grand exhibition of gypsum models and maquettes titled “eden-eden. Renato Rizzi”, which can be visited until March third, 2023.
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9

LIPSHITZ, YAIR. "‘This Is a Historical Israeli Play’: Spectatorship, Ownership and the Israeli Localizations ofSalomé." Theatre Research International 42, no. 3 (October 2017): 249–64. http://dx.doi.org/10.1017/s0307883317000578.

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This article traces the reception of Oscar Wilde's playSaloméin Israeli theatre by focusing on the engagement of two artists – writer and translator Pinchas Sadeh and theatre director Ofira Henig – with the play at two different periods. InSalomé, Wilde utilizes his perception of Judaism, as well as the Song of Songs, for the creation of a theatrical space in which spectatorship and ownership are subverted and displaced. At the same time, ironically, the biblical and ‘Jewish’ presence in the play was fundamental for claims of ownership made by some in Hebrew and Israeli culture, asserting that the play somehow belonged to Hebrew culture and the Land of Israel. Despite these claims, the actual reception ofSaloméin Israeli theatre proved that the play's ‘belonging’ was far more tenuous. The article examines how the tensions between the seen and the unseen, between owning and disowning and between placement and displacement play out – in almost opposite directions – in Sadeh's ideological reasoning for translatingSaloméand in Henig's production of it.
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10

Hoyt, Gabrielle. "Kaddish for Steve: On the Jewishness of Sondheim1." Studies in Musical Theatre 17, no. 3 (December 1, 2023): 299–303. http://dx.doi.org/10.1386/smt_00144_1.

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‘Kaddish for Steve’ explores Steven Sondheim’s legacy as a Jewish artist after his death, seeking traces of his Judaism in stories of his Jewish collaborators, exploration of his Jewish (and Jew-ish) characters and analysis of his Jewish themes. Using theories of Jewish narrative and Jewishness as articulated by (among others) Dara Horn and Daniel Boyarin, and musical theatre theory as conceived by David Savran, the article closely reads musicals including Merrily We Roll Along, Company, Sunday in the Park with George and Gypsy alongside Sondheim’s own memoir, Finishing the Hat. In examining Sondheim’s understanding of his own work, ‘Kaddish for Steve’ discovers a Jewish way of reading and writing within both the musicals and the memoir that closely aligns with Boyarin’s concept of ‘Jewissance’. The article concludes with a remembrance of Sondheim as spiritual and artistic teacher, honouring his continued influence on contemporary musical theatre and comparing his role in the lives of his many students to that of a rabbi.
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Дисертації з теми "Judaism and theater"

1

Marlin, Eric. "And come apart." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6798.

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2

Jeffreys, Margaret-Ellen. "Torah, Tradition, and Trina: Analysis and Development of Trina in William Finn's Falsettos From a Faith-Based Perspective." Master's thesis, Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002546.

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3

Wilson, Paul Wayne II. "The Breakdown of Theodicy as a Cross-Genre Event in Post-Shoah Tragedy, Using the Framework of Ron Elisha's TWO." Miami University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=miami1082928875.

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4

Sefel, John Michael. "Staging The [Disabled] Jew: The Thematic Use of Doctors, Disability, and Disease in Yiddish Plays on Modernization, 1790-1929." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618433569764629.

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5

Pedraza, Jennifer. "WHAT IS THEATRE'S ROLE AS A WORSHIP TOOL IN A MESSIANIC SYNAGOGUE?" Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4041.

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In this study, I worked with an ensemble of teenagers from Ayts Chayim Messianic Synagogue in Boca Raton, Florida to develop an original Purim play to be presented for the congregation and the public. I specifically explored "What is theatre's role as a worship tool in a Messianic Jewish Synagogue?" My ultimate goal in this process was to honor God through the creative arts, and I used the process of creating the play to discover the specific ways that theatre can be used as a worship tool, from script development to theatrical presentation. I hypothesized that theatre could be used as a worship tool if both the attitude of the artists is one of worship and the artists strive for excellence because it is ultimately for God. I furthermore hypothesized that worshipping throughout the process by way of the group's teamwork, attitude, and quality of work would be an integral part of producing a successful product. I sought to discover specifically what theatre as a worship tool looks like in the context of a Messianic Synagogue and what practices I glean from models of Christian drama ministries and what practices emerge from my process that are unique to Messianic theatre when used as a worship tool. How can I infuse my spiritual foundation with my artistic training? The majority of this project focused on the process of creating the play, from writing the script to dress rehearsals. The ensemble met weekly to explore the themes of the biblical story of Esther, brainstormed ideas for our adaptation, developed a script, and executed production aspects such as acting and design elements. Simultaneously, I kept a rehearsal journal with reflections on each lesson and the process as a whole. I completed research on contemporary theories and practices of Christian theatre artists in order to compare and contrast different approaches to faith-based theatre; these approaches are described in this thesis and conclusions are made as to how this research can be applied to my study. At the end of the presentation, I conducted interviews with members of the ensemble and the leaders of the congregation to receive feedback about the process, final presentation, and their perception of how theatre may be used as a worship tool. In this thesis, I write about the experience as a whole, evaluating our ability to use theatre as a worship tool for this specific presentation. I then process the implications this project has for future Messianic Jewish theatre, as well as the project's impact on my growth as a theatre artist. My final conclusions based on this experience are that theatre's role as a worship tool is to create an atmosphere where people are comfortable worshipping. Furthermore, the process of creating the play helped the youth and I discover how to be effective "ministers" and artists that create an atmosphere of worship. Based on my research, I posit that theatre can play many "roles" in the context of a Messianic synagogue: a bypass, sandpaper, or light, to name a few. Finally, artists and places of worship have something to contribute to one another, but both parties must move forward with the understanding that the Scripture provides a theological framework from which to base artistic choices and that artists need to develop their own specific approach to theatre while suiting the mission, vision, and values of the host congregation.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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6

