"At the beginning of the 20th Century, Leopoldstadt was the old, crowded Jewish quarter of Vienna. But Hermann Merz, a manufacturer and baptised Jew married to Catholic Gretl, has moved up in the world. Gathered in the Merz apartment in a fashionable part of the city, Hermann's extended family are at the heart of Tom Stoppard's epic yet intimate drama. By the time we have taken leave of them, Austria has passed through the convulsions of war, revolution, impoverishment, annexation by Nazi Germany and - for Austrian Jews - the Holocaust in which 65,000 of them were murdered. It is for the survivors to pass on a story which hasn't ended yet"--Back cover

This Student Edition of Broken Glass is perfect for students of literature and drama and offers an unrivalled and comprehensive guide to Miller's play. It features an extensive introduction by Alan Ackerman which includes a chronology of Miller's life and times, a summary of the plot and commentary on the characters, themes, language, context and production history of the play. Together with over twenty questions for further study and detailed notes on words and phrases from the text, this is the definitive edition of the play. Set in Brooklyn in 1938, Broken Glass is Miller's moving study of marital relations, Jewish identity and anti-Semitism that won the Olivier Award for Best New Play in 1994. Sylvia Gellburg is stricken by a mysterious paralysis in her legs for which the doctor can find no cause. He soon realises that she is obsessed by the devastating news from Germany, where government thugs have begun smashing Jewish stores. But through a series of meetings with her husband Phillip he learns that this experience is intermeshed with their strange relationship and the deceptions and hostilities that lie at the heart of their marriage. Professor Alan Acklerman's expertly edited edition of the play provides a wide-ranging study of Kristallnacht, and of American and European responses to the Holocaust, the situation of Jews in America from the 1930s to the 1990s, the Great Depression and other Holocaust and Jewish drama.

"A deeply moving play inspired by the true events surrounding the controversial 1923 Broadway debut of Sholem Asch's God of Vengeance--a play seen by some as a seminal work of Jewish culture, and by others as an act of traitorous libel. INDECENT charts the history of an incendiary drama and the path of the artists who risked their careers and lives to perform it"--Page [4] of cover.

In the final months before 9/11, liberal Jewish studies professor Michael Fischer has reunited with his two sisters to celebrate their father's seventy-fifth birthday. Each deeply invested in their own version of family history, the siblings clash over everything from Michael's controversial scholarly work to the mounting pressures of caring for an ailing parent. As destructive secrets and long-held resentments bubble to the surface, the three negotiate--with biting humor and razor-sharp insight--how much of the past they're willing to sacrifice for a chance at a new beginning. IF I FORGET tells a powerful tale of a family and a culture at odds with itself.

A new play from Nobel Prize winner Elfriede Jelinek that deals with the 2015 terror attack on the satirical French magazine Charlie Hebdo 's offices in Paris. In Greek mythology, it is Hera who blinds the hero Heracles, so that, in a fit of fury, he kills his own family. In the twenty-first century, the gods have another name. So did the three young men who stormed a magazine's editorial office and a Jewish supermarket in Paris in January 2015 and murdered twelve people. The blind fury, however, remained and more virulent than ever, not least because the weapons were so much more effective. In this raging text, arguably one of her darkest, Nobel Prize winner Elfriede Jelinek investigates topical political events in the context of enduring history and myths. Fury expresses itself not only multi-voiced and from the changing perspective of Islamist terrorists (and their special hatred of Jews), in the shape of furious German citizens, individual narcissistic humiliation, or brutal distribution battles around the globe. Rather, fury also appears as the motor that has driven people with a devastating force for centuries. With her characteristic linguistic power, Jelinek articulates her own disconcertedness in the face of these crimes. In passing, she returns repeatedly to the contradiction between religious laws against representation and the deluge of images online, where movies of assassination, severed heads, and other atrocities are exhibited for millions to see. Fury is a compact grand epic that starts in primal times and attempts to describe the indescribable, relating the inexplicable in our times.

It is the holiday of Purim -- a time to stage comic and entertaining plays or "Purimshpiels". But in the village of Shamgorod in 1649, this festive custom takes a tragic turn. Three itinerant actors show up at an inn to perform a Purim play for the Jewish community. The discovery that Shamgorod has suffered a pogrom and only two Jews have survived -- the innkeeper, Berish, and his daughter. Egged on by Berish, the actors agree that instead of a "Purimshpiel" they will stage a mock trial of God, indicting Him for allowing such things to happen to His children. Berish wants to be the Prosecutor; the three actors agree to be the Judges. But who will be Defense Attorney? A Stranger, who looks oddly familiar to all of them, appears and offers to take the role. Meanwhile the mob outside is planning a new assault on the inn. -- From publisher's description.

