My Name Is Asher Lev

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Background Information Interviews & Commentary PORTLANDSTAGE Tickets: 774.0465 where great theater lives www.portlandstage.org Discussion Programs For The General Public The Artistic Perspective, hosted by Artistic Director Anita Stewart, is an opportunity for audience members to delve deeper into the themes of the show through conversation with special guests. A different scholar, visiting artist, playwright, or other expert will join the discussion each time. The Artistic Perspective discussions are held after the first Sunday matinee performance.

Page to Stage discussions are presented in partnership with the Portland Public Library. These discussions, led by Portland Stage artistic staff, actors, directors, and designers answer questions, share stories and explore the challenges of bringing a particular play to the stage. Page to Stage occurs at noon on the Tuesday after a show opens at the Portland Public Library’s Main Branch. Feel free to bring your lunch!

Curtain Call discussions offer a rare opportunity for audience members to talk about the production with the performers. Through this forum, the audience and cast explore topics that range from the process of rehearsing and producing the text to character development to issues raised by the work. Curtain Call discussions are held after the second Sunday matinee performance.

All discussions are free and open to the public. Show attendance is not required. To subscribe to a discussion series performance, please call the Box Office at 207.774.0465.

Discussion Dates for My Name Is Asher Lev

The Artistic Perspective: Sunday, April 3 in the theater, following the 2:00 p.m. matinee.

Page to Stage: Tuesday, April 5 at the Portland Public Library, at noon.

Curtain Call: Sunday, April 10 in the theater, following the 2:00 p.m. matinee. My Name is Asher Lev Adapted by Aaron Posner Based on the best-selling novel by Chaim Potok

Portland Stage Educational Programs are generously supported through the annual donations of hundreds of individuals and businesses, as well as special funding from:

The Robert and Dorothy Goldberg Charitable Foundation & George and Cheryl Higgins & Funded in part by a grant from: The Maine Arts Commission, and independent state agency supported by the National Endowment for the Arts. Table of Contents Portland Stage Produces My Name is Asher Lev Thoughts from the Editorial Staff 6 Connor Speaks 8 About the Play 9 Chaim Potok 10 About the Playwright: Aaron Posner 11 Interview with the Director: Paul Mullins 12 Putting it Together: Brittany Vasta 14

The World of My Name is Asher Lev Potency Of the Cross 16

Demonization of Nude Art 17

Judaism 101 18

Overview of Jewish Beliefs 20

Brief Timeline Of Jewish History 22

Borough Park, Brooklyn 24

How do you Define Art? 26

My Name is Asher Lev In the Classroom Instant Lessons 28 Glossary 29 Further Resources 30 Your 2015/2016 PlayNotes Editorial Staff Benn May Grace Weiner Directing & Dramaturgy Intern Education & Theater for Kids Intern

Connor Pate Hannah Cordes Directing & Dramaturgy Intern Education & Theater for Kids Intern Cover Art by Kerry Randazzo General Administration Intern Jamie Hogan My Name is Asher Lev 4 My Name is Asher Lev In This Issue... by Hannah Cordes In this issue of PlayNotes you will find information about all of the artists mentioned in My Name is Asher Lev

Pieta by Michelangelo

Michelangelo (1475–1564) “The greater danger for most of us lies not in setting our aim too high and falling short; but in setting our aim too low, and achieving our mark.” The Italian sculptor, painter, architect, poet, and engineer Michelangelo is often considered the greatest artist of the Italian Renaissance. Michelangelo’s versatile talents helped to coin the phrase “Renaissance Man,” meaning an intelligent person who possesses a multitude of skills. Some of his best-known works include the Pieta, the statue of David, and the Sistine Chapel ceiling and frescoes. Michelangelo’s Pieta, which brings Asher Lev to tears, is a sculpture of the Virgin Mary holding the body of her son, Jesus, after the crucifixion. In My Name Is Asher Lev, Jacob Kahn claims that he will bring a David out of the stone that is Asher Lev. As Michelangelo himself said, “Every block of stone has a statue inside it and it is the task of the sculptor to discover it.”

PlayNotes 5 Portland Stage Produces My Name is Asher Lev Thoughts From The Editorial Staff

While I was in college, I directed an AIDS play titled Adam and the Experts, which explores not only what happens when a person is dealing with their own death, but how it shapes the world for those around them. I thought it was important to really explore what it means to survive a true crisis. As a gay man without AIDS, Adam survived the crisis but lost so many people. My whole point in choosing the play was that not only is surviving something sometimes just as difficult as fighting, but that ultimately gay men were just as much people as anyone else. Loss affects gay men like anyone else, and I hoped to humanize my community for those who vehemently fought against us. While that may not be boundary pushing, staging it at a university in conservative, Bible-belt East Texas definitely pushed several students outside their comfort zone. My show was placed in the most popular slot where most Theatre Appreciation (non-arts students) would be required to see the show, and then have to consider a different point of view.

I believe that art is one of the best tools to push against boundaries, to challenge assumptions, and to engage with the world we live in. In my own life, I have used theatre in particular to push against boundaries. When I went to college, I encountered many social expectations and problematic behaviors, especially in terms of gender and the treatment of women on my campus. I therefore sought out alternative ways of starting conversations and creating safe places to challenge what I considered to be the flaws in the campus culture. I eventually came to Theatre for Social Change, which encompasses all kinds of theatre aimed at changing social climates. I, along with other students, began using theatre techniques, activities, and exercises to encourage difficult conversations on our campus. In my opinion, getting people talking and getting people to think and feel and relate with one another can make a huge difference. Discussion, and in this case artistic expression, is the first step when pushing against boundaries.

I am a white, heterosexual male from the American South with parents prone to saying, “Do what feels right.” The struggles I have faced pale in comparison to most of the world.. Although I have not lived a life of persecution, I have seen it. I have seen persecution in the church, in the schools, in the stores I was exposed to in North Carolina. My play, Mammoth Teeth, is an attempt at exploring the basis of such persecution, specifically from the vantage point of the religious. It’s a black comedy, which sits comfortably in magical realism, but it’s also an attempt at understanding the cult of belief and the effects of such a system. I have not been on the receiving end of persecution and my art will never reflect that, but my art will always reflect the world I’ve been exposed to and each injustice I’ve seen. It’s the only way I can rip them out to see how they work.

My Name is Asher Lev 6 My Name is Asher Lev When is a time you used art to push boundaries ?

Several years ago, a Maine governor saw fit to remove all eleven panels of Judy Taylor’s Maine Labour Mural, which had formerly resided in the Department of Labour building in Augusta. Many were outraged by this act. This was not only an uncalled for censorship of art, this was a movement to shroud a portion of Maine’s history. This act actively silenced the voices of those who fought, burned, and died to establish the fairness and safety we enjoy in the contemporary workspace. My theatre group sought to fight this repression in the best way we knew how: we turned the mural into a play. Eleven scenes, each representing a separate panel from the work of art. We took the play on the road, performing it in union halls, churches, and schools. We wanted the state to know where we stood. If the mural could not be displayed in its intended medium, than the work’s message had to be spread through different means. The cries of indignation from the people of Maine eventually prompted the mural’s return. I am proud to say that mine was one of those voices.

For part of my degree, I wrote a thesis paper on the British playwright Sarah Kane and how she uses violence as a tool to reveal and explore societal issues and inequalities to her audiences. While I am a strong supporter of her work and all it entails, there are many people who believe that she uses vulgarity and violence simply as a “shock and awe” tactic. Thus far I have only been able to interact with her work on a theoretical level and hope that someday I will be able to put it onstage.

Art has been a powerful force throughout my life. I used it to learn to read and manage my academic studies as well as express my frustration as an angsty teen. However, never did I feel the true power of song until my a capella group in college used our voices to bring brain cancer awareness to the forefront of our campus. My father had been diagnosed with the disease earlier that year and my sisterhood of singers saw that we could use our love of music to help me heal and bring awareness. We partook in a fundraiser called the “Crush Cancer Concert” in February of 2013. With my father in the audience I had the most surreal experience on stage. Our set list was comprised of songs that embodied all the emotions I had been feeling. There were songs about anger, frustration, fear, hope, and love. Music and other forms of art all have the ability to transcend any adversity.

For a free, digital copy of PlayNotes go to http://www.portlandstage.org/education/playnotes PlayNotes 7 Portland Stage Produces My Name is Asher Lev Connor Speaks I could tell you about discovery, the discovery of the rich and vast history of Hasidic Judaism. I could tell you about exploration, the exploration of the intersection between art and faith. I’m not going to. You can discover and explore on your own. Or, more likely, if you’re reading this, you’ll be watching or have already watched My Name is Asher Lev, a show that illuminates those two topics in a way I’ll never be able to imitate. Instead, I’ll tell you about a room, black floored, spike taped, and with two arched windows doing nothing to alleviate harsh fluorescent lighting. For the first couple of days, I thought there was something in the water. The rehearsal room for My Name is Asher Lev vibrated and buzzed. No, reader, it’s not hyperbole. There was a constant awareness of keeping the door closed or, as it once happened, someone else would shut it for us. If someone wasn’t laughing, performing a scene, or telling a winding personal story then… well, there’s not a fourth option. That’s been the rehearsal room: a source of cease- less energy, a home for kind and gifted people working and making each other laugh. As I write this, we’re nearing the end of the second week of rehearsal. It doesn’t feel like it. And yes, reader, I’m aware, “time flies,” but I urge you to track down the other six people accom- panying me in the rehearsal room and spend two weeks with them, and then you might wonder why you wear a watch at all. Aside from the show’s fantastic stage manager and assistant stage manager, I had never met or worked with anyone else in the room. It is a profound shame. I’m convinced if you put the director, Paul Mullins, into any profession, they would immediately start a superlative program and shower him with titles: most affable, most considerate, etc. The same can be said for the actors, who have the daunting task of immersing themselves into both a different time and different world. They seem to do it with ease, since I believe most of the Hebrew and Yiddish terms they utter they’ve known since birth. This piece of seemingly endless compliments causes me no compunction. My Name is Asher Lev is a fantastic play and it doesn’t need me to wax on about its merits when it can speak for itself. I’m writing as a wide-eyed fan of this cast and crew because I am one. It’s simple as that. I’ve spent a lot Dramaturg of time laughing and being grateful to be around such generous and talented people, but I’ve also noun | dra●ma●turg spent quite a bit of time watching an amazing show The person who assists the director to create the come together. I’m proud of that and everyone else. world of a play by contributing necessary Here’s to you, Paul, Shane, Claire, Joel, Pat, and insight, research, or feedback before and Noah. during rehearsals.

My Name is Asher Lev 8 My Name is Asher Lev About the Play By Connor Pate Aaron Posner’s My NameIs Asher Lev seems as if it must be a coming-of-age story. After all, it contains the familiar trappings: a young man rebelling against the will of his parents, who explores the world with the help of a mentor and delves deep into his inner self to find his true calling. Does that summary sound uninteresting and generic for a play? It should. My Name Is Asher Lev is not a coming-of- age story. It’s not a story about growing up. It’s a story about reconciliation. It’s a story about coming home. Based on Chaim Potok’s novel of the same name, My Name Is Asher Lev follows three overlapping characters: Asher Lev, religion, and his art. However, before we focus on the “reconciliation” and “coming home,” a short, brutish summary is needed to nip any head scratching in the bud. Set in the postwar Brooklyn of the 1950s and ’60s, My Name Is Asher Lev centers on the titular character as he recounts the consistent struggle between his religion, Hasidism, and his art. These conflicts are explored through flashbacks to his time as a child living with his parents and, later, under the tutelage of Jacob Kahn, his mentor. Good? Good. Asher’s parents are present in the play, as well as Jacob Kahn. Yet in many ways they are simple stand-ins for his religion and his passion, which is painting. Pursuant to Hasidism, painting not done in the service of and under the guidelines of the religion is close to heresy. Therein lies the conflict, the search for reconciliation, for a home. The objects Asher paints and seeks to represent are diametrically opposed to his belief system, and thus to his family, who are strict adherents to Hasidism. One wonders, though, if the desire to illustrate his emotions through “pagan” and Christian imagery would be present if they had not been forbidden. That is My Name Is Asher Lev—not a drama of characters, but a drama of homes, disparate houses with a gap- ing chasm between them. Yes, My Name Is Asher Lev has stories of a young man trying to come to grips with his place in life, and it is true that one could put it in the confining box of a coming-of-age story. Beyond that, however, lies Asher Lev’s duality, his endless, bloody bout between his religion and his art. Compared to living two lives, growing up is easy.

What is a Rebbe? Rebbe (pronounced reh-bee) is a Yiddish word derived from the Hebrew word rabbi, meaning “my master.” It is an honorific used to refer to the spiritual leader of one of the ultra-Orthodox Hasidic sects of Judaism. Each Hasidic movement has its own Rebbe, with followers adhering to their specific Rebbe’s teachings. The Rebbe is a man who has studied Jewish scripture all his life and is considered a learned man by his community. People defer to their Rebbe for both personal and spiritual guidance. Because he is a holy man, he is held in extremely high regard.

PlayNotes 9 Portland Stage Produces My Name is Asher Lev Chaim Potok by Benn May Chaim Potok was born February 17, 1929 in Brooklyn, New York as Herman Harold Potok. Most often he was addressed by his Hebrew name Chaim. He was raised in a home of Polish Immi- grants with strong beliefs and connection to Orthodox Judaism. In an interview he described his origins, “I prayed in a little shtiebel [prayer room], and my mother is a descendant of a great Hasidic dynasty and my father was a Hasid, so I come from that world.” Chaim developed a talent for painting and drawing when he was very young. He dreamed of becoming a painter. This was frowned upon by his parents who considered painting “narish- keit” which is the Yiddish word for foolishness. He would give up the idea of becoming a painter as an occupation but would continue to paint on the side as an adult. As a teenager Potok read Evelyn Waugh’s Brideshead Re- visited and credits it with his deciding to become an author. Potok said that it was reading it that first showed him that fiction could “create worlds out of words on paper.” He would spend the next five years devouring books by greats like Ernest Hemmingway, Charles Dickens, Mark Twain, and William Faulkner. Learning how to write like the classic authors became a near ob- session for Chaim. Even while studying at Yeshiva University, an Orthodox Jewish school in Upper Manhattan, he would take a 20 minute bus-ride to the library so he could pour over the text of his literary heroes. After graduating from Yeshiva he would go on to Jewish Theological Seminary, which is a Conservative Jewish seminar. ‘’I thought at the seminary I would get a non-fundamentalist reading of the Jewish tradition,” Potok said in a 1992 interview. Upon graduation he was ordained as a Conser- vative Rabbi. His choice to go to a less fundamental school would be seen by many in his Orthodox community as a great insult. There would be some from his past who would not speak to him after his choice, and would continue their silence until his death. He is quoted as saying ‘’I had to rebuild my world literally from zero.” Potok would go on to get his PhD and teach for many years, while continuously writing both theological articles and fictional literature. His first novel The Chosen would premiere in 1967, earning him acclaim both in the United States and internationally. He was praised for his look at a world that for many was considered unknown and highly mysterious. Potok has said that the character he relates most to was in “My Name is Asher Lev.” He would go on to publish a sequel in 1990 called The Gift of Asher Lev. Unfortunately Chaim Potok passed away in 2002 from a brain tumor. He is considered one of the greatest Jewish authors of all time. The work he created explored the challenge that many face between religious and familial obligations, and the secular world. He is survived by his wife Adena, three children, and two grandchildren.

My Name is Asher Lev 10 My Name is Asher Lev About the Playwright: Aaron Posner

Aaron Posner is a director and playwright whose impact is nationwide. Posner’s award-wining play Stupid Fucking Bird (Helen Hayes, Outstanding Resident Play, Outstanding New Play) made its stunning world premiere in 2013 at Woolly Mammoth Theatre Company. Posner is a multi talented artist who has built a thriving career as a theater administrator, a playwright, and a freelance director of award-winning productions in the Washington, D.C., area and throughout the country, with an emphasis on Shakespeare and literary classics. He was a founding artistic director of Arden Theatre in Philadelphia, directing more than 35 productions there. Aaron is also an associate artist at the Folger Theatre and Mil- waukee Rep. Posner has won three Helen Hayes Awards for Best Director in the last eight years, all for work at the Folger: Measure For Measure, The Two Gentlemen of Verona, and Cyrano, and a 2014 HHA, Charles MacArthur Award for Outstanding New Play along with two Barrymore Awards: A Midsummer Night’s Dream (Best Director), and The Chosen (playwright), both at the Arden. A graduate of Northwestern University with a B.S. in Performance Studies, Aaron is an Eisenhower Fellow and his plays and productions have been seen at more than a third of the LORT theaters in the country. His published and produced adaptations include: The Chosen, My Name Is Asher Lev, Some- times a Great Notion, Cyrano, A Mystery & A Marriage (music by James Sugg), and Stupid F***ing Bird. He has directed at major regional theaters across the nation, including the Folger Theatre, Milwaukee Rep, Actor’s Theatre of Louisville, the Alliance, the American Repertory Theatre, Arizona Theatre Com- pany, California Shakespeare Theatre, and Seattle Rep.

Titian (Tiziano Vecelli) (c. 1488–1576) “Not every painter has a gift for painting; in fact, many painters are disappointed when they meet with difficulties in art. Painting done under pressure by artists without the necessary talent can only give rise to formlessness, as painting is a profession that requires peace of mind. The painter must always seek the essence of things; always represent the essential characteristics and emotions of the person he is painting.” Titian, like Michelangelo, was a leading artist during the Italian Renaissance. Throughout his career he received art commissions from Pope Paul III, King Philip II of Spain, and the Holy Roman Emperor Charles V. Titian’s contemporaries referred to him as “The Sun Amidst Small Stars” in recognition of his versatile talent.

Sorrows by Titian

PlayNotes 11 Portland Stage Produces My Name is Asher Lev An Interview with the Director: Paul Mullins by Connor Pate

Assistant Director, Connor Pate, sat down with Paul Mullins to ask him some questions about his experience and working on My Name is Asher Lev.

Connor Pate: How did you get into theatre?

Paul Mullins: I was in college and I was a little bit bored with my science curriculum – I was studying biology and chemistry. I was looking for something else to do and there were auditions for a play and I had never been in one before. I was interested but not a theatergoer. A couple of my friends said they were going to do it, so I said I would as well. I auditioned for the play and was cast. I enjoyed being in a play.

CP: Do you remember the play?

PM: The first play I did was a little one act called Aria Da Capo, which is a commedia play. The first full-length play I was in was a production of On a Clear Day You Can See Forever. Once that happened, I started looking for ways to do more of it and more of it. Then I changed universities and went to study theatre. Although, for my parents’ benefit, I suppose I finished the biology and chemistry degree.

CP: When did you start directing?

PM: I was working a lot at a theater in Florida and I started to get other jobs and began not going as much. The woman who ran the theater asked how she could get me back – I was popular with the audience there and I said, “You can let me direct a play.” Straight out of the blue. It had never really been a plan of mine. As an actor, I enjoyed seeing what that kind of responsibility was and I was interested in experiencing that. So, she let me direct a play and that started happening other places I worked at. Then it just became something I did until it became the thing I do.

CP: When did you first come to Portland Stage?

PM: The first job I had at Portland Stage was in 1996 – 95 or 96. I was cast as Iago in a production of Othello. I had a very nice time. After Anita came, she hired me to direct a production of True West in 2003, I believe.

CP: How did you become involved with My Name is Asher Lev? Did you know the book beforehand?

PM: I knew the book, but I didn’t know the book very well and I had forgotten the book. Anita talked to me about doing it and I was interested in that she was interested in me doing it and I was very interested in doing it because I didn’t know very much. I remembered it, then went back and read it – the play, the adaptation – and was thrilled

My Name is Asher Lev 12 My Name is Asher Lev by being able to tell a story about art in your life and how our families, our upbringing, our history has so much impact on who we are. Often, there is a tension between who we are and where we come from and I think that has so much to do with finding ourselves, growing up, finding our calling, for lack of a better word. nounDirector | di●rec●tor CP: How do you see the story fitting into the Portland community? The person who leads a play in production. Responsible for blocking, heading the design team, and leading the actors PM: The great thing about the play is that it talks about universal ideas in a very specific setting. I think that’s the brilliance of the play and any great play, I think, does that. There is a very specific place but a universal idea. I look at that young Hasidic boy and think that wasn’t my experience, but I was somebody who wanted something, felt like something was in me that I needed to express, that I needed to explore, needed to realize. Where I was from, it was a foreign thing. I didn’t know anyone who was into theatre, who was an actor. It was something I wanted to do that was outside of my experience. That tension, that desire, confusion… all those things I related to. It’s about how Asher feels, how he comes to terms with it, how he must give up something in order to do that, how he gains things and loses things by becoming true to himself.

CP: Have you ever created a piece of art, or theatre, built around or consciously designed to push boundaries?

PM: I think a lot of things we do in the theatre… a lot of stories we tell are doing it. One of the things that come to mind is Tartuffe. Well, Moliere wrote that hundreds of years ago, but the idea is still a pushing thing. It’s about a hypocrite in a religious situation. This is true. This has always been true. This will always be true. So, it’s Moliere and it’s not, “Oh my god, that’s dangerous,” and yet, what he is talking about pushes us to this day. It pushes us to say, “Look at this. What if this is you? What if this is not you? Where do you fall in this story?” I don’t know if I ever consciously set out to make waves, but I often knew… what I hoped the story we were telling would naturally cause us to think. I think that’s why we come to the theatre: to be with our community, to watch, listen, learn, and experience something that should make us think, make us consider, reflect on what it means to be a human.

Tintoretto (1518-1594) “Beautiful colors can be bought in the shops on the Rialto, but good drawing can only be bought from the casket of the artist’s talent with patient study and nights without sleep.”

Tintoretto, born Jacopo Robusti and dubbed “Il Furioso” by his contemporaries, was known for the remarkable energy and power in his paintings. The recognizable features of his work include dramatic gestures and lighting, muscular figures, religious scenes, and narrative drama. Along with Titian and Michelangelo, Tintoretto is considered one of the great artists of the Italian Renaissance.

PlayNotes 13 Portland Stage Produces My Name is Asher Lev Putting it Together: Brittany Vasta by Benn May

Brittany Vasta, the Scenic Designer for My Name is Asher Lev, has been a Scenic Artist and Technician for Portland Stage for the past two seasons. Before rehearsals began, Benn May of PlayNotes sat down with Brittany to talk about what it means to be a Scenic Designer. 1.First tell us a little bit about yourself: Where are you from? Where did you study? Etc.

I don’t actually have a home state or home town. My father was an officer in the US Army so, consequently, our family moved around a lot throughout my childhood. In 2009 I moved to NYC to earn my MFA from New York University and currently live in Brooklyn. When I hit the 4 year mark in NYC, that was the longest I had ever lived in one place! Now I’ve been there for about 7 years. I first became interested in theatre when I was in middle school and went the usual route as a performer -- singing, dancing and acting up until my sophomore year in college at Lehigh University. At that point I took a design course and had my first “ah-ha” moment in life when I realized I could mix my long-time hobby of drawing and painting with my other main interests: theatre, psychology and poetry. Set design uses all these skills and, as I’ve learned and deeply appreciate, countless (perhaps endless!) others. 2.What other shows have you designed at Portland Stage? My Name is Asher Lev will be my 5th show here! I’ve designed the sets for the following shows: A Song at Twilight, The Savannah Disputation, Brighton Beach Memoirs, and The Whipping Man.

3.What has excited you most about designing My Name is Asher Lev? A couple things come to mind. First, I always love Scenic working with director Paul Mullins. He keeps the joy of play-making center to the process and the Designer discoveries we make along the way always feel like an exciting treasure hunt. Second, the play noun | scene●ic●de●sign●er | itself has many poetic and imagistic qualities both The one responsible for creating the evironment of central to the story as well as in the telling of it. the play, focusing on all scenic elements including Working on a piece that is itself about the creation set, furniture, drops and all other scenic units. of art has been a rewarding challenge. I have enjoyed the translation of text to image to story and trying to create a world that feels inherently tied to the piece itself.

My Name is Asher Lev 14 My Name is Asher Lev

4.The play mentions a lot of different artists, who are some of your favorite artists? Currently - Robert Motherwell, Caravaggio, Bernini, Andrew Wyeth, and Frank Stella 5.After this show, what is next for you? Paul and I are revisiting A Song at Twilight at The Shakespeare Theatre of NJ. I’ll also be designing Exit the King later in their season. I’m working on a production of Pippin in New Delhi, India. I am also an associate for set designer Mimi Lien and will be working alongside her on Natasha, Pierre and the Great Comet of 1812 as it makes its transfer to Broadway this year! 6.Is there a particular line in the text that has influenced your work for this production? So many! In that Asher is telling us his story of being an artist there are many lines that can guide a designer through the process. In many ways, Asher explains to us how he sees the world. I tried to capture the intention of his descriptions. An example - “ I saw the world refracted, pulled apart, yet clear and sharp and pulsing with life. The world was planes and lines and shapes and colors.”

Rembrandt van Rijn (1606–1669) “Try to put well in practice what you already know; and in so doing, you will in good time discover the hidden things which you now inquire about. Practice what you know, and it will help to make clear what now you do not know.”

Rembrandt was a seventeenth-century Dutch painter and etcher renowned for his portraits, self- portraits, and biblical scenes. Rembrandt’s work dominated the artistic scene of what is now known as the Dutch Golden Age.

Slaughtered Ox, by Rembrandt

PlayNotes 15 World of My Name is Asher Lev The Potency Of the Cross by Benn May Easily one of the most recognizable symbols in the modern world, the cross has a history that predates Christianity, and comes in many different forms and meanings. From the ancient Greeks and Egyptians to pagan cultures, the cross has been a symbol of great importance. It has been seen in hieroglyphics, etchings, and artwork from across the world. Preceding the introduction of Christianity by close to 3,000 years, the sign of the cross has been found in cave mark- ings and on ancient artifacts. The best guess by most anthropolo- gists and historians is that this symbol has always been represen- tative of death and of the world of the sacred. It would naturally be adopted by the Christian community in the spreading of the faith as a way of communicating the spiritual importance of their message. The cross has also taken many forms as it has moved across cultures. In Egypt, the ankh was a holy symbol of the gods that represented life. When Christianity spread to Egypt, Coptic Christians included it in their worship of the Judeo-Christian God. In looking at the many forms of the cross it is important to discuss the culture from which the symbol is derived. Example of a Catholic Crucifix One of the most controversial manifestations of the cross, the swastika, is actually much older than its use as a symbol of fascism. It is a sign of life, fire, and eternity in many Eastern cultures and was used that way for several millennia before the Nazis and the Holo- caust. The gamma cross, or gammadion, can be found in Hindu cloth designs, temples, and writings dating from as early as the second century BCE. Depending on the direction of the symbol (clockwise or counter-clockwise) it represents different aspects of life, different deities, and different intent. Only after it was adopted by the German Fascists did it become a symbol of op- pression and hate. The cross in all its forms has held power and meaning. For the Jewish population, unfortunately, in many places the cross has been a sign of anti-Semitism and hate. Groups have Swastika used as Hindu religious symbol adopted it while compelling Jews to leave the country, taking away their rights, and forcing them into other dire situations. In recent memory Jewish homes were graffiti-coated with slurs and paintings of a certain crosses to em- phasize how unwelcome they were in a community. It is most unfortunate that a symbol that for generations stood for life, death, humanity, and so many other things would in later years be perverted and used as a symbol of hate toward the Jewish people. While many view the cross as a symbol of Christ, and therefore an important part of their faith, it has also been used to oppress and persecute others.

My Name is Asher Lev 16 My Name is Asher Lev Demonization of Nude Art by Kerry Randazzo Many would say that art is meant to prompt alternative forms of thought. Many would also say that the boundary-pushing nature of art may cause discomfort, even anger. Such conflicts have been illustrated historically in societal and religious views of nude artwork. In My Name is Asher Lev, by Aaron Posner, this topic is manifested in Asher’s parents’ condemning his pursuit of art after learning that he has painted a nude figure. They even go so far as to link Asher’s artistic talent to the Sitra Achra, the realm of evil. One may wonder where such negative associations might have stemmed from historically. Many religions, including Judaism, strongly forbid “idolatry,” the worship of physical objects as a representation of God. The creation of any such idols is considered to be blasphemous. At certain points in time, idolatrous behavior was extended to include even the creation of any image of a human or animal, regardless of whether it was secular or not. Idolatry has also taken on sexual connotations throughout the course of religious history. A biblical example of this ideology can be seen when the followers of Moses commit adultery while they wait for him to return from Mount Sinai. This The Last Judgement erotic behavior was said to have ensued because they abandoned their faith to worship a golden statue of a calf. The creation of a nude image, therefore, could be considered idolatrous behavior because one might assume that it was created for the purpose of sexual worship. What constitutes sexually idolatrous behavior has been the subject of much debate over the centuries; however, one may see how the creation of nude artwork could have adopted the scandalous, even sacrilegious associations Asher’s parents have with it. The debate over nude art censorship has existed for centuries in both religious and secular culture. Michelan- gelo was criticized for depicting nude souls in his famous Last Judgment fresco in the Sistine Chapel. Many were so appalled by its indecency that they experienced great difficulty focusing on the work’s religious message. One of the artist’s protégés later added loincloths, hence one of the first examples of artistic censorship. Many artists feel that it is necessary for one’s artistic understanding to have mastered the depiction of the human form in the nude. Nudity is often associated with purity and innocence. An understanding of how to create an image of the human form at its most deconstructed level serves as a sound base for artists. Although attitudes toward nude art have evolved since Michelangelo’s time, many still view it as being too vulgar to be displayed publicly. Instances of such censorship have extended in to modern times. Consider, for example, Karen Finley’s performance art piece We Keep Our Victims Ready. The piece featured Finley stripping naked and smearing herself with chocolate, symbolizing the objectification of women and taking a stance against violence and rape. The piece initially gained national publicity when Finley’s request for a grant from the National Endowment for the Arts was vetoed in the 1990s. Her struggle for NEA recognition culminated in a Supreme Court case in 1998, which she lost because her proposal failed a congressional “decency” test. As philosophies change, so do the views in the ethics of creating and displaying nude artwork. Given society’s trend of increased artistic leniency, one may predict that attitudes toward nude art will progress accordingly.

Francisco de Goya (1746–1828) “The act of painting is about one heart telling another heart where he found salvation.” Francisco de Goya was a Spanish romantic painter known as the Last of the Old Masters as well as the Father of Modern Art. Goya worked for the Spanish royal court and became famous for his portraits of nobility. In addition to court paintings, Goya produced more subversive art that critiqued the social and political status of his time. The Parasol by Francisco de Goya PlayNotes 17 World of My Name is Asher Lev Judaism 101

Types of Judaism The differences between Jewish movements today are not so much a matter of theology, but more a matter of how literally they take the scriptures, how much they think biblical requirements can be changed, and whether those requirements are mandatory.

Orthodox “Orthodoxy is actually made up of several different groups. It includes the modern Orthodox, who have largely integrated into modern society while maintain- ing observance of halakhah (Jewish Law), the Chasidim, who live separately and dress distinctively (commonly, but erroneously, referred to in the media as the “ultra- Orthodox”), and the Yeshivish Orthodox, who are neither Chasidic nor modern. The Orthodox movements are all very similar in belief, and the differences are difficult for anyone who is not Orthodox to understand. They all believe that G-d gaveMoses the whole Torah at Mount Sinai. The “whole Torah” includes both the Writ- ten Torah (the first five books of the Bible) and the Oral Torah, an oral tradition interpreting and explaining the Written Torah. They believe that the Torah is true, that it has come down to us intact and unchanged.”

An Orthodox man walks with his children

Reform “Reform Judaism does not believe that the Torahwas written by G-d. The movement accepts the critical theory of Biblical authorship: that the Bible was written by separate sources and redacted together. Reform Jews do not believe in observance of commandments as such, but they retain much of the values and ethics of Judaism, along with some of the practices and the culture. The original, basic tenets of American Reform Judaism were set down in the Pittsburgh Platform. Many non-observant, nominal, and/ or agnostic Jews will identify themselves as Reform when pressed to specify simply because Reform is the most liberal movement, but that is not really a fair reflection on the movement as a whole. “ Rabbi Richard Jacobs is the head of the Union of Reform Judaism

My Name is Asher Lev 18 World of My Name is Asher Lev Conservative “Conservative Judaism grew out of the tension between Orthodoxy and Reform. Conservative Judaism maintains that the truths found in Jewish scriptures and other Jewish writings come from G-d, but were transmitted by humans and con- tain a human component. Conservative Judaism generally accepts the binding nature of halakhah, but believes that the Law should change and adapt, absorbing aspects of the predominant culture while remaining true to Judaism’s values. In my experience, there is a great deal of varia- tion among Conservative synagogues. Some are indistinguishable from Reform, Rabbi Gil Steinlauf, came out as the first openly Gay Conservative Rabbi except that they use more Hebrew; others are practically Orthodox, except that men and women sit together. Some are very traditional in substance, but not in form; others are traditional in form but not in substance. This flexibility is deeply rooted in Conservative Judaism, and can be found within their own Statement of Principles, Emet ve-Emunah.”

Reconstructionists “Reconstructionist Judaism is theoretically an outgrowth of Conservative, but it doesn’t fit neatly into the traditional/liberal, observant/non-observant continuum that most people use to classify movements of Judaism. Reconstructionists believe that Judaism is an “evolving religious civilization.” They do not believe in a personified deity that is active in history, and they do not believe that G-d chose the Jewish people. From this, you might assume that Reconstructionism is to the left of Reform; yet Reconstructionism lays a much greater stress on Jewish observance than Reform Judaism. Reconstructionists observe the halakhah if they choose to, not because it is a binding Law from G-d, but because it is a valuable cultural remnant. Recon- structionism is a very small movement but seems to get a disproportionate amount of attention, probably because there are a disproportionate number of Reconstructionists serving as rabbis to Jewish college student organizations and Jewish Community Centers.”

PlayNotes 19 World of My Name is Asher Lev Overview of Jewish Beliefs 1. G-d exists 2. G-d is one and unique 3. G-d is incorporeal 4. G-d is eternal 5. Prayer is to be directed to G-d alone and to no other 6. The words of the prophets are true 7. Moses’ prophecies are true, and Moses was the greatest of the prophets 8. The Written Torah (first 5 books of the Bible) and Oral Torah (teachings now contained in the Talmud and other writings) were given to Moses 9. There will be no other Torah 10. G-d knows the thoughts and deeds of men 11. G-d will reward the good and punish the wicked 12. The Messiah will come 13. The dead will be resurrected

“Judaism focuses on relationships: the relationship between G-d and mankind, between G-d and the Jew- ish people, between the Jewish people and the land of Israel, and between human beings. Our scriptures tell the story of the development of these relationships, from the time of creation, through the creation of the relationship between G-d and Abraham, to the creation of the relationship between G-d and the Jew- ish people, and forward. The scriptures also specify the mutual obligations created by these relationships, although various movements of Judaism disagree about the nature of these obligations. Some say they are absolute, unchanging laws from G-d (Orthodox); some say they are laws from G-d that change and evolve over time (Conservative); some say that they are guidelines that you can choose whether or not to follow (Reform, Reconstructionist). “ Rituals

Bris-“ Of all of the commandments in Judaism, the brit milah (literally, Covenant of Circum- cision) is probably the one most universally observed. It is commonly referred to as a bris (covenant, using the Ashkenazicpronunciation). Even the most secular of Jews, who observe no other part of Judaism, almost always observe these laws. Of course, until quite recently, the majority of males in the United States were routinely circumcised, so this doesn’t seem very surprising. But keep in mind that there is more to the ritual of the brit milah than merely the process of physically removing the foreskin, and many otherwise non-observant Jews observe the entire ritual.”

My Name is Asher Lev 20 World of My Name is Asher Lev

Bar/Bat Mitzvah-“ “Bar Mitzvah” literally means “son of the commandment.” “Bar” is “son” in Aramaic, which used to be the vernacular of the Jewish people. “Mitzvah” is “commandment” in both Hebrew and Aramaic. “Bat” is daughter in Hebrew and Aramaic. (The Ashkenazic pronunciation is “bas”). Technically, the term refers to the child who is coming of age, and it is strictly correct to refer to someone as “becoming a bar (or bat) mitzvah.” However, the term is more commonly used to refer to the coming of age ceremony itself, and you are more likely to hear that someone is “having a bar mitzvah” or “invited to a bar mitzvah.” Under Jewish Law, children are not obligated to observe the commandments, although they are encouraged to do so as much as possible to learn the obligations they will have as adults. At the age of 13 (12 for girls), children become obligated to observe the commandments.”

Shiva-“ Shiva is observed by parents, children, spouses and siblings of the deceased, preferably all together in the deceased’s home. Shiva begins on the day of burial and continues until the morning of the seventh day after burial. “In Judaism, death is not a tragedy, even when it occurs early in life or through unfortunate circumstances. Death is a natural process. Our deaths, like our lives, have meaning and are all part of G-d’s plan. In addition, we have a firm belief in an afterlife, a world to come, where those who have lived a worthy life will be rewarded. Mourning practices in Judaism are extensive, but they are not an expression of fear or distaste for death. Jewish practices relating to death and mourning have two purposes: to show respect for the dead (kavod ha-met), and to comfort the living (nihum avelim), who will miss the deceased.”

Pablo Picasso (1881–1973) “Every act of creation is first of all an act of destruction.” Spanish artist Pablo Picasso, as Asher Lev’s uncle claims, was arguably the greatest artist of all time (or at least of his time). The co-creator of Cubism, Picasso pushed the boundaries of artistic creation and revolutionized the meaning of “great art.” Although Picasso is best known for Cubism, his work evolved and changed drastically throughout his seven decades of artistic creation. Picasso had a significant influence on art history and continues to have an impact on modern art.

The Old Guitarist by Pablo Picasso

PlayNotes 21 World of My Name is Asher Lev A Brief Timeline OF Jewish History by Grace Weiner

Torah given at Mt. Sinai

Time Israel splits Exodus Time of of King into two from Miracle Abraham David kingdoms begins Egypt begins of Purim

1812 BCE 1312 BCE 877 BCE 796 BCE 335 BCE

1392 BCE 1106 BCE 836 BCE 555 BCE 139 BCE

Time of Time King Moses Assyrians Miracle of of the Solomon begins overrun Chanukah Judges begins northern begins his reign Israel

The 10 tribes of Israel are lost

My Name is Asher Lev 22 World of My Name is Asher Lev

6 million Jews died during WWII

Constantine Jews made The Great Revolt Nazis start converts Roman scapegoat of the Jews Against “Final Empire to The Inquisition for Czar in Rome Solution Christianity begins Russia

67 CE 312 CE 1478 CE 1881 CE 1942 CE

132 CE 1348 CE 1654 CE 1927 CE 1948 CE

Rebellion of Bar The Black Plague First Jews Country State of Kochba begins in Europe arrive in of Jordan Israel North created Declared America

PlayNotes 23 World of My Name is Asher Lev Borough Park, Brooklyn by Benn May

New York City has always been known for pockets of certain religious or ethnic groups. Little Italy, Chi- natown, and El Barrio are just a few examples of enclaves that are home to large numbers of immigrant populations and their American descendants. It should come as no surprise that the Hassidic Jewish population of New York would find its own such enclave. While it is not the only Jewish community located in New York, it is cer- tainly considered the largest Orthodox community outside of Israel. Borough Park, Brooklyn, has been a haven for the Orthodox and Hassidic Jewish populations of New York City since 1904. Since the earliest days of Jew- ish immigrants moving to Borough Borough Park in 1890 Park (sometimes spelled Boro Park), the people there have found a community that they could shape into a comfortable environment to continue their traditions and raise the next generation. From the early twentieth century until the creation of market houses in the 1930s, most of the streets of Borough Park were filled with Jewish pushcart ven- dors. The hub of the neighbor- hood is 13th Avenue, which is filled to this day with many kosher and Hassidic stores. The avenue also boasts not one but two fully kosher hotels. These have gained global attention because many coming to New York choose to stay here so that their religious beliefs do not have to be compromised while Families in modern day Borough Park, Brooklyn traveling abroad. In many ways Borough Park is an insular neighbor- hood. Although it has welcomed other nationalities and faiths into its boundaries, it is still served mostly by Orthodox and Hassidic Jews. Within Borough Park Jewish, medical and police facilities have been created. Hatzalah, which is not specific to just Borough Park, is an organization of volunteer EMTs who are usually Orthodox themselves and speak Yiddish and Hebrew. Hatzalah can be found in most major cities around

My Name is Asher Lev 24 World of My Name is Asher Lev

the world that have a significant Jewish population. The Hatzalah have been able to address issues for the Jewish population that might not seem important to a secular world. They are able to help with a crisis that may arise on the Sabbath, when many Orthodox Jews may have reservations about seeking medical care. This group also understands the modesty requirements of the faith and so when dealing with patients, especially women, they are often able to handle it more appropriately than a non-Jewish response team. This fact has helped ensure that members of the community are able to receive quality care and still maintain their duties to the faith. Men ride in the front of the bus, women in the back

Shomrim, which is Hebrew for guards or protectors, is the name of the local task force that is sanctioned by the New York City Police Department. This task force responds to security issues within the community and also assists the NYPD with missing person searches and other related issues. Borough Park is also home to many Jewish schools. It does have public secular schools, but most elementary-age students who attend these are not Jewish and are separate from the rest of the community.

Marc Chagall (1887–1985) “I had to find some special occupation, some kind of work that would not force me to turn away from the sky and the stars, that would allow me to discover the meaning of life.” Chagall was a French and Jewish artist born in Russia, internationally recognized for his resistance to the popular artistic movements of his time. Chagall experimented with many of the contemporary artistic styles, including Fauvism, Cubism, and Surrealism. He was unique for his time, however, in rejecting these radical styles in favor of figurative and narrative art. Despite his more traditional approach to art, Chagall’s work is characteristically emotional and dreamlike rather than realistic. Rain (La Pluie) by Chagall

PlayNotes 25 World of My Name is Asher Lev How Do You Define Art? by Kerry Randazzo PlayNotes sent our man on the street, Kerry Randazzo, out to ask “How do you define art?”

Phoebe Shaw: I feel like art is a way for someone to express themselves, to explore the history or cur- rent political/social issues that affect them, or to relax and create something that’s aesthetically pleas- ing. I’ve found a way to create art I think that falls under all three categories.

Mohamed Nur: For me, art is a vehicle for people to express ideas that can’t be expressed in words. Art is the human imagination that’s now visible. Art is important to me because it can allow us to connect with people on a deeper, more thoughtful level. Art can elicit strong emotions in people. That’s a powerful thing to do.

Will Weeks: To me, art is a representation of human emotions and the soul. It’s a way for people to communicate their thoughts, ideas, and feelings whether through theater, painting, drawing, poetry, dancing, or some other form.

Bella Hebert: Art is a way of expressing personality and circum- stance. It freezes emotions in time and provokes human curiosity. I wouldn’t want to imagine a world where art doesn’t exist. Will Weeks Andrew Barnes: Art to me is self-expression. It can be really anything when you put pen to paper but to me it’s about finding a way to express something that I can’t say.

Bryanna Bride: To me art means the expression of one’s self. This can mean explaining how one feels through acting, poetry, dancing, singing, drawing, or however they choose to express what they’re feeling or thinking without the actual use of communication.

Olivia Ryan: To me art is anything that can’t be re-created by someone else. Everyone is gifted with some kind of artistic talent, something they can create that can’t be re-created. Art is something that is so important because it shapes the world around us. The beauty of art impacts each and every person, and that impact has the potential to be long lasting.

Abdee Hassan: For me, art is an individual expression. Someone could be artistic with their paintings, drawings, singing, and much more. I see Olivia Ryan art as a way to show my originality. It’s self-expression.

Owen Kingsley: I think art is simply the expression of emotions, ideas, or opinions. If you create something based on one of those expressions then that is art.

My Name is Asher Lev 26 World of My Name is Asher Lev

Kathryn Toppan: When I feel that I’m looking at an embodiment of the creative spirit, particularly an embodiment that I couldn’t have dreamed to envision myself, I am looking at art. When I can gaze upon a work repeatedly and see details that bring about new phases of meaning, I am looking at art. Art provokes study but, more importantly, nurtures or instigates something within the view- er, hopefully as profound as what inspired the artist to create such wonder in the first place.

Salim Salim: I see art as a way of coping with reality’s problems. Art can be controversial because of the perspectives, but I find it amazing that a painting, poem, or even a song can be thought-provoking. That’s the power of art.

Martin Conte: Art is the progressional means of communicating complex thoughts Art acknowledges and continually changes the notion of “that which is beyond,” whether religiously, scientifically, or ethically, to reflect the infinitely changing means of expression each individual undertakes. Whether that “beyond” is found in a god or goddess, a form, collective con- scious, a food, a politician, or a galaxy, shouldn’t be much concern for the artist; like Hestia, we are charged with tending the hearth, and not necessar- ily with why the hearth needs tending. Martin Conte Brian Dodge: I approach art from a philosophical standpoint, particularly a Hegelian one. In short, Hegel believed that society continues to express itself, get to know itself, and display its zeitgeist through a process of a thesis (initial proposal), antithesis (a counter proposal), and a synthesis (a blending of the two). This is a huge oversimplification but you can see it every- where. For instance, in politics you have Donald Trump with his policies (thesis), then there’s Bernie Sanders (antithesis); eventually we will move to a synthesis, which will become our new thesis. Art is the medium through which our society conducts this process. The overall “spirit” of society expresses itself through art and the thesis, antithesis, and synthesis of ideas. Art continually is progressing toward synthesis.

Berta Lindos: In my opinion, art is simply expression. Whether something is being created by voice, by hand, or using the entire body, I consider all of it artistic. It is free- dom.

Veronica Eng: I would define art as something intentionally Berta Lindos meant to express feelings or emotions through any medium like paint or clay. It can be anything really. Art I think shapes everything in the world. It allows humans to surpass being primitive animals to being intellectual beings, so it is very important.

PlayNotes 27 My Name is Asher Lev In the Classroom Instant Lessons by Hannah Cordes & Grace Weiner

Getting Started: Pre-Show Activities

1. Our PlayNotes editors wrote about using art to push against boundaries. Have you ever used art in this manner? What else could you use to push against boundaries? What kind of boundaries would you push against?

2. Asher Lev has a mentor named Jacob Khan, who pushes him to become a better artist. Have you ever had a mentor? Has anyone ever pushed you to accomplish more than you thought you were capable of? What do you think are the most productive ways to inspire other people?

3. Asher Lev’s parents expect him to live his life a certain way, but Asher instead pursues art. What kinds of expectations do other people have for you? Do these expectations inspire you? Have you ever felt pressured by these expectations? Think of three things that YOU want for yourself and then make a list of your own personal expectations.

4. Asher uses art as a way of communicating and understanding his feelings. Art becomes a lan- guage. Have you ever used art to express something you could not put into words? Did it succeed in translating how you felt? Would combining art forms make it easier or more difficult to explain?

Making Connections: Post-Show Activities

1. In many ways, Asher Lev cannot help but be an artist. He feels called to make art. Art is his way of communicating with the world and with himself. Have you ever felt this strongly about something? What are your passions? How do these passions shape who you are?

2. Asher Lev’s mother asks him why he doesn’t make art that is “pretty.” What else can art be? What do you think is the purpose of art that is not traditionally pretty?

3. The Rebbe is a very influential character throughout the play. He is approached by Asher and his family for advice on both spiritual and personal decisions. Can you think of someone you go to for advice? Do you always listen to what they say? Have you ever gone against the advice you were given?

4. When Asher’s father tries to move the family to Europe, Asher refuses to leave Brooklyn because it is his home. He is worried that if leaves he will lose his ability to draw again. Have you ever had to leave a place you felt comfortable in or called home? Was it easy or difficult for you? If you could go back to one place you felt at home, where would it be?

5. Whenever anyone leaves for a journey, Asher’s mother, Riv, always says, “Gay gezunt un cum gezunt” (Go in health and return in health). Does anyone in your family have a saying or a catch phrase that everyone connects to them? It could be funny, serious, happy, sad, etc. Do you have any phrases you like to say a lot?

My Name is Asher Lev 28 My Name is Asher Lev In the Classroom

Glossary by Connor Pate 1. Ba’al Shem Tov (Hebrew: “Master of the Good Name”) - • Born: Yisroel ben Eliezer • “Jewish mystical rabbi” • Often referred to as “the holy Baal Shem” or the “Baal Shem Tov” by religious Jews. • “Responsible for divesting Kabbalah (esoteric Jewish mysticism) of the rigid asceticism im- posed on it by Isaac ben Solomon Luria in the 16th century.” • Teachings centered on three main points: • “Communion with God, the highest of all values”

2. : “kibud ov” - Honor your parents” or “respect your father”

3. “olav hasholem” or olav ha-sholom or alav ha-shalom - “Peace be upon him”

4. “Oy, gevalt!” - “Oh, goodness!” or “uh-oh!” or “how terrible!”