Horowitz, Joshua R. "Cracking Open Peanuts: Exploring Jewish Identity and the Theatre of the Holocaust in Donald Margulies's Found a Peanut." Miami University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=miami1438529955.

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7

Caplan, Debra Leah. "Staging Jewish Modernism: The Vilna Troupe and the Rise of a Transnational Yiddish Art Theater Movement." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10869.

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This is the first study of the avant-garde Yiddish art theater movement, which flourished across five continents during the interwar period. From Warsaw to San Francisco, Buenos Aires to Winnipeg, Mexico City to Paris, and Johannesburg to Melbourne, the Yiddish art theaters were acclaimed by critics and popular with Jewish and non-Jewish spectators alike. These theaters had a significant impact on renowned theater practitioners around the world, who credited the Yiddish art theaters with inspiring their own artistic practice. In tracing how a small group of Yiddish theater artists developed a modernist theater movement with a global impact, my project provides a key and heretofore missing chapter in the history of the modern stage. I argue that the spirit of innovation that characterized the activities of the Yiddish art theaters and enabled them to become so influential was a direct product of the transnational nature of their movement. Operating in a Jewish cultural context unbounded by national borders, the success of these companies was propelled by a steady exchange of actors, directors, scenic designers, and critics across the world. Buoyed by a global audience base and unconfined by the geographical-linguistic borders that limited the national theaters of their neighbors, Yiddish theater artists were uniquely able to develop a fully transnational modernist theater practice. The global reach of the Yiddish art theaters is best exemplified by the Vilna Troupe (1915-1935), the catalyst for this movement and the primary focus of my study. The Vilna Troupe was the epicenter of the international Yiddish art theater movement throughout the interwar period. I demonstrate how the Troupe remained itinerant throughout its history, enabling it to reach an ever-larger global audience and inspiring dozens of other Jewish actors to create Yiddish art theaters of their own. Where previous generations of Yiddish actors had been subject to the double disapproval of Jewish and non-Jewish intellectuals alike, the Vilna Troupe legitimized the Yiddish art theater movement as a key contributor to the global theatrical avant-garde.
Near Eastern Languages and Civilizations
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8

Siegel, Elisheva S. "Challenging what we know with The Last Days of Judas Iscariot| Examining the reality." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10102587.

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The following report is on the point of view, conceptualization, and evolution in its final execution of the lighting design by Elisheva S. Siegel for California State University, Long Beach Theatre Department?s 2015 University Player?s production of The Last Days of Judas Iscariot by Stephen Adly Guirgis. It is submitted in partial fulfillment for completion of the Master of Fine Arts degree in Lighting Design. I believe that the core of this story is about challenging what we know is to be true. Furthermore, to physicalize the break down of these philosophical walls throughout the court proceedings against Judas Iscariot, a grid of severe lighting angles was employed. This grid evolved from extreme isolation to a blur as these black and white lines of moral principles becomes grey. Other visual metaphors include personifying Judas? despair, a contrasting atmosphere for the Past, and propelling into another dimension during Pilate?s testimony.

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9

Savolskis, Martin A. "Scenic Design for The Last days of Judas Iscariot." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338398969.

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10

Graff, Peter. "Music, Entertainment, and the Negotiation of Ethnic Identity in Cleveland’s Neighborhood Theaters, 1914–1924." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1522858050676766.

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Книги з теми "Judaism and theater"

1

Albert, Eleanor. Jewish story theater. Los Angeles, Calif: Torah Aura Productions, 1989.

