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Film Essay for “Tevye”
Tevye By J. Hoberman In summer 1939, actor-director Maurice Schwartz began work on his long-delayed “Tevye,” the film he first proposed in 1936 and had publicly announced in January 1938. Schwartz, who based his film on the stories of leading Yiddish author and playwright Sholom Aleichem, created and starred in a stage play of “Tevye” twenty years before. A $70,000 ex- travaganza, the film was produced by Harry Ziskin, co-owner of the largest kosher restaurant in the Times Square area. After three weeks of rehearsal on the stage of the Yiddish Art Theater, shooting began on a 130-acre potato farm near Jericho, Long Island. On August 23, midway through the shoot, Hitler seized Danzig. A Nazi invasion of Poland seemed imminent. Political tensions and the deterioration of the Euro- pean situation were felt on the set of “Tevye.” Many Maurice Schwartz as Tevye the Dairyman. of those involved in the production had family in Poland; some were anxious to return. Actor Leon contrast, “Fiddler on the Roof,” filmed by Norman Liebgold booked passage on a boat leaving for Jewison in 1973, emphasizes the generational gap Poland on August 31. But “Tevye” had fallen behind between Tevye and his daughters and ends with schedule – a number of scenes had been ruined Khave and her Gentile husband leaving for America due to the location’s proximity to Mitchell Airfield. along with Tevye. Although his visa had expired, Liebgold was com- pelled to postpone his departure. The next day, On one hand, Schwartz’s “Tevye” stands apart from the Nazis invaded Poland. -
“Kiss Today Goodbye, and Point Me Toward Tomorrow”
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By BRYAN M. VANDEVENDER Dr. Cheryl Black, Dissertation Supervisor July 2014 © Copyright by Bryan M. Vandevender 2014 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled “KISS TODAY GOODBYE, AND POINT ME TOWARD TOMORROW”: REVIVING THE TIME-BOUND MUSICAL, 1968-1975 Presented by Bryan M. Vandevender A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Dr. Cheryl Black Dr. David Crespy Dr. Suzanne Burgoyne Dr. Judith Sebesta ACKNOWLEDGEMENTS I incurred several debts while working to complete my doctoral program and this dissertation. I would like to extend my heartfelt gratitude to several individuals who helped me along the way. In addition to serving as my dissertation advisor, Dr. Cheryl Black has been a selfless mentor to me for five years. I am deeply grateful to have been her student and collaborator. Dr. Judith Sebesta nurtured my interest in musical theatre scholarship in the early days of my doctoral program and continued to encourage my work from far away Texas. Her graduate course in American Musical Theatre History sparked the idea for this project, and our many conversations over the past six years helped it to take shape. -
Global Form and Fantasy in Yiddish Literary Culture: Visions from Mexico City and Buenos Aires
Global Form and Fantasy in Yiddish Literary Culture: Visions from Mexico City and Buenos Aires by William Gertz Runyan A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Comparative Literature) in the University of Michigan 2019 Doctoral Committee: Professor Mikhail Krutikov, Chair Professor Tomoko Masuzawa Professor Anita Norich Professor Mauricio Tenorio Trillo, University of Chicago William Gertz Runyan [email protected] ORCID iD: 0000-0003-3955-1574 © William Gertz Runyan 2019 Acknowledgements I would like to express my gratitude to my dissertation committee members Tomoko Masuzawa, Anita Norich, Mauricio Tenorio and foremost Misha Krutikov. I also wish to thank: The Department of Comparative Literature, the Jean and Samuel Frankel Center for Judaic Studies and the Rackham Graduate School at the University of Michigan for providing the frameworks and the resources to complete this research. The Social Science Research Council for the International Dissertation Research Fellowship that enabled my work in Mexico City and Buenos Aires. Tamara Gleason Freidberg for our readings and exchanges in Coyoacán and beyond. Margo and Susana Glantz for speaking with me about their father. Michael Pifer for the writing sessions and always illuminating observations. Jason Wagner for the vegetables and the conversations about Yiddish poetry. Carrie Wood for her expert note taking and friendship. Suphak Chawla, Amr Kamal, Başak Çandar, Chris Meade, Olga Greco, Shira Schwartz and Sara Garibova for providing a sense of community. Leyenkrayz regulars past and present for the lively readings over the years. This dissertation would not have come to fruition without the support of my family, not least my mother who assisted with formatting. -
Course Submission Form
Course Submission Form Instructions: All courses submitted for the Common Core must be liberal arts courses. Courses may be submitted for only one area of the Common Core. All courses must be 3 credits/3 hours unless the college is seeking a waiver for a 4-credit Math or Science course (after having secured approval for sufficient 3-credit/3-hour Math and Science courses). All standard governance procedures for course approval remain in place. College Kingsborough Community College Course Number Yiddish 30 Course Title Yiddish Literature in Translation l Department(s) Foreign Languages Discipline Language and Literature Subject Area Enter one Subject Area from the attached list. Yiddish Credits 3 Contact Hours 3 Pre-requisites English 12 Mode of Instruction Select only one: x In-person Hybrid Fully on-line Course Attribute Select from the following: Freshman Seminar Honors College Quantitative Reasoning Writing Intensive X Other (specify): Liberal Arts/ Gen Ed Catalogue Designed for non-Yiddish speaking students, course consideration is on the emergence of Yiddish writers in the Description modern world. Emphasis is on the main literary personalities and their major contributions. All readings and discussions in English. Syllabus Syllabus must be included with submission, 5 pages max Waivers for 4-credit Math and Science Courses All Common Core courses must be 3 credits and 3 hours. Waivers for 4-credit courses will only be accepted in the required areas of Mathematical and Quantitative Reasoning and Life and Physical Sciences. Such waivers will only be approved after a sufficient number of 3-credit/3-hour math and science courses are approved for these areas. -
A Hebrew Maiden, Yet Acting Alien
Parush’s Reading Jewish Women page i Reading Jewish Women Parush’s Reading Jewish Women page ii blank Parush’s Reading Jewish Women page iii Marginality and Modernization in Nineteenth-Century Eastern European Reading Jewish Society Jewish Women IRIS PARUSH Translated by Saadya Sternberg Brandeis University Press Waltham, Massachusetts Published by University Press of New England Hanover and London Parush’s Reading Jewish Women page iv Brandeis University Press Published by University Press of New England, One Court Street, Lebanon, NH 03766 www.upne.com © 2004 by Brandeis University Press Printed in the United States of America 54321 All rights reserved. No part of this book may be reproduced in any form or by any electronic or me- chanical means, including storage and retrieval systems, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Members of educational institutions and organizations wishing to photocopy any of the work for classroom use, or authors and publishers who would like to obtain permission for any of the material in the work, should contact Permissions, University Press of New England, One Court Street, Lebanon, NH 03766. Originally published in Hebrew as Nashim Korot: Yitronah Shel Shuliyut by Am Oved Publishers Ltd., Tel Aviv, 2001. This book was published with the generous support of the Lucius N. Littauer Foundation, Inc., Ben-Gurion University of the Negev, the Tauber Institute for the Study of European Jewry through the support of the Valya and Robert Shapiro Endowment of Brandeis University, and the Hadassah-Brandeis Institute through the support of the Donna Sudarsky Memorial Fund. -
