{"id":1466,"date":"2018-08-16T14:29:00","date_gmt":"2018-08-16T19:29:00","guid":{"rendered":"https:\/\/uwm.edu\/yiddish-stage\/?p=1466"},"modified":"2023-05-15T15:05:18","modified_gmt":"2023-05-15T20:05:18","slug":"one-act-for-the-show","status":"publish","type":"post","link":"https:\/\/uwm.edu\/yiddish-stage\/one-act-for-the-show\/","title":{"rendered":"One (Act) for the Show"},"content":{"rendered":"\n

One of the\u00a0pleasures of reading Yiddish literary critics and theorists from a hundred years ago is the way they talk about why Yiddish culture matters. Their explanations are confident, they write with conviction, and they use colorful language to compare Yiddish texts with different artistic mediums and works of literature. On a recent research trip to Paris, I was sitting in a caf\u00e9 reading Alexander Gordin\u2019s introduction to a volume of his father\u00a0Jacob Gordin<\/a>\u2019s one-act plays. Perhaps as a result of my picturesque surroundings, a particular passage jumped out at me: \u201cWhen an art lover visits a museum, he studies the massive, carefully-executed bronze and marble\u00a0Rodin<\/a>\u00a0statues with no greater interest than he studies the artist\u2019s small plaster figures. Even though they are not fully realized, precisely these works are just as characteristic of Rodin\u2019s talent as his great and more complete works. In this same way, Jacob Gordin\u2019s one-act plays will be endlessly interesting and useful for a researcher or reader.\u201d1<\/sup><\/a>\u00a0I have to admit that it had never occurred to me to compare Yiddish dramas with Rodin sculptures. After all, the playwright Gordin famously adapted the work of William\u00a0Shakespeare<\/a>, a writer who is known for his completed and full-length works, rather than for sketches or fragmentary studies. Yet Gordin the son\u2019s extended metaphor, almost Homeric in structure, helps demonstrate the importance of his father\u2019s one-act plays.<\/p>\n\n\n

\n
\"\"
Drawing of Jacob Gordin by Jacob Epstein, from Hutchins Hapgood\u2019s\u00a0The Spirit of the Ghetto<\/em>\u00a0(1902).<\/figcaption><\/figure>\n<\/div>\n\n\n

Alexander Gordin makes a case for why people should read one-act plays to get a better sense of a playwright\u2019s oeuvre. It made me think about how, for instance, teachers of intermediate Yiddish classes might find it interesting to assign their students one-act plays to read and discuss (PYD<\/a> could be a useful guide for texts to select). Yet the prologue doesn\u2019t stop here: It argues that one-act plays offer playwrights possibilities and a certain flexibility that might not be available in longer dramatic forms. When the elder Gordin wrote one-act plays, he used them to depict \u201ca momentary thought, a strange occurrence, a funny incident or even an important question of the day\u201d in a more focused way than was possible in a longer work.2<\/sup><\/a> For instance, the protagonist of his play Farvos mener libn<\/a> <\/em>(Why Men Love), criticizes men for not taking women\u2019s opinions seriously, using language that resonates just as much today as it did when it was written. At their best, one-act plays offer spontaneity, freedom from formal dramatic conventions, and the ability to express ideas quickly, sharply, efficiently, and effectively. Alexander Gordin presents the genre as a form of artistic revolt, against both Aristotle\u2019s dramatic unities<\/a> and the commercialism of the theatre, which could help a playwright engage more directly with important social concerns.<\/p>\n\n\n\n

While Gordin\u2019s plays understandably dominate this prologue, they are certainly not the only examples of short Yiddish dramas. One-act plays present a striking variety of themes, character types, and styles, as can be seen in the latest PYD batch, devoted to this genre. Many of these plays explore the social and political issues of their day:\u00a0Yente Serdatsky<\/a>\u00a0depicts radical politics and debates about free love in\u00a0Oyf der vakh<\/a><\/em>\u00a0(On Guard) and\u00a0Israel Ashendorf<\/a>\u00a0portrays the emotional weight of surviving the Holocaust in\u00a0Dos geveyn fun kind<\/a><\/em>\u00a0(A Child\u2019s Cry) and\u00a0Bloyz ash<\/a>\u00a0<\/em>(Only Ashes). Other plays deal with more\u00a0religious themes<\/a>, such as a\u00a0Moyshe<\/a>\u00a0Nadir<\/a>\u00a0puppet play<\/a>\u00a0set at the gates of heaven and hell. Sholem Aleichem parodies this concern with the afterlife in his comic burlesque about assimilation,\u00a0Oylem-habe<\/a>\u00a0<\/em>(The World to Come). Yet for\u00a0I. L. Peretz<\/a>\u00a0in\u00a0Es brent<\/a>\u00a0<\/em>(It Burns), marriage itself can be hell.\u00a0Jane Rose<\/a>\u00a0takes up a similar idea in her drama\u00a0Engshaft<\/a>\u00a0<\/em>(Narrowness), which depicts marital conflict in a sweltering New York apartment.<\/p>\n\n\n