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2

Urian, Dan. Yahaduto shel ha-teʼaṭron ha-Yiʹsreʼeli: Pirḳe meḥḳar. T"A [z.o. Tel Aviv]: Hotsaʼat ha-Ḳibuts ha-meʼuḥad, 1998.

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3

Shomre Mishmeret ha-ḳodesh (Organization : London). Ṿegn dem geplanṭn Idishn ṭeʼaṭer geshpilṭ tsu ṿern durkh a peritsusʼdige ṿeg: Groyse meydlakh mit has̀ene gehote froyen. לאנדאך: שומרי משמרת הקודש, 2005.

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4

Schotter, Roni. Purim play. New York: Marshall Cavendish, 2010.

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5

Rutlinger-Reiner, Reina. Teʼaṭron nashim datiyot be-Yiśraʼel. [Israel: ḥ. mo. l., 2004.

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6

ha-Bamah ha-meshaḳeret: Ha-teʼaṭron ba-Yahadut ben moshav letsim le-vet ha-midrash. Azur: Sifre Tsameret, 2017.

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7

The Judaic nature of Israeli theatre: A search for identity. Amsterdam: Harwood Academic Publishers, 2000.

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8

Masoret megulemet be-guf: Bitsuʻim teʼaṭroniyim shel ṭeḳsṭim Yehudiyim = Embodied Tradition : theatrical performances of Jewish texts. Or Yehudah: Devir, 2016.

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9

Hans-Peter, Bayerdörfer, and Schönert Jörg, eds. Theater gegen das Vergessen: Bühnenarbeit und Drama bei George Tabori. Tübingen: Niemeyer, 1997.

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10

Midrash bamah: Ḳevutsat ha-teʼaṭron ha-Yerushalmi. Tel-Aviv: Yediʻot aḥaronot, 2009.

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Частини книг з теми "Judaism and theater"

1

Friesen, Courtney J. P. "Theater and/as Ritual." In Acting Gods, Playing Heroes, and the Interaction between Judaism, Christianity, and Greek Drama in the Early Common Era, 1–18. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003392132-1.

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2

Friesen, Courtney J. P. "A Tale of Two Cities' Theaters." In Acting Gods, Playing Heroes, and the Interaction between Judaism, Christianity, and Greek Drama in the Early Common Era, 19–31. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003392132-2.

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3

Johnson, Jake. "Exoticized Voices, Racialized Bodies." In Mormons, Musical Theater, and Belonging in America, 83–112. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042515.003.0005.

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Just as Mormons used musical theater to purchase whiteness in the early twentieth century, so too do Mormons begin in the 1960s to use musical theater to associate other racial minorities with white American values. By allowing certain groups the opportunity to voice whiteness through the conventions of musical theater, Mormons reimagined the genre as a tool to transform some minority members into exemplars of whiteness. This chapter first details the history of Mormonism in Hawaii and the musical theater productions at the Mormon-owned Polynesian Cultural Center that began there in 1963. Importantly, Mormons have long understood dark-skinned Polynesians, like themselves, to be a chosen people, rather than cursed--displaced Jews, in fact, whose origins are explained in The Book of Mormon. The chapter then analyzes the Mormon musical Life . . . More Sweet than Bitter, billed as a sequel to Fiddler on the Roof, for its narrative explicitly connecting Mormons to Judaism. The musical stage thus becomes for modern Mormons a reckoning device to demonstrate belonging and acceptance in exotic terms--“whitening” the dark-skinned Polynesians and demonstrating fluidity between Mormonism and Judaism.
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4

"The Nineteenth-Century Jewish Playwright, Abraham Daninos, as a Bridge between Muslim and Jewish Theater." In Judaism and Islam: Boundaries, Communication and Interaction, 409–16. BRILL, 2000. http://dx.doi.org/10.1163/9789004453159_033.

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McAlister, Elizabeth A. "“The Jew” in the Haitian Imagination: Pre-Modern Anti-Judaism in the Postmodern Caribbean." In Black Zion, 203–28. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195112573.003.0011.