November 13 – the Best of Broadway
November 13 – The Best of Broadway SOLOISTS: Bill Brassea Karen Babcock Brassea Rebecca Copley Maggie Spicer Perry Sook PROGRAM Broadway Tonight………………………………………………………………………………………………Arr. Bruce Chase People Will Say We’re in Love from Oklahoma……….…..Rodgers & Hammerstein/Robert Bennett Try to Remember from The Fantasticks…………………………………………………..Jack Elliot/Jack Schmidt Can’t Help Lovin’ Dat Man from Show Boat……………………………Oscar Hammerstein/Jerome Kern/ Robert Russell Bennett Gus: The Theatre Cat from Cats……………………………………….……..…Andrew Lloyd Webber/T.S. Eliot Selections from A Chorus Line…………………………………….……..Marvin Hamlisch/Arr. Robert Lowden Glitter and Be Gay from Candide…………………….………………………………………………Leonard Bernstein Let’s Call the Whole Thing Off from Shall We Dance…….…….……………………George & Ira Gershwin Impossible Dream from Man of La Mancha………………………………………….…Mitch Leigh/Joe Darion Mambo from Westside Story……………………………………………..…………………….…….Leonard Bernstein Somewhere from Westside Story……………………………………….…………………….…….Leonard Bernstein Intermission Seventy-Six Trombones from The Music Man………………………….……………………….Meredith Willson Before the Parade Passes By from Hello, Dolly!……………………………John Herman/Michael Stewart Vanilla Ice Cream from She Loves Me…………..…………....…………………….Sheldon Harnick/Jerry Bock Be a Clown from The Pirate..…………………………………..………………………………………………….Cole Porter Summer Time from Porgy & Bess………………………………………………………….………….George Gershwin Move On from Sunday in the Park with George………….……..Stephen Sondheim/Michael Starobin The Grass is Always Greener from Woman of the Year………….John Kander/Fred Ebb/Peter Stone Phantom of the Opera Overture……………………………………………………………….Andrew Lloyd Webber Music of the Night from Phantom of the Opera…….………………………………….Andrew Lloyd Webber Love Never Dies from Love Never Dies………………..…..……………………………….Andrew Lloyd Webber Over the Rainbow from The Wizard of Oz….……………………………………….Harold Arlen/E.Y. Harburg Arr. Mark Hayes REHEARSALS: Mon., Oct. 17 7 p.m. -
Mousical Trivia
Level I: Name the classic Broadway musicals represented in these illustrations from THE GREAT AMERICAN MOUSICAL. Level II: Identify the song and the character(s) performing each one. Level III: Name the show's creators, the year the show originally opened, the theatre it opened in, and the original stars. a.) b.) e.) d.) c.) BONUS QUESTION: Can you name the choreographer Pippin the intern is paying tribute to on the cover of the book? ANSWERS Level I: Name the classic Broadway musicals represented in these illustrations from THE GREAT AMERICAN MOUSICAL. Level II: Identify the song and the character(s) performing each one. Level III: Name the show's creators, the year the show originally opened, the theatre it opened in, and the original stars. a.) d.) Level I: The King and I Level I: Fiddler on the Roof Level II: "Getting to Know You", Anna Leonowens, Royal Wives Level II: “If I Were a Rich Man”, Tevye and Royal Children Level III: Book by Joseph Stein; Based on stories by Sholom Aleichem; Level III: Music by Richard Rodgers; Lyrics by Oscar Hammerstein Music by Jerry Bock; Lyrics by Sheldon Harnick. 1964, Imperial Theatre. II; Book by Oscar Hammerstein II; Based on the novel "Anna and Zero Mostel & Beatrice Arthur the King of Siam" by Margaret Landon. 1951, St. James Theatre. Yul Brynner & Gertrude Lawrence b.) e.) Level I: My Fair Lady Level I: Hello, Dolly! Level II: “Wouldn't It Be Loverly?”, Eliza Doolittle and the Cockneys Level II: “Hello, Dolly!”, Mrs. Dolly Gallagher Levi, Rudolph, Waiters and Level III: Book by Alan Jay Lerner; Lyrics by Alan Jay Lerner; Music by Cooks Frederick Loewe; Adapted from "Pygmalion" by George Bernard Shaw. -
S051516 Evelyn Mahon
Williams College Department of Music Evelyn Mahon '18, alto Stephen Sondheim '50 “Love, I Hear”, from A Funny Thing Happened on the Way to the Forum Jerry Bock/ Sheldon Harnick “Dear Friend”, from She Loves Me Tom Lehrer “Poisoning Pigeons in the Park” by Tom Lehrer Stephen Sondheim “On the Steps of the Palace”, from Into the Woods Leonard Bernstein “Some other Time”, from On the Town Stephen Sondheim “Moments in the Woods”, from Into the Woods Andrew Lloyd Weber “Don't Cry for Me, Argentina”, from Evita Stephen Sondheim “Children and Art”, from Sunday in the Park with George Stephen Sondheim “Loving You”, from Passion Manuel Miranda “Burn”, from Hamilton Stephen Sondheim “The Miller's Son”, from A Little Night Music Jerry Bock/ Sheldon Harnick “A trip to the Library”, from She Loves Me Joe Darion/ Mitch Leigh “What Does he Want of Me”, from Man of LaMancha Joe Darion/MItch Leigh “Aldonza”, from Man of LaMancha Jerry Bock/Sheldon Harnick “Tonight at 8”, from She Loves Me Stephen Sondheim “Could I leave you?”, from Follies Stephen Sondheim “Send in the clowns”, from A little Night Music Jason Robert Brown “Still hurting”, from The Last Five Years Marcy Heisler/ Zina Goldrich Taylor the Latte Boy Kurt Weill “Pirate Jenny”, from The Threepenny Opera Joseph Kosma/ Jacques Prevert Autumn leaves LinManuel Miranda Breathe Larry Grossman/Hal Hackady “Mama, a Rainbow”, from Minnie’s Boys Sunday, May 15, 2016 2:00 p.m. Brooks-Rogers Recital Hall Williamstown, Massachusetts Please turn off cell phones. No photography or recording is permitted. Evelyn Mahon '18 is a Theatre/Statistics double major from Williamstown, MA. -
Fiddler on the Roof’
Solihull School Presents 20th - 24th March 2012 Bushell Hall After Tevye leaves, Perchik rejoices his good fortune, admitting to Hodel, “Now I Have Everything.” Confused by the changes taking place in his world, Tevye for the fi rst time asks Golde “Do You Love Me?” Eventually, Hodel’s strong love for Perchik compels her to leave her family and travel “Far from the Home I Love” in order to be with her beloved in Siberia. Chava, the third daughter, secretly begins to see a young Russian gentile, Fyedka. Although Tevye has weathered the unexpected courtships of Tzeitel and Hodel with dignity, he is unable to tolerate this further and more radical defi ance of tradition. Chava’s contemplation of marrying outside of the Jewish faith is a violation of his religious beliefs, and Tevye vehemently forbids her to continue the relationship with Fyedka. When she persists, Tevye, who can bend no farther, banishes her from the family, refusing to acknowledge Chava as his daughter. By this time, the Tsar has ordered that all Jews evacuate their homes, and the village reluctantly begins to pack their belongings. Knowing that she may never see her parents and sisters again, Chava returns briefl y for a fi nal reconciliation, SYNOPSIS explaining that Fyedka and she are also moving away from Anatevka because they cannot remain amongst people who treat others with such callousness. The place is Anatevka, a village in Tsarist Russia. The time is 1905, the eve of the revolution. The musical opens with the Although Golde cannot challenge her husband’s edict to ignore Chava’s overtures, Tzeitel consoles her younger sister by pulling haunting strains of a fi ddler perched precariously on a roof. -
|||GET||| Tevye the Dairyman and Motl the Cantors Son 1St Edition
TEVYE THE DAIRYMAN AND MOTL THE CANTORS SON 1ST EDITION DOWNLOAD FREE Sholem Aleichem | 9780143105602 | | | | | Tevye Dairyman For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. Seller Image. More information about this seller Contact this seller 4. Contains some markings such as highlighting and writing. Sholom Aleichem. Just a moment while we sign you in to your Goodreads account. Seller Rating:. His silliness comes across on the screen in other ways - he tries to assert his dictatorial authority to little effect, and on one occasion looks like a toddler having a tantrum instead. Tevye is a stubborn curmudgeon in many ways who will not see his part in his own undoings and yet he evokes sympathy due to his general good outlook, albeit tinged with a la I thoroughly enjoyed this satirical voyage through the lives of two slightly exaggerated Jewish males. Book category Adult Fiction. About this product. This Sholom Aleichem is amazing -- I've read two of his books in the last couple of months and I laughed and cried and learned so much from each of them. Another of the less pleasant, yet historically interesting, notable features of Motl was child characters learning sexism from adults via cumulative remarks. The guy runs a dairy, after all. Condition: acceptable. Tevye is the lovable, Bible-quoting father of seven daughters, a modern Job whose wisdom, humor, and resilience inspired the lead character in Fiddler on the Roof. In exchange, this guy tutors Tevye's daughters. Pickup not available. Once I'd seen too many pictures Tevye the Dairyman and Motl the Cantors Son 1st edition heaps of dead people's glasses and shoes and they ceased to have an impact. -
Tevye the Dairyman a GREAT JEWISH BOOKS TEACHER WORKSHOP RESOURCE KIT
Tevye the Dairyman A GREAT JEWISH BOOKS TEACHER WORKSHOP RESOURCE KIT Teachers’ Guide This guide accompanies resources that can be found at: http://teachgreatjewishbooks.org/resource-kits/tevye-dairyman. Introduction Sholem Aleichem, the pseudonym of Sholem Rabinovitch (1859-1916), was one of the greatest Jewish writers of modern times, a pioneer of literary fiction in Yiddish who transformed the folk materials and experiences of Eastern European Jews into classics of world literature. His most beloved character, Tevye the Dairyman, became the protagonist of stage and film adaptations, including the Broadway musical and film Fiddler on the Roof, securing his place in popular culture worldwide; even before that, though, Sholem Aleichem's stories featuring Tevye were appreciated as brilliant comic distillations of modern Jewish experience. This kit provides resources with which teachers can introduce their students to the character of Tevye and to the choices that have been made in presenting and performing this character over the years. Subjects Eastern Europe, Fiction, Film, Performance, Yiddish Reading and Background: Several translations of Sholem Aleichem’s Tevye stories are available in paperback, suitably priced for teaching; these include Hillel Halkin’s in Tevye the Dairyman and the Railroad Stories (1987) and Aliza Shevrin’s in Tevye the Dairyman and Motl the Cantor’s Son (2009). A short biographical article on Sholem Aleichem can be found in the YIVO Encyclopedia, while Jeremy Dauber’s The Worlds of Sholem Aleichem (2013) presents a full, appropriately page-turning treatment of the writer’s life and legacy. Alisa Solomon’s Wonder of Wonders: A Cultural History of Fiddler on the Roof (2013) offers a robust, wide-ranging survey of the creation of the musical and its worldwide influence. -
Scholarly Program Notes on the Graduate Voice Recital of Emily Davis Emily Davis Southern Illinois University Carbondale, [email protected]
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School 4-17-2015 Scholarly Program Notes on the Graduate Voice Recital of Emily Davis Emily Davis Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Davis, Emily. "Scholarly Program Notes on the Graduate Voice Recital of Emily Davis." (Apr 2015). This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. SCHOLARLY PROGRAM NOTES ON THE GRADUATE VOICE RECITAL OF EMILY DAVIS by Emily Davis B.A. Music, Luther College, 2013 B.A. History, Luther College, 2013 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Music. Department of Music in the Graduate School Southern Illinois University Carbondale May 2015 RESEARCH PAPER APPROVAL SCHOLARLY PROGRAM NOTES ON THE GRADUATE VOICE RECITAL OF EMILY DAVIS By Emily Davis A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the field of Vocal Performance Approved by: Dr. David Dillard, Chair