Podcasts about sholem asch

Translator and adapter Weaver sits down with "The Shmooze" to talk about the drama group Theater Between Addresses and its upcoming immersive, staged reading of Sholem Asch's "Shabbtai Tsvi," which Weaver translated and adapted. Never before performed in its entirety, the play shows the meteoric rise and tragic fall of Shabbtai Tsvi, the 17th-century Ottoman Jewish mystic whose messianic aspirations attracted a following of thousands of Jews from every corner of the earth. The reading will take place outdoors on the grounds of the Yiddish Book Center. Episode 376 August 7, 2024 Amherst, MA

This week playwright Steve Fife sat in-studio in the Playwright's Spotlight. It was a reflective conversation of his experience in New York and on Broadway in the seventies, his dislike of eighties, and the joyous return in the nineties. We discuss rewriting and updating past works, getting back to theatre's roots, directing your own work (of course) and The Greats, the current acceptance of dark subject matter, and audience feedback at staged readings. We also touch on theatre in L.A., cast conflicts and obligations, Playwrights vs Directors interpretation, lessons from workshop participation vs running workshops as well as lessons as a literary manager which led into stories of David Ives and fame in the bubble of theatre and being a big fish in a small pond. Our conversation ends in writing natural dialogue. It's a fascinating conversation through a window of where theatre was and where it is now and Steve's connection with personas we've all come to know throughout our time in this wondrous arena. I'm sure you'll find something to connect with. Enjoy!Steve Fife is an author, poet, and playwright and former reporter and literary manager. His plays SAVAGE WORLD, BREAK OF DAY and THIS IS NOT WHAT I ORDERED have been published by Samuel French/Concord Theatricals.  Other plays include In The Mood, Sizzle Sizzle, Blue Kiss, The Kitchen Girl, Fun With Freud, Scattered Blossoms, Vincent in the Asylum, Van Gogh's Zombie Movie, The Transformation Center, Bring Your Own and The Blessing. His adaptation of Sholem Asch's God of Vengeance was produced Off-Broadway and The American Wife had its World Premiere at the Park Theatre in London. He was 2019-20 writer-in-residence at the Ark Theatre in North Hollywood. He has also penned book & lyrics for four musicals. He is a graduate the National Theatre Institute, Sarah Lawrence College and received his MFA from Columbia University's School of the Arts. To view the video format of this episode, visit -https://youtu.be/RZmBvAMPM3ELinks mentioned in this episode -Interact Theatre Company -https://www.interactla.org/"Hurricane" Carter -https://en.wikipedia.org/wiki/Rubin_CarterMatrix Theatre -http://www.matrixtheatre.comNew Dramatists -https://newdramatists.orgConcord Theatricals -https://www.concordtheatricals.comWebsites and socials for Steve Fife -Facebook - https://www.facebook.com/steve.fife.94X - @twistedhipster8IG - @steve.fife.94Websites and socials for James Elden, PMP, and Playwright's Spotlight -Punk Monkey Productions - www.punkmonkeyproductions.comPLAY Noir -www.playnoir.comPLAY Noir Anthology –www.punkmonkeyproductions.com/contact.htmlJames Elden -Twitter - @jameseldensauerIG - @alakardrakeFB - fb.com/jameseldensauerPunk Monkey Productions and PLAY Noir - Twitter - @punkmonkeyprods                  - @playnoirla IG - @punkmonkeyprods       - @playnoir_la FB - fb.com/playnoir        - fb.com/punkmonkeyproductionsPlaywright's Spotlight -Twitter - @wrightlightpod IG - @playwrights_spotlightPlaywriting services through Los Angeles Collegiate Playwrights Festivalwww.losangelescollegiateplaywrightsfestival.com/services.htmlSupport the show

In 2015, Paula Vogel's “Indecent” premiered at Yale Repertory Theatre. It took a relatively familiar format to the audience — the play within a play. “God of Vengeance” was a play from the 1920s, written by Polish-Jewish author and playwright Sholem Asch. The story centered on a respectable Jewish family who lives above a brothel. When their young daughter falls in love with one of the sex workers downstairs, chaos ensues. A play like this wouldn't be controversial in the 2020s, but with the rise of antisemitic violence in Poland, Europe and the world at the time, Sholem Asch's contemporaries were concerned about what a play like this would say about the Jewish people. Exploring censorship, sex work, relationships, antisemitism, and more, “Indecent's” telling of the production became a force to be reckoned with by the time it made it to Broadway in 2017. Seven years later, Nashville's premiere regional theater, Nashville Rep is mounting the production. This episode was produced by Elizabeth Burton. Special thanks to Amos Glass and LaTonya Turner.  Guests:  Paula Vogel, playwright Micah-Shane Brewer, Artistic Director at Nashville Repertory Theatre Sarah Aili, actor

En entrevista con Citlali Sáenz en ausencia de Pamela Cerdeira para MVS Noticias, en la sección Oasis, la actriz Majo Pérez, habla de la obra "Indecente" a la cual hizo una invitación para apreciar está puesta en escena que se presenta en el Teatro Helénico.See omnystudio.com/listener for privacy information.

Carlos Aranda: Se cumple casi un mes de que se desconoce su paradero, Consejo Nacional de la Tortilla: "Ya estamos hartos, vamos a pelear", IECM: Arrancan preparativos de cara al próximo proceso electoral en la CDMX, "Indecente": La historia de la controvertida obra de Sholem Asch, "El Dios de la venganza", Detención de Uriel Carmona: "Que el caso de Ariadna no quede impune", "Quisieron manchar el nombre de Ariadna Fernanda"See omnystudio.com/listener for privacy information.

Caraid O'Brien, one of the foremost contemporary interpreters and translators of Sholem Asch's work, talks with "The Shmooze" about the Theater J class she's teaching—Prostitutes, Criminals, and the Walking Dead: Sholem Asch's Underworld Trilogy in Translation. The class is based on her translations of three of Asch's seminal works, "God of Vengeance," "Motke Thief," and "The Dead Man" (forthcoming from White Goat Press, the Yiddish Book Center's imprint). Episode 348 March 19, 2023 Amherst, MA

Saul Noam Zaritt speaks about Jewish American literature, its place in world literature, and what this tells us about how we understand modern Jewish history and culture at large. It's the focus of his recent book, Jewish American Writing and World Literature: Maybe to Millions, Maybe to Nobody, where he explores a number of Jewish writers who were working in Yiddish or in translation, including Isaac Bashevis Singer, Sholem Asch, Jacob Glatstein, Saul Bellow, and others, and what their work tells us about the transformation of modern Jewish culture. In addition, we'll talk about what this all means when we think about modern Jewish studies and how we understand it in its broader cultural context. Purchase Jewish American Writing and World Literature: Maybe to Millions, Maybe to Nobody Saul Noam Zaritt is an Associate Professor of Yiddish Literature at Harvard University. He studies the politics of translation in modern Jewish culture and he is a founding editor of In geveb: A Journal of Yiddish Studies. His book, Jewish American Writing and World Literature: Maybe to Millions, Maybe to Nobody, which is the center of our conversation today, was published in 2020. He is currently at work on a second book, entitled “A Taytsh Manifesto: Yiddish, Translation, and the Making of Modern Jewish Culture.”

In the Jewish cultural memory, 13 Tłomackie Street is the address of the worldwide embassy for Yiddish literature, a kind of British Council or Goethe Institute, as well as the Ministry of Diasporic Culture and the Cultural Parliament in one. This ‘global address', as the journalist Jecheskiel Najman called it, became a symbol of pre-war cultural life, its disputes and debates, as well as its ups and downs. It appears in almost every memoir about pre-war Jewish literary Warsaw. Among others, the Nobel Prize laureateIsaac Bashevis Singerwrote a series of articles about the place. Of course, they did not mention the address itself, but the institution that operated here: Fareyn fun Yidishe Literatn un Zhurnalistn, or the Union of Jewish Writers and Journalists. The union was founded in 1916 and initially had no headquarters. In June 1918, it moved to 11 Tłomackie Street, and then a few months later from October 1918 until May 1938, it functioned at the legendary address of 13 Tłomackie Street. In 1927, Tłomackie 13 became the headquarters of the Warsaw section of the Jewish PEN-Club, an international organisation of writers, which continues to operate to this day. Further reading: Jung Jidysz // bio on Culture.pl Isaac Bashevis Singer // bio on Culture.pl Sholem Asch // bio on Culture.pl 8 Remarkable Yiddish Books from Poland // on Culture.pl The Unlikely Revival & Sudden End of Yiddish Literature in Poland // on Culture.pl From ‘Last Sunday' to ‘Last Shabbos': Poland's Legendary Jewish Tangos // on Culture.pl The Lost World of Yiddish Films in Poland // on Culture.pl The Rise & Fall of Polish Song // on Culture.pl How to listen: Unseen is available as a downloadable podcast, although it is best experienced through the Echoes geolocative storytelling app available for iOS and Android. After loading the app, search for soundwalks in Warsaw and you'll find Unseen.

QUOTES FOR REFLECTION “I couldn't help writing on Jesus…. For Jesus Christ, to me, is the outstanding personality of all time, all history, both as Son of God and as Son of Man. Everything He ever said or did has value for us today, and that is something you can say of no other man, alive or dead.” ~Sholem Asch (1880-1957), noted Polish-Jewish writer “Lord Jesus, you are my righteousness, just as I am your sin. You have taken upon yourself what is mine and have given to me what is yours. You have taken upon yourself what you were not and have given to me what I was not.” ~Martin Luther (1483-1546), German reformer and theologian “The cost of food in the kingdom is hunger for the Bread of Life.” ~John Piper, pastor and writer “I have no taste for corruptible food nor for the pleasures of this life. I desire the Bread of God, which is the Flesh of Jesus Christ, who was of the seed of David, and for drink I desire His Blood, which is love incorruptible.” ~Ignatius of Antioch, a disciple of John the Apostle and bishop in Antioch “Faith is not that human illusion and dream that some people think it is…. Faith is a work of God in us, which changes us and brings us to birth anew from God (cf. John 1). It kills the old Adam, makes us completely different people in heart, mind, senses, and all our powers, and brings the Holy Spirit with it. What a living, creative, active powerful thing is faith!... Faith is a living, unshakeable confidence in God's grace; it is so certain, that someone would die a thousand times for it. This kind of trust in and knowledge of God's grace makes a person joyful, confident, and happy with regard to God and all creatures. This is what the Holy Spirit does by faith.” ~Martin Luther (1483-1546) in his preface to his Roman's Commentary “It is not the business of the church to adapt Christ to men, but men to Christ.” ~Dorothy L. Sayers (1893-1957), English writer and poet SERMON PASSAGE John 6:35-71 (ESV) 35 Jesus said to them, “I am the bread of life; whoever comes to me shall not hunger, and whoever believes in me shall never thirst. 36 But I said to you that you have seen me and yet do not believe. 37 All that the Father gives me will come to me, and whoever comes to me I will never cast out. 38 For I have come down from heaven, not to do my own will but the will of him who sent me. 39 And this is the will of him who sent me, that I should lose nothing of all that he has given me, but raise it up on the last day. 40 For this is the will of my Father, that everyone who looks on the Son and believes in him should have eternal life, and I will raise him up on the last day.” 41 So the Jews grumbled about him, because he said, “I am the bread that came down from heaven.” 42 They said, “Is not this Jesus, the son of Joseph, whose father and mother we know? How does he now say, ‘I have come down from heaven'?” 43 Jesus answered them, “Do not grumble among yourselves. 44 No one can come to me unless the Father who sent me draws him. And I will raise him up on the last day. 45 It is written in the Prophets, ‘And they will all be taught by God.' Everyone who has heard and learned from the Father comes to me— 46 not that anyone has seen the Father except he who is from God; he has seen the Father. 47 Truly, truly, I say to you, whoever believes has eternal life. 48 I am the bread of life. 49 Your fathers ate the manna in the wilderness, and they died. 50 This is the bread that comes down from heaven, so that one may eat of it and not die. 51 I am the living bread that came down from heaven. If anyone eats of this bread, he will live forever. And the bread that I will give for the life of the world is my flesh.” 52 The Jews then disputed among themselves, saying, “How can this man give us his flesh to eat?” 53 So Jesus said to them, “Truly, truly, I say to you, unless you eat the flesh of the Son of Man and drink his blood, you have no life in you. 54 Whoever feeds on my flesh and drinks my blood has eternal life, and I will raise him up on the last day. 55 For my flesh is true food, and my blood is true drink. 56 Whoever feeds on my flesh and drinks my blood abides in me, and I in him. 57 As the living Father sent me, and I live because of the Father, so whoever feeds on me, he also will live because of me. 58 This is the bread that came down from heaven, not like the bread the fathers ate, and died. Whoever feeds on this bread will live forever.” 59 Jesus said these things in the synagogue, as he taught at Capernaum. 60 When many of his disciples heard it, they said, “This is a hard saying; who can listen to it?” 61 But Jesus, knowing in himself that his disciples were grumbling about this, said to them, “Do you take offense at this? 62 Then what if you were to see the Son of Man ascending to where he was before? 63 It is the Spirit who gives life; the flesh is no help at all. The words that I have spoken to you are spirit and life. 64 But there are some of you who do not believe.” (For Jesus knew from the beginning who those were who did not believe, and who it was who would betray him.) 65 And he said, “This is why I told you that no one can come to me unless it is granted him by the Father.” 66 After this many of his disciples turned back and no longer walked with him. 67 So Jesus said to the twelve, “Do you want to go away as well?” 68 Simon Peter answered him, “Lord, to whom shall we go? You have the words of eternal life, 69 and we have believed, and have come to know, that you are the Holy One of God.” 70 Jesus answered them, “Did I not choose you, the twelve? And yet one of you is a devil.” 71 He spoke of Judas the son of Simon Iscariot, for he, one of the twelve, was going to betray him.

Rebecca Taichman won the Tony Award for best director for her production of Paula Vogel's hit play Indecent, charting the controversy surrounding Yiddish playwright Sholem Asch's 1906 drama God of Vengeance, a story of exploitation set in a brothel that also celebrates the passionate love between two women. It caused a furore when the English translation opened on Broadway in 1923 and the company were tried for obscenity. Happily, Indecent became one of the hottest tickets in theatre and Rebecca has been in London directing the UK premiere, now selling out at the Menier Chocolate Factory, where it opened to rave reviews. Before she returned to New York, Taichman spoke to JR's Judi Herman about her fruitful, five-year collaboration with Vogel and their shared passion for telling “the true story of a little Jewish play”.Indecent runs until Saturday 27 November. 8pm (Tue-Sat), 3.30pm (Sat & Sun only). £37.50-£47.50. Menier Chocolate Factory, SE1 1RU. menierchocolatefactory.com

Visible Skin: Rediscovering the Renaissance through Black Portraiture is a new outdoor exhibition across King's College London's Strand Campus, showcasing artworks by opera singer Peter Brathwaite. He talks to Tom Sutcliffe about creating the portraits and images, as well as his role in the new opera The Time of Our Singing. Indecent, a play which has just opened at London's Menier Chocolate Factory, explores the origins of the highly controversial 1906 play The God of Vengeance by Sholem Asch, and follows the path of the artists who risked their careers and lives to perform it. John Nathan reviews. One of the more unusual sights in Coventry City of Culture is a narrowboat that's a brightly painted floating library of short stories. It's also an artwork, Small Bells Ring, created by artists Heather Peak and Ivan Morison of Studio Morison. The boat, RV Furor Scribendi welcomes on board the people of Coventry, works with local libraries and hopes to attract those who might not ordinarily engage with books. Reporter Ushma Mistry of BBC CWR steps aboard. Last year the playwright and author Lucy Caldwell was a judge for the BBC National Short Story Award but this year she's been shortlisted for the third time for her story All the People Were Mean and Bad. She talks to Front Row about the appeal of writing about a moment of intimacy on a journey, the power of storytelling for children – and whether people really are mean and bad. Presenter: Tom Sutcliffe Producer: Sarah Johnson

"Mindl Cohen speaks with The Shmooze about the 2021 Pakn Treger Digital Translation Issue. As she writes in the introduction to the anthology, “Yiddish literature is full of depictions of natural landscapes—though this is probably not the first thing most people expect of it.” Our conversation touches on the work of some of the many writers included in the issue from Mendele Mocher Sforim, Itzik Manger, and Rachel Korn to Sholem Asch, Rosa Gutman, and Avrom Sutzkever. Episode 303 July 29, 2021 Yiddish Book Center Amherst, Massachusetts "

Translator, actor, and producer Caraid O'Brien joins us from her editing room where she's putting the finishing touches on her radio drama production of Sholem Asch's play "The Dead Man", which she translated from the Yiddish. The haunting WWI drama takes place in the rubble of a decimated synagogue in Poland directly after the war. Dealing with dislocation, madness, and death, the surviving Jewish community must decide how to rebuild their lives, maintaining hope for a prosperous, new future. The radio drama will air Sunday, April 25, at 7pm EDT, giving audiences the opportunity to hear this work in its first-ever complete English translation. The production is presented by the Yiddish Book Center as part of Carnegie Hall's Voices of Hope Festival examining art created amidst times of crisis and human tragedy. Episode 0297 April 23, 2021 Yiddish Book Center Amherst, Massachusetts

Le théâtre yiddish, le temps d’une soirée chez Caraid O’Brien, comédienne, dramaturge, metteure en scène, traductrice du yiddish et de l’irlandais. Avec la participation d’Aaron Bell. Émission réalisée et produite par Shahar Fineberg « L’homme mort » de Sholem Asch (trad. anglaise Caraid O’Brien) le 25 avril 2021 : https://us02web.zoom.us/webinar/register/WN_n0avTma7TeaZAXta_3rVEw?fbclid=IwAR2Z1L00qYhJLKUU26kIVu0owGcx1OVMcu7JKFMXtHbsiZSUkrGWCoekeTs Musique: “Mayn Yiddishe Mama” – Seymour Rechtzeit “All the Things You Are” – Composé par Jerome Kern. Chanté par Joyce DiDonato Illustration : Miglė Anušauskaitė