In his historic play The Melting Pot, Israel Zangwill (1864–1926) introduced into our discourse a potent metaphor that for nearly a hundred years has served as a key definition of the United States. The play, enthusiastically espoused by President Theodore Roosevelt, to whom it was dedicated, offered a grand vision of America as a dynamic process of ethnic and racial amalgamation. By his own admission, The Melting Pot grew out of Zangwill's intense involvement in issues of Jewish immigration and resettlement and was grounded in his interpretation of Jewish history. Zangwill, Anglo Jewry's most renowned writer, began writing seriously for the stage in the late 1890s. At the time, the negative stereotype of the so-called Stage Jew was still deeply entrenched in the theatrical mainstream, so much so that Jewish playwrights writing for the English-language stage avoided altogether the portrayal of Jewish life. Zangwill shattered this silence in 1899 with the American premiere of Children of the Ghetto―his first full-length drama, and the first English-language play devoted in its entirety to the depiction of Jewish life in an authentic and positive fashion. The play's groundbreaking production drew tremendous attention and generated heated debates, but since the script was never published, the memory of the passions it generated dimmed, and its whereabouts eventually became unknown. After more than a century, theater historian Edna Nahshon has discovered the original manuscript of this milestone text, as well as that of another unpublished Zangwill play, The King of Schnorrers, and the original version of The Melting Pot. Nahshon brings these three works together in print for the first time in From the Ghetto to the Melting Pot. Edna Nahshon's in-depth introduction to this volume includes a biography of Israel Zangwill that especially pertains to these works and situates them within the Anglo-American theater of the time. The essays preceding each play provide rich and hitherto unknown information on the scripts, their stage productions, and their popular and critical reception. While some issues addressed in From the Ghetto to the Melting Pot are uniquely Jewish, others are universal and typical of the negotiation of self-presentation by ethnic and minority groups, particularly within the American experience.

This book features a CD of rarely performed music, including a specially commissioned rap by Erik Weiner of Walter Benjamin's "Thesis on the Philosophy of History." Theodor W. Adorno was the prototypical German Jewish non-Jew, Walter Benjamin vacillated between German Jew and Jewish German, Gershom Scholem was a committed Zionist, and Arnold Schönberg converted to Protestantism for professional reasons but later returned to Judaism. Carl Djerassi, himself a refugee from Hitler's Austria, dramatizes a dialogue between these four men in which they discuss fraternity, religious identity, and legacy as well as reveal aspects of their lives-notably their relations with their wives-that many have ignored, underemphasized, or misrepresented. The desire for canonization and the process by which it is obtained are the underlying themes of this dialogue, with emphasis on Paul Klee's Angelus Novus (1920), a canonized work that resonated deeply with Benjamin, Adorno, and Scholem (and for which Djerassi and Gabrielle Seethaler present a revisionist and richly illustrated interpretation). Basing his dialogue on extensive archival research and interviews, Djerassi concludes with a daring speculation on the putative contents of Benjamin's famous briefcase, which disappeared upon his suicide.

The Jewish King Lear , written by the Russian-Jewish writer Jacob Gordin, was first performed on the New York stage in 1892, during the height of a massive emigration of Jews from eastern Europe to America. This book presents the original play to the English-speaking reader for the first time in its history, along with substantive essays on the play’s literary and social context, Gordin’s life and influence on Yiddish theater, and the anomalous position of Yiddish culture vis-à-vis the treasures of the Western literary tradition. Gordin’s play was not a literal translation of Shakespeare’s play, but a modern evocation in which a Jewish merchant, rather than a king, plans to divide his fortune among his three daughters. Created to resonate with an audience of Jews making their way in America, Gordin’s King Lear reflects his confidence in rational secularism and ends on a note of joyful celebration.

For much of her career, Elfriede Jelinek has been maligned in the press for both her unrelenting critique of Austrian complicity in the Holocaust and her provocative deconstructions of pornography. Despite this, her central role in shaping contemporary literature was finally recognized in 2004 with the award of the Nobel Prize in Literature. The committee acknowledged Jelinek's groundbreaking work that offers a "musical flow of voices and counter-voices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society's clichés and their subjugating power." Although she is an internationally recognized playwright, Jelinek's work is difficult to find in English, which makes this new volume, which includes Rechnitz: The Exterminating Angel and The Merchant's Contracts , all the more valuable. In Rechnitz , a chorus of messengers reports on the circumstances of the massacre of 180 Jews, an actual historical event that took place near the Austrian/Hungarian border town of Rechnitz. More than a docu-drama, this work explores the very transmission of historic memory and has been called Jelinek's best performance text to date. In The Merchant's Contracts , Jelinek brings us a comedy of economics, where the babble and media spin of spectators leave small investors alienated and bearing the brunt of the economic crisis. In the age of the global economy, Jelinek turns the story of a merchant of Vienna into a universal comedy of errors, making this her most accessible work. Along with an extensive introduction by the translator that both contextualizes and analyzes the two brilliant texts, a DVD of performances of both plays accompanies this volume. Available for the first time in English, this is a collection that testifies to the power and universality of Jelinek's work.

The cause celebre of the 19th century, the Dreyfus Affair destabilized French society (1894-1906) and reverberated across the world. Its repercussions continue to this day. A deliberate miscarriage of justice, the public degradation of an innocent Jewish officer and his incarceration on Devil's Island, espionage, intrigue, media pressure, vehement antisemitism and political skulduggery--all these elements, based on historical records, are contained in George R. Whyte's trilogy of plays which also focuses on Emile Zola's letter to the President of France, J'Accuse, arguably history's most famous plea for human rights.

Does Tommy know you're Jewish? Tommy knows I'm Irish. At 12:37pm on 22 July 1946, the King David Hotel in Jerusalem was bombed. 91 people were killed, 46 wounded. The bombing was carried out by right-wing Zionists, targeting the headquarters of the British in Palestine. Two Irish Jewish brothers, Paul and Cecil Green, journey from their Dublin birthplace to battle antisemitism on the streets of East London. Their Irish nationalism propels them towards Jewish nationalism as they struggle against British Imperialism to form a Jewish nation state. As violence between British soldiers and Jewish terrorists erupts, Paul and Cecil become involved in an act of terrorism that changes both their lives. 12:37 raises complex and controversial questions around Jewish violence, homeland and national identity in a stunning new play that is both a hard-hitting historical epic and an intimate family drama. This edition was published to coincide with the world premiere at the Finborough Theatre, London, in November 2022.