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Abstract Each year in Haiti the Holy Week of Easter sets the stage for spiritual dramas of remembrance, performed in carnivalesque street theater throughout the country. While Catholics reenact the Passion of Jesus and enter with him into his tribulation and resurrection, some practitioners of the Afro-Haitian religion called Vodou organize enormous musical parades called Raras and take to the streets for the spiritual warfare that becomes possible when the angels and saints remove to the underworld, along with Jesus, on Good Friday. The cast of characters who have a hand in the week’s events include the deities of Vodou-especially Baron Simitye, the Vodou “Lord of the Dead”-the zonbi (recently dead) who are his wards, and also Jesus, the two thieves crucified with him, a couple of Haitian army officers who secretly witnessed the resurrection, Pontius Pilate and the Romans, Judas, and “the Jews:’ The week’s ritual events combine the plots and personae of the Christian narrative with the cosmology of various African religions and rehash them in local ritual dramas whose elements draw from the entire history of the Atlantic world, from the European Middle Ages to the contemporary condition of global capitalism in the Americas.
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McNair, Alexander. "Behind the Veil: Antonio Enríquez Gómez, Kabbalah, and the Immaculate Conception." In La comedia entre mundos: intersecciones críticas en el teatro de la temprana modernidad, 335–62. Sociedad Menéndez Pelayo, 2024. http://dx.doi.org/10.55422/ppsmp.9.17.

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Antonio Enríquez Gómez, a Spanish expatriot living in the Iberian merchant enclaves of France, was wanted by the Inquisition as a relapsed converso. Though he spent more than a decade in exile (c. 1636-1649) as a practicing Jew, he returned to Spain (Sevilla) clandestinely and wrote comedias de santos for the theater under the name of Fernando de Zárate. This study explores how the playwright’s exposure to Judaism abroad may have inflected his composition of La escala de la gracia, an Immaculate Conception play from the 1650s. In particular, I consider Lurianic Kabbalah, which had permeated Jewish spirituality in the seventeenth century, as an interpretive strategy that the poet may have utilized to encode, behind the veil of allegory, one message for Christian audiences and another for crypto-Jewish readers. The poet, himself an adept at crossing the boundary between worldviews, creates a work that transcends this world (the mundane) and unites it with the next (the sacred).
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Aviv, Efrat E. "“Estos Makames Alegres” (These Cheerful Maccams)—External Cultural Influences on the Jewish Community of Izmir on the Eve of the “Young Turk Revolution”Theater and Music." In The Convergence of Judaism and IslamReligious, Scientific, and Cultural Dimensions, 284–96. University Press of Florida, 2011. http://dx.doi.org/10.5744/florida/9780813036496.003.0015.

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8

Lubet, Alex. "Transmigrations: Wolf Krakowski’s Yiddish Worldbeat in its Socio-Musical Context." In Polin: Studies in Polish Jewry Volume 16, 296–312. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0016.

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This chapter examines Wolf Krakowski's legendary CD Transmigrations, which was the first example of Yiddish worldbeat. Transmigrations comprises principally secular songs, although these are at times referenced, as is nearly unavoidable in chronicles of Jewish life. Two songs, ‘Shabes, shabes’ and ‘Zol shoyn kumen di geule’ (Let the Redemption Come), are traditionally devotional, if non-liturgical. The songs that address the Holocaust and other Jewish suffering pose basic spiritual questions that Jews must ask, though not in formal prayer. In determining any music's Jewishness, lessons from the sacred repertoire of Judaism may be applied. On utilitarian grounds, all settings of sacred Hebrew texts for use in Jewish worship are Jewish music. This principle extends to all Yiddish song, since Jewish languages are tools of Jewish community. This includes all twelve songs on Transmigrations. Ultimately, Transmigrations—an album of Yiddish folk songs and works by Yiddish theatre and literary artists, its melodies forthrightly Jewish—defies expectations of Yiddish song in broader aspects of style.
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Wodziński, Marcin. "Growing Interest, Growing Conflict, 1831–1860." In Haskalah and Hasidism in the Kingdom of Poland, translated by Sarah Cozens and Agnieszka Mirowska, 116–53. Liverpool University Press, 2005. http://dx.doi.org/10.3828/liverpool/9781904113089.003.0005.

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This chapter investigates the growth of interest in hasidism among the Polish maskilim, which was marked by the publication in the late 1830s and the early 1840s of a number of texts discussing hasidic issues written by Polish maskilim. A very interesting, if somewhat isolated, example of the use of the hasidic motif in literature was the play written by the maskil Efraim Fishel Fischelsohn in the late 1830s or early 1840s and published posthumously: Teater fun khsidim (Theatre of the Hasidim). The growth of interest in the hasidim was also occasioned by the appearance of the first projects to reform Jewish society to take into account the existence of this movement. A memorandum concerning improvements to the situation of Jews in Poland was written at this time by the maskil Eliasz Moszkowski. The gradual growth of interest in the hasidim in Polish maskilic works appearing in the 1830s and 1840s had two main causes. The first was the growth of the importance of hasidism itself, and the second was the associated increase in the number of local conflicts between the supporters of the two groups. Jakub Tugendhold's attitude towards hasidism was innovative among modernizing Jews; he treated hasidism as one of the legitimate sectors of Judaism and persistently endeavoured to limit social tensions between all sectors of Jewish society.
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