In the early decades of the twentieth century, tens of thousands of Yiddish speaking immigrants actively participated in the American Socialist and labor movement. They formed the milieu of the hugely successful daily Forverts (Forward), established in New York in April 1897.  In Transatlantic Russian Jewishness: Ideological Voyages of the Yiddish Daily Forverts in the First Half of the Twentieth Century (Academic Studies Press, 2020), Gennady Estraikh describes how the Forverts’ editorial columns and bylined articles―many of whose authors, such as Abraham Cahan and Sholem Asch, were household names at the time―both reflected and shaped the attitudes and values of the readership. Estreikh focuses on the newspaper’s reaction to the political developments in the home country. Profound admiration of Russian literature and culture did not mitigate the writers’ criticism of the czarist and Soviet regimes. Gennady Estraikh is a Clinical Professor of Hebrew and Judaic Studies at New York University. Previously he was the Managing Editor of the Yiddish literary journal Sovetish Heymland (Soviet Homeland) from 1988 to 1991. Estraikh’s scholarship focuses on Jewish intellectual history in the 19th and 20th centuries with an accent on Yiddish literary milieus. He has written fifteen co-edited scholarly volumes, and several books in Yiddish. Schneur Zalman Newfield is an Assistant Professor of Sociology at Borough of Manhattan Community College, City University of New York, and the author of Degrees of Separation: Identity Formation While Leaving Ultra-Orthodox Judaism (Temple University Press, 2020). Visit him online at ZalmanNewfield.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the early decades of the twentieth century, tens of thousands of Yiddish speaking immigrants actively participated in the American Socialist and labor movement. They formed the milieu of the hugely successful daily Forverts (Forward), established in New York in April 1897.  In Transatlantic Russian Jewishness: Ideological Voyages of the Yiddish Daily Forverts in the First Half of the Twentieth Century (Academic Studies Press, 2020), Gennady Estraikh describes how the Forverts’ editorial columns and bylined articles―many of whose authors, such as Abraham Cahan and Sholem Asch, were household names at the time―both reflected and shaped the attitudes and values of the readership. Estreikh focuses on the newspaper’s reaction to the political developments in the home country. Profound admiration of Russian literature and culture did not mitigate the writers’ criticism of the czarist and Soviet regimes. Gennady Estraikh is a Clinical Professor of Hebrew and Judaic Studies at New York University. Previously he was the Managing Editor of the Yiddish literary journal Sovetish Heymland (Soviet Homeland) from 1988 to 1991. Estraikh’s scholarship focuses on Jewish intellectual history in the 19th and 20th centuries with an accent on Yiddish literary milieus. He has written fifteen co-edited scholarly volumes, and several books in Yiddish. Schneur Zalman Newfield is an Assistant Professor of Sociology at Borough of Manhattan Community College, City University of New York, and the author of Degrees of Separation: Identity Formation While Leaving Ultra-Orthodox Judaism (Temple University Press, 2020). Visit him online at ZalmanNewfield.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the early decades of the twentieth century, tens of thousands of Yiddish speaking immigrants actively participated in the American Socialist and labor movement. They formed the milieu of the hugely successful daily Forverts (Forward), established in New York in April 1897.  In Transatlantic Russian Jewishness: Ideological Voyages of the Yiddish Daily Forverts in the First Half of the Twentieth Century (Academic Studies Press, 2020), Gennady Estraikh describes how the Forverts’ editorial columns and bylined articles―many of whose authors, such as Abraham Cahan and Sholem Asch, were household names at the time―both reflected and shaped the attitudes and values of the readership. Estreikh focuses on the newspaper’s reaction to the political developments in the home country. Profound admiration of Russian literature and culture did not mitigate the writers’ criticism of the czarist and Soviet regimes. Gennady Estraikh is a Clinical Professor of Hebrew and Judaic Studies at New York University. Previously he was the Managing Editor of the Yiddish literary journal Sovetish Heymland (Soviet Homeland) from 1988 to 1991. Estraikh’s scholarship focuses on Jewish intellectual history in the 19th and 20th centuries with an accent on Yiddish literary milieus. He has written fifteen co-edited scholarly volumes, and several books in Yiddish. Schneur Zalman Newfield is an Assistant Professor of Sociology at Borough of Manhattan Community College, City University of New York, and the author of Degrees of Separation: Identity Formation While Leaving Ultra-Orthodox Judaism (Temple University Press, 2020). Visit him online at ZalmanNewfield.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

In the early decades of the twentieth century, tens of thousands of Yiddish speaking immigrants actively participated in the American Socialist and labor movement. They formed the milieu of the hugely successful daily Forverts (Forward), established in New York in April 1897.  In Transatlantic Russian Jewishness: Ideological Voyages of the Yiddish Daily Forverts in the First Half of the Twentieth Century (Academic Studies Press, 2020), Gennady Estraikh describes how the Forverts’ editorial columns and bylined articles―many of whose authors, such as Abraham Cahan and Sholem Asch, were household names at the time―both reflected and shaped the attitudes and values of the readership. Estreikh focuses on the newspaper’s reaction to the political developments in the home country. Profound admiration of Russian literature and culture did not mitigate the writers’ criticism of the czarist and Soviet regimes. Gennady Estraikh is a Clinical Professor of Hebrew and Judaic Studies at New York University. Previously he was the Managing Editor of the Yiddish literary journal Sovetish Heymland (Soviet Homeland) from 1988 to 1991. Estraikh’s scholarship focuses on Jewish intellectual history in the 19th and 20th centuries with an accent on Yiddish literary milieus. He has written fifteen co-edited scholarly volumes, and several books in Yiddish. Schneur Zalman Newfield is an Assistant Professor of Sociology at Borough of Manhattan Community College, City University of New York, and the author of Degrees of Separation: Identity Formation While Leaving Ultra-Orthodox Judaism (Temple University Press, 2020). Visit him online at ZalmanNewfield.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

In the early decades of the twentieth century, tens of thousands of Yiddish speaking immigrants actively participated in the American Socialist and labor movement. They formed the milieu of the hugely successful daily Forverts (Forward), established in New York in April 1897.  In Transatlantic Russian Jewishness: Ideological Voyages of the Yiddish Daily Forverts in the First Half of the Twentieth Century (Academic Studies Press, 2020), Gennady Estraikh describes how the Forverts’ editorial columns and bylined articles―many of whose authors, such as Abraham Cahan and Sholem Asch, were household names at the time―both reflected and shaped the attitudes and values of the readership. Estreikh focuses on the newspaper’s reaction to the political developments in the home country. Profound admiration of Russian literature and culture did not mitigate the writers’ criticism of the czarist and Soviet regimes. Gennady Estraikh is a Clinical Professor of Hebrew and Judaic Studies at New York University. Previously he was the Managing Editor of the Yiddish literary journal Sovetish Heymland (Soviet Homeland) from 1988 to 1991. Estraikh’s scholarship focuses on Jewish intellectual history in the 19th and 20th centuries with an accent on Yiddish literary milieus. He has written fifteen co-edited scholarly volumes, and several books in Yiddish. Schneur Zalman Newfield is an Assistant Professor of Sociology at Borough of Manhattan Community College, City University of New York, and the author of Degrees of Separation: Identity Formation While Leaving Ultra-Orthodox Judaism (Temple University Press, 2020). Visit him online at ZalmanNewfield.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the early decades of the twentieth century, tens of thousands of Yiddish speaking immigrants actively participated in the American Socialist and labor movement. They formed the milieu of the hugely successful daily Forverts (Forward), established in New York in April 1897.  In Transatlantic Russian Jewishness: Ideological Voyages of the Yiddish Daily Forverts in the First Half of the Twentieth Century (Academic Studies Press, 2020), Gennady Estraikh describes how the Forverts’ editorial columns and bylined articles―many of whose authors, such as Abraham Cahan and Sholem Asch, were household names at the time―both reflected and shaped the attitudes and values of the readership. Estreikh focuses on the newspaper’s reaction to the political developments in the home country. Profound admiration of Russian literature and culture did not mitigate the writers’ criticism of the czarist and Soviet regimes. Gennady Estraikh is a Clinical Professor of Hebrew and Judaic Studies at New York University. Previously he was the Managing Editor of the Yiddish literary journal Sovetish Heymland (Soviet Homeland) from 1988 to 1991. Estraikh’s scholarship focuses on Jewish intellectual history in the 19th and 20th centuries with an accent on Yiddish literary milieus. He has written fifteen co-edited scholarly volumes, and several books in Yiddish. Schneur Zalman Newfield is an Assistant Professor of Sociology at Borough of Manhattan Community College, City University of New York, and the author of Degrees of Separation: Identity Formation While Leaving Ultra-Orthodox Judaism (Temple University Press, 2020). Visit him online at ZalmanNewfield.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the early decades of the twentieth century, tens of thousands of Yiddish speaking immigrants actively participated in the American Socialist and labor movement. They formed the milieu of the hugely successful daily Forverts (Forward), established in New York in April 1897.  In Transatlantic Russian Jewishness: Ideological Voyages of the Yiddish Daily Forverts in the First Half of the Twentieth Century (Academic Studies Press, 2020), Gennady Estraikh describes how the Forverts’ editorial columns and bylined articles―many of whose authors, such as Abraham Cahan and Sholem Asch, were household names at the time―both reflected and shaped the attitudes and values of the readership. Estreikh focuses on the newspaper’s reaction to the political developments in the home country. Profound admiration of Russian literature and culture did not mitigate the writers’ criticism of the czarist and Soviet regimes. Gennady Estraikh is a Clinical Professor of Hebrew and Judaic Studies at New York University. Previously he was the Managing Editor of the Yiddish literary journal Sovetish Heymland (Soviet Homeland) from 1988 to 1991. Estraikh’s scholarship focuses on Jewish intellectual history in the 19th and 20th centuries with an accent on Yiddish literary milieus. He has written fifteen co-edited scholarly volumes, and several books in Yiddish. Schneur Zalman Newfield is an Assistant Professor of Sociology at Borough of Manhattan Community College, City University of New York, and the author of Degrees of Separation: Identity Formation While Leaving Ultra-Orthodox Judaism (Temple University Press, 2020). Visit him online at ZalmanNewfield.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

London-based singer Clara Kanter, the great-great-granddaughter of Yiddish writer Sholem Asch, and composer Alastair White visit with The Shmooze to talk about "The Drowning Shore," their newly released cantata, which threads together Asch's classic 1907 play "God of Vengeance" with an original Scots-English text. The piece, a 14-minute video monodrama scored for 'a mezzo-soprano in a screen,' is written and composed by Alastair and performed by Clara. The two collaborators talk with us about how they came to make this stunning work. Episode 0280 November 24, 2020 Yiddish Book Center Amherst, Massachusetts

Paula Vogel's 2015 play "Indecent" is a real treat for theatre lovers. It follows the early productions of God of Vengeance by Sholem Asch, which premiered on Broadway in 1923. This week on No Script, Jackson and Jacob take a look at Vogel's highly theatrical take on the power of community representation on the stage.  ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue.  https://www.patreon.com/noscriptpodcast  ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at:  Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Our theme song is “Upbeat Soda Pop” by Purple Planet Music. Credit as follows: Music: http://www.purple-planet.com ------------------------------ Thanks so much for listening! We’ll see you next week.

Sholem Asch’s God of Vengeance is a provocative classic of the Yiddish stage, and it’s recently come back into the public eye, with an upcoming revival by New Yiddish Rep and a new drama by Paula Vogel, titled Indecent, that tells the fascinating backstory behind the play’s premiere. In this episode, we talk with David Mandelbaum, artistic director of New Yiddish Rep, about Asch’s powerful play and about the new revival.

Today, instead of her usual weekly review, theater critic J. Wynn Rousuck shares the conversation she had last week with the celebrated playwright Paula Vogel, whose works include A Civil War Christmas, The Baltimore Waltz, and the Pulitzer Prize-winning How I Learned to Drive. Vogel's most recent play, Indecent, opens in previews tonight at Baltimore Center Stage. It's being produced in collaboration with Arena Stage and Kansas City Rep. Eric Rosen is directing the play, which runs through March 31.Indecent tells the true story of another play: an early 20th-century Yiddish drama called “The God of Vengeance,” by Sholem Asch. The sexually avant-garde play was a hit all over Europe – and in New York. But when its English-language version opened on Broadway in 1923, the cast was arrested and the play closed down.Paula Vogel’s Indecent, for its part, had a successful Broadway run, and this season is one of the most-produced new plays in American regional theaters. It pays homage to artists who are ahead of their time, and who sometimes pay dearly for their passion.Playwright Paula Vogel speaks with Judy from her home in Wellfleet, Massachusetts.

Since Yuri Lotman and Vladimir Toporov introduced the concept of the “Petersburg Text” in Russian literature, the idea of “reading” urban space through the lenses of a particular literary corpus has become popular among Russian literary scholars. But St. Petersburg also occupied a special place in the imagination of Russian Jews. As the capital of the Russian Empire, the city had the harshest restriction on Jewish residence, and yet it became a major center of multilingual Jewish culture. In my presentation Professor Krutikov attempts to apply the concept of “Petersburg Text” to the multilingual corpus of Jewish writings about St. Petersburg/Leningrad. Professor Krutikov argues that by exploring the intertextual dynamics of the image of St. Petersburg in the prose and poetry in Russian (by Osip Mandelstam and Lev Lunts), Hebrew (Yehuda Leyb Gordon and Haim Lenski), and Yiddish (by Sholem Aleichem and Sholem Asch) we can gain new insights into the more general problem of modern multilingual Jewish literature.

Caraid O'Brien, an accomplished writer, performer, director, translator, and a Yiddish Book Center alumna speaks with us about her work on and off the stage. An accomplished translator, her translation from the Yiddish of Sholem Asch's "God of Vengeance" “set Show World aflame” according to the Village Voice. She is a three-time recipient of a new play commission from the National Foundation for Jewish Culture for her contemporary adaptation of Dovid Pinski's Yiddish classic "Jake the Mechanic" as well as for the first-ever English translations of Sholem Asch's underworld plays "Motke Thief" and "The Dead Man". Currently, Caraid is performing in the New Yiddish Rep's world premiere of Eugene Ionesco's "Rhinoceros". Episode 0158 September 26, 2017 Yiddish Book Center Amherst, Massachusetts

Yiddish Book Club audio   Show notes: https://yiddishstage.org/10-things-you-need-to-know-about-god-of-vengeance https://yiddishstage.org/brothel-intrigue-with-a-modern-twist-got-fun-nekome-at-the-new-yiddish-rep https://yiddishstage.org/an-open-letter-by-sholom-asch-author-of-got-fun-nekome http://www.yiddishbookcenter.org/collections/yiddish-books/spb-nybc203692/asch-sholem-der-got-fun-nekome-a-drame-in-dray-akten https://archive.org/stream/godofvengeancedrx00asch/godofvengeancedrx00asch_djvu.txt https://books.google.ca/books?id=Jlb6CAAAQBAJ&printsec=frontcover&dq=god+of+vengeance+asch&hl=en&sa=X&ved=0ahUKEwjHxtTE48XRAhXJylQKHabUB30Q6AEIJTAA#v=onepage&q=god%20of%20vengeance%20asch&f=false

Shane Baker is playing the central character, Yankl on stage in the Yiddish language play “God of Vengeance,” originally written by Sholem Asch in 1907. In the next episode of the Yiddish Book Club podcast we are going to talk about the text of the play with fellow Yiddish experts Michael Wex and Faith Jones. […]

In 1923 the entire cast of a Yiddish play was arrested in New York and charged with staging an immoral performance. Written by the celebrated Polish-Jewish writer Sholem Asch, 'God of Vengeance' is set in a brothel and deals with themes such as prostitution, religion and corruption. David Mazower, the playwright's great-grandson, speaks about the controversy. (Photo: Sholem Asch, left, with Russian playwright Maxim Gorky,1920s. Courtesy of David Mazower)

In this episode, originally broadcast on March 14, 1965, host Sheftl Zak sits down with Wolf Mercur, who helped YIVO acquire the papersof famed Yiddish actor, Maurice Schwartz (1890 - 1960). The collection includes 150 scripts by Sholem Asch, Abraham Goldfaden, Jacob Gordin, Peretz Hirshbein, Y.L. Peretz, I.J. Singer, and ...

Businesses don't fail due to reaching the wrong people. Businesses fail when they say the wrong things. And they say the wrong things when they believe what the public tells them. Conduct a survey. Ask the public to describe in detail the kind of place they'd like to shop. Then build that place, exactly as described, and see if they ever show up. Experience tells us they won't. We'll use furniture stores as an example. People say they want a store where they can look at all the different styles of furniture, see all the different patterns and colors of fabric and grains of wood and colors of wood stain, and then have their own 'dream furniture' made according to their choices. Today you'll find that furniture store on every corner. “And we'll even show you on a computer monitor exactly what your new sofa will look like! Want to see it in another fabric? Click this button. Another color of wood? Click this button. And we'll deliver it to your home, direct from the factory! You'll be buying factory direct!” But that's not how the big boys do it. His real name is Jim McIngvale. They call him Mattress Mac. Twenty-five years ago he dove headlong into the furniture business with just five thousand dollars. It's all he had. This year that furniture store will do nearly 200 million dollars in a single location, placing it among the most successful stores in the world. Jim occasionally http://wizardacademy.org/about.asp (buys a day of my time) to pick my brain and bounce ideas off me. I should be paying him. During our last visit, I asked my friend if I could share the secret of his success with you. Graciously, he allowed it: As simple as this may sound, Jim's 200 million dollar secret is immediate delivery. When people buy new furniture, they want to see it in their home immediately. “Buy it today and we'll deliver it tonight,” is Jim's angle. He doesn't do special orders. “If you see it, we've got it.” Remember all those people who said they wanted to pick from a large selection of fabrics and wood grains? Tell them you'll deliver their new sofa in 8 to 12 weeks. Then Jim will show them something entirely different but offer to deliver it immediately. Guess who usually wins? What people say they would do is rarely what they will actually do. This is what makes it foolish to put too much faith in surveys. We don't know ourselves as well as we think. Ask any real estate agent. The homes people buy are never the ones they described to the agent when they got in the car. Not even close. Now let's talk about you. Chances are, you've been reaching the right people all along. You've just been saying the wrong things. Some ads are like waving raw meat in front of hungry dogs. Most ads are lectures, explaining to these same dogs all the joys of organic popcorn. Do you have a tasty message to deliver to the world? Or are you expecting your ad writers to apply a thick layer of creativity to hide the fact that you have nothing to say? Truthfully, what percentage of your ads say anything worth hearing? Sholem Asch was right when he said, “Writing comes more easily if you have something to say.” But Morris Hite said it brazenly, “If you have a good selling idea, your secretary can write your ad for you.” http://www.wizardacademypress.com/productsample.asp?SampleURL=SCTW_Samplesm.mov&ProductName=Selling%20Customers%20Their%20Way&ProductImage=images/full/Selling-their-waywebbig.jpg (We're here if you need us.) Roy H. Williams