Hostname: page-component-745bb68f8f-s22k5 Total loading time: 0 Render date: 2025-01-09T15:47:22.575Z Has data issue: false hasContentIssue false
  • English
  • Français

Audience Response in the Yiddish ‘Shund’ Theatre

Published online by Cambridge University Press:  23 January 2009

Ilana Bialik
Ilana Bialik
Affiliation:
Pursues Research on the ‘Shund’ Theatre at Tel Aviv University
Get access Rights & Permissions [Opens in a new window]

Extract

The following comparison between the Yiddish ‘Shund’ play Dos Yudishe Hertz by Joseph Lateiner and August von Katzebue's most popular melodrama Menschenhass und Reue aims to throw light on a very significant aspect of the Yiddish ‘Shund’ Theatre. I believe that the conclusions of this comparison show how Yiddish ‘Shund’ playwrights tried to answer their audience expectations and how they manipulated their audience by trying to evoke a certain kind of response.

Type
Articles
Information
Theatre Research International , Volume 13 , Issue 2 , Summer 1988 , pp. 97 - 105
Copyright
Copyright © International Federation for Theatre Research 1988

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Notes

1. Lateiner, Joseph, Dos Yudische Hertz (Warsaw, A. Gitlin, 1913).Google Scholar

2. von Katzebue, August, Menschenhass and rue. English translation: B. Thompson (tr.), The stranger (London, Venor and Hood, 1800).Google Scholar

3. Zilberzweig, Z.. Lexicon fun Yiddishen teater (New York. Elisheva, 1963 (1931)), pp. 591–605; 963–90.Google Scholar

4. Gorin, B., Die Geschichte fun Yiddishen Teater (New York, Meisel, 1923) vol. II, pp. 261–8.Google Scholar

5. Kobrin, L., Ereingungen fun a Yiddishen dramaturg: A fertl yórhundert Yiddish teater in America (New York, 1925) p. 13.Google Scholar

6. Ibid, p. 32.

7. Etinger, Shlomo, Serkele oder di falshe tzavoeGoogle Scholar in Weinreich, Max, Ale ktovim fun Doctor Shlomo Etinger (Warsaw, Kletzkin, 1925).Google Scholar

8. The music for Dos Yudishe Hertz was composed by Zigmund Mogulesku.

9. The strict morality of ‘classical’ melodrama needs a villain and requires cruelty and melodramatic lynch. Cf. Frye, Northrop, Anatomy of Criticism (Princeton University Press, 1957) p. 47.Google Scholar

10. Brooks, P., The melodramatic imagination: Balzac, Henry James, melodrama and the mode of excess (Yale University Press, 1976) p. 14.Google Scholar

11. R. B. Heilman Speaks of a melodramatic catharsis which is essentially a ‘monophatic’ experience: Tragedy and melodrama: versions of experience (University of Chicago Press, 1968).Google Scholar

12. Hurwitz, Moshe, Tissa Essler, drame mit gezange in 5 akten (1895).Google Scholar Three manuscripts of this play at the Yivo Institute for Jewish Research, New York.

13. L. Kobrin, ibid. p. 28.

14. Young, B., Mein leben in teater (New York, 1950) p. 170.Google Scholar