5. Santa Croce • “Basilica di Santa Croce – Basilica of the Holy Cross” • “Principal Franciscan church in Florence, Italy, and a minor basilica of the Roman Catholic Church.” • “Burial place of some of the most illustrious Italians, such as Michelangelo, Galileo, Machia- velli, Foscolo, Gentile and Rossini.” • Built 1385

6. Torah • “In its most limited sense, ‘Torah’ refers to the Five Books of Moses: Genesis, Exodus, Le- viticus, Numbers and Deuteronomy.” • “Can also be used to refer to the entire Jewish bible (the body of scripture known to non- Jews) as the Old Testament and to Jews as the Tanakh or Written Torah).” • “In its broadest sense, the word can also refer to the whole body of Jewish law and teachings.” • “The term can be translated to ‘instruction.’”

7. Kaskett • “A Russian cap, somewhat similar to a combination cap, but made of felt. It has a crown, a band and peak.” • “At the beginning of the 20th century, many Russian Jews wore this cap as part of their dress.”

8. Goyim • “Goy or Gentile is the standard Hebrew biblical term for a ‘nation,’ including that of Israel.” • “The word nation has been the common translation of the Hebrew ‘goy,’ or ‘ethnesin.’” • “Goyim” is the plural form. • “Someone who is not Jewish.” • “Goyim can also be translated to someone who is not Jewish in Yiddish as well.”

PlayNotes 29 My Name is Asher Lev In the Classroom Further Resources

Books My Name is Asher Lev by Chaim Potok The Chosen by Chaim Potok The Gift of Asher Lev by Chaim Potok Tales of the Hasidism by Martin Buber The Family Moskat by Isaac Bashevis Singer A Tree Grows in Brooklyn by Betty Smith

Films The Chosen Fill the Void Felix & Meira Ushpizin Kadosh Artwork All artwork on this page is by Chaim Potok

My Name is Asher Lev 30 PORTLANDSTAGE IMAGINE • DREAM •T PLAYhea •t MAKEer fo FRIENDSr Kid •s THINK • INSPIRE • COLLABORATE • GROW • DESIGN • CREATE • INTERPRET • ENCOURAGE • EXPAND • ENRICH • DEVELOP • ILLUMINATE • IMAGINE • DREAM • PLAY • MAKE FRIENDS • THINK • INSPIRE • COLLABORATE • GROW • DESIGN • CREATE • INTERPRET • ENCOURAGE • EXPAND • ENRICH • DEVELOP • ILLUMINATE • IMAGINE • DREAM • PLAY • MAKE FRIENDS • THINK • INSPIRE • COLLABORATE • GROW • DESIGN • CREATE • INTERPRET • ENCOURAGE • EXPAND • ENRICH • DEVELOP • ILLUMINATE • IMAGINE • DREAM • PLAY • MAKE FRIENDS • THINK • INSPIRE • COLLABORATE • GROW • DESIGN • CREATE • INTERPRET • ENCOURAGE • EXPAND • ENRICH • DEVELOP • ILLUMINATE • IMAGINE • DREAM • PLAY • MAKE FRIENDS • THINK • INSPIRE • COLLABORATE • GROW • DESIGN • CREATE • INTERPRET • ENCOURAGE • EXPAND • ENRICH • DEVELOP • ILLUMINATE • IMAGINE • DREAM20 1•6 PLAY • MAKE FRIENDS • THINK • INSPIRE • COLLABORATE • GROW • DESIGN • CREATE • INTERPRET • ENCOURAGE • EXPAND • ENRICH • DEVELOP • ILLUMINATE • IMAGINE • DREAM • SummerPLAY • MAKE FRIENDS • THINK • INSPIRE • COLLABORATE • GROW • DESIGN • CREATE • INTERPRET • ENCOURAGE • EXPAND • ENRICH • DEVELOP • ILLUMINATE • IMAGINE • DREAM • PLAY • MAKE FRIENDSCamps • THINK • INSPIRE • COLLABORATE • GROW • DESIGN • CREATE • INTERPRET • ENCOURAGE • EXPAND • ENRICH • DEVELOP • ILLUMINATE • IMAGINE • DREAM • PLAY • MAKE FRIENDS • THINK • INSPIRE • COLLABORATE • GROW • DESIGN • CREATE • INTERPRET • ENCOURAGE • EXPAND • ENRICH • DEVELOP • ILLUMINATE • IMAGINE • DREAM • PLAY • MAKE FRIENDS • THINK • INSPIRE • COLLABORATE • GROW • DESIGN • CREATE • INTERPRET • ENCOURAGE • EXPAND • ENRICH • DEVELOP • ILLUMINATE • IMAGINE • DREAM • PLAY • MAKE FRIENDS • THINKTheater • for INSPIRE Kids is • COLLABORATE • GROW • DESIGN • CREATE •made INTERPRET possible by • ENCOURAGE the • EXPAND • ENRICH • DEVELOP • ILLUMINATEgenerous support • IMAGINE and • DREAM • PLAY • MAKE FRIENDS • vision of THINK •Susie INSPIRE Konkel • COLLABORATE • GROW • DESIGN • CREATE 207.774.1043ext.104 www.portlandstage.org | 25A Forest Ave, Portland, Maine Portland Stage 2015/2016 Season

Anita Stewart Executive & Artistic Director

Artistic/Production Meg Anderson Scenic Technician & Artist Ted Gallant Technical Director Myles C. Hatch, Shane Van Vliet Stage Managers Emily Kenny Lighting & Sound Supervisor/ Production Manager Susan Thomas Costume Shop Supervisor

Affiliate Artists Ron Botting Peter Brown Daniel Burson Maureen Butler Moira Driscoll Andrew Harris Abigail Killeen Daniel Noel Janice O’Rourke Michael Rafkin Ed Reichert Hans Indigo Spencer Dustin Tucker Bess Welden Sally Wood

Administration Paul Ainsworth Business Manager Chris DeFillip, Heather Irish Box Office Associates Megan Doane General Manager & Intern Coordinator Chris DeFillip, Heather Irish, Adam Thibodeau Assistant House Managers Myles C. Hatch Group Sales Coordinator Alex Kimmel Company Manager Martin Lodish Finance Director Carmen-maria Mandley Education Director & Literary Manager Renee Myhaver Assistant Box Office Manager JJ Peeler Social Media & Marketing Associate Eileen Phelan Marketing Director Elinor Reina Development Assistant Julianne Shea Education Adminstrator Donald Smith Audience Services & Box Office Manager Samara Yandell Development Manager

Intern Company Hannah Cordes Theatre for Kids / Education Dana Hopkins Props Journeyman Benn May Directing & Dramaturgy Grace K. Murrin Stage Management Connor Pate Directing & Dramaturgy Kerry Randazzo General Administration Zoe Levine Sporer Sets & Carpentry Claire Taylor Stage Management Austin Tomison Electrics & Sound Shireen Unvala Costumes & Wardrobe Grace Weiner Theatre for Kids/ Education