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Sketch of Sholem Aleichem by Chaim Topol.<\/figcaption><\/figure>\n<\/div>\n\n\n

This current batch includes works by classic Yiddish writers, including three<\/a> plays<\/a> by Sholem Aleichem, yet such dramas are not necessarily representative of the one-act repertoire. Arguably the one-act play is a particularly democratic form, since it would be easier for even a novice playwright\u2013\u2013or one with a demanding day job or family responsibilities\u2013\u2013to take a stab at writing a one-act play than a longer dramatic work. It is not so surprisingly that our current batch includes a broad array of playwrights, some of whom are well-known for their dramatic repertoire, and others less so. This variety cannot help but enrich our understanding of the diversity of the Yiddish theatre repertoire. Paula Prilutski<\/a> delivers a strikingly satirical look at the theatre in her play Aktor<\/a> <\/em>(Actor), where characters debate the aims of the acting profession as an actor\u2019s wife groans in childbirth offstage. Would a male playwright necessarily think of putting this kind of labor at the center of a debate about art? It is difficult to say for sure, but we are certainly glad to have a plot synopsis that helps us consider this question.<\/p>\n\n\n\n

Yiddish one-act plays are often brief, intense examinations of particular types of relationships or current issues. Their details are often sketchier and the plots more ambiguous than in longer plays, such as illustrated by the fact that several plays refer to protagonists as \u201cthe Man\u201d without giving him a name. Yet while Alexander Gordin suggests that a one-act play is comparable to a Rodin study, we\u2019d like to think that an examination of our latest batch (and PYD as a whole) might be more like visiting a Rodin Museum, which impresses visitors with the sheer variety of artistic creation. Indeed, the juxtaposition of plays such as Prilutski<\/a>\u2019s Aktor<\/em> and Sholem Asch<\/a>\u2019s Der zindiker<\/a> <\/em>(The Sinner) takes audiences from the cradle to the grave, and invites us to consider how one-act plays depict a range of issues confronting Yiddish-speakers in both the Old Country and the New World. As will be seen\u2014both in this batch and our forthcoming batch (a Part II installment of one-act plays intended for children)\u2014one-act plays offer up a fresh, historically-interesting perspective on the goals of Yiddish playwrights and the topics that interested their audiences.<\/p>\n","protected":false},"excerpt":{"rendered":"

One-act plays present a striking variety of themes, character types, and styles, as can be seen in the latest Plotting Yiddish Drama batch, devoted to this genre.<\/p>\n","protected":false},"author":32,"featured_media":1469,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","uwm_wg_additional_authors":[]},"categories":[48,12,32],"tags":[],"class_list":["post-1466","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-1945-1999","category-directors","category-literature"],"yoast_head":"\nOne (Act) for the Show - Digital Yiddish Theatre Project<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uwm.edu\/yiddish-stage\/one-act-for-the-show\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"One (Act) for the Show\" \/>\n<meta property=\"og:description\" content=\"One-act plays present a striking variety of themes, character types, and styles, as can be seen in the latest Plotting Yiddish Drama batch, devoted to this genre.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/uwm.edu\/yiddish-stage\/one-act-for-the-show\/\" \/>\n<meta property=\"og:site_name\" content=\"Digital Yiddish Theatre Project\" \/>\n<meta property=\"article:published_time\" content=\"2018-08-16T19:29:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-05-15T20:05:18+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/05\/AR-01X54b52bc63b000_495x395.webp\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"750\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/webp\" \/>\n<meta name=\"author\" content=\"Jeremy A Streich\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jeremy A Streich\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/one-act-for-the-show\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/one-act-for-the-show\\\/\"},\"author\":{\"name\":\"Jeremy A Streich\",\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/#\\\/schema\\\/person\\\/acb308ee9146d2d003cc0dfb2a5f08f9\"},\"headline\":\"One (Act) for the Show\",\"datePublished\":\"2018-08-16T19:29:00+00:00\",\"dateModified\":\"2023-05-15T20:05:18+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/one-act-for-the-show\\\/\"},\"wordCount\":1067,\"image\":{\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/one-act-for-the-show\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/wp-content\\\/uploads\\\/sites\\\/562\\\/2023\\\/05\\\/AR-01X54b52bc63b000_495x395.webp\",\"articleSection\":[\"1945-1999\",\"Directors\",\"Literature\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/one-act-for-the-show\\\/\",\"url\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/one-act-for-the-show\\\/\",\"name\":\"One (Act) for the Show - 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