Meir Panim delivers warmth, special care to families in need.
The Seagull on 16th Street
Through July 19, 2009
By Anton Chekhov, translator: Carol Rocamora
adapted by Ari Roth, director: John Vreeke
Theater J at the Washington DC JCC
1529 16th Street NW, Washington
The Theater J production takes a lot of risks. That statement is worth repeating. Ari Roth, Theater J’s artistic director, has essentially taken a play by a non-Jew, Chekhov, which had no Jewish content whatsoever (the closest things to religion are references to “sacred art,” “high-priests of art,” and battles with Satan, according to the translation I found on Project Gutenberg) and infused it with Jewish content, themes, and songs from the American rock band R.E.M. Where Chekhov refers to “antediluvians,” Theater J amends, “people from before Noah’s ark,” and Chekhov’s stagehand Jacob becomes Yakov in Roth’s script. When Treplev’s mother, the famous actress Irina Arkadina (Naomi Jacobson), denounces his art as “decadent rubbish,” Theater J renders it “Hebraic tripe,” and later when Chekhov has Treplev call his mother a “Miser!” to which she retaliates with “Rag-bag!” Theater J offers the following exchange:
ARKADINA: Beggar! Jew! Nonentity!
I respectfully disagree. I think Chekhov reads quite well with Treplev announcing the play with a shofar, adding, “We’re beginning the way our ancient forefathers called their flock into battle. With our very own Call to Art! And Worship! To Introspection!” This is just the sort of thing one would expect of the young, tortured artist, who delights in translating the ritual for the benefit of those “who need their Hebrew rituals Anglicized:” “The Great Union/Division
In the end, though, the play perhaps has more to say to modern-day critics who reject the prospect of a Jewish theater than it does to an adaptation of Arkadina. Theater J, whatever one thinks of its current production, is the realization of Treplev’s dream, and one of his rants about his mother (who mistakes Hebrew for Hindu, Swahili, Turkish, Urdu, and “gibberish”) might be worth the most important element of the play to hold on to: “A psychological wonder; that’s my mother But just try mentioning the Yiddish Theatre of Warsaw in her presence, or the Great Sarah Bernhardt! ‘You call that acting? That yenta?!’ No, we must praise ‘Her,’ and her tradition alone, which is really no tradition, just a bad translation of European hauteur, which is to say anti-Semitism cloaked in costume – which it generally is, by the way, be it the Cossacks, Crusaders, or the Grand Inquisitioners.”
Menachem Wecker welcomes comments at firstname.lastname@example.org. He is a painter and writer, residing in Washington, D.C.
About the Author: Menachem Wecker, who blogs on faith and art for the Houston Chronicle at http://blogs.chron.com/iconia, welcomes comments at email@example.com.
If you don't see your comment after publishing it, refresh the page.
Comments are closed.
Are we allowed to lie for shalom bayis? It would seem so, but what might be a healthy guideline for when it’s okay and when it’s not?
The connection between what I experienced as a high school teenager and the adult I am today did not come easy to me.
Isn’t therapy about being yourself; aren’t there different ways for people to communicate with each other?
Participating in ManiCures during the school day may feel like a break from learning, but the intended message to the students was loud and clear. Learning and chesed come in all forms, and can be fun.
Building campaign chairman Jack Gluck has led the effort over many years.
When using an extension cord always make sure to use the correct rated extension cord.
There was no question that when Mrs. Cohen entered the room to meet the teacher she was hostile from the outset.
Szold was among the founders and leaders (she served on its executive committee) of Ichud (“Unity”), a political group that campaigned against the creation of an independent, sovereign Jewish state in Eretz Yisrael.
My friend is a strong and capable Jewish woman, but she acted with a passivity that seemed out of character.
“If you don’t stand straight, you’ll never get a husband.”
The exhibit, according to a statement from guest curator Michele Waalkes which is posted on the museum website, “examines how faith can inform and inspire artists in their work, whether their work is symbolic, pictorial, or textual in nature. It further explores how present-day artwork can lead audiences to ponder God, religious themes, venerated traditions, or spiritual insights.”
It all started at an art and education conference at the Yeshiva University Museum. When one of the speakers misidentified a Goya painting at the Frick Collection, both the gentleman sitting next to me and I turned to each other and corrected the error simultaneously.
One of my favorite places when I was growing up in Boston was the used bookstore on Beacon and St. Mary’s streets. Boston Book Annex could play a used bookshop on television; it was dimly lit and cavernous, crawling with cats, and packed with a dizzying array of books, many of which sold three for a dollar. But used bookstores of this sort, however picturesque and inviting, are a relatively modern phenomena. In the Middle Ages, for example, I would never have been able to afford even a single used book unless I had been born into an aristocratic family. (Full disclosure, I was not.)
Jewish medals, several with Hebrew inscriptions and provocative imagery, were among the gems at The European Art Fair (TEFAF) in Maastricht, Netherlands, as I wrote in these pages two weeks ago. Another mini-trend at the fair, which will interest Jewish art aficionados, was an abundance of works by Marc Chagall.
It’s virtually impossible to ignore the financial aspects of TEFAF Maastricht, the annual arts and antiques fair in the historic city about two hours south of Amsterdam. More than 250 dealers from nearly 20 countries sell their wares—which span from Greek and Roman antiquities to contemporary sculptures—in the halls of the Maastricht Exhibition and Congress Centre, whose corridors are adorned by nearly 65,000 tulips.
Max Ferguson’s 1993 painting Katz’s may be the second most iconic representation of the kosher-style delicatessen after the 1989 Billy Crystal and Meg Ryan film, When Harry Met Sally. Ferguson’s photorealistic painting depicts the deli from an interesting perspective, which is simultaneously inviting and hostile—in short, the dichotomy of deli culture.
The whole idea of an artful pushka (tzeddakah or charity box) is almost a tease, if not an outright mockery. Isn’t there something pretty backward about investing time and money in an ornate container to hold alms for the poor?
Located about nine miles north of Madrid, the Palacio Real de El Pardo (Pardo Palace) dates back to the early 15th century. Devastated by a March 13, 1604 fire that claimed many works from its priceless art collection, the Pardo Palace and its vast gardens were used as a hunting ground by the Spanish monarchs.
Printed from: http://www.jewishpress.com/sections/teaching-chekhov-to-recite-the-havdalah/2009/07/15/
Scan this QR code to visit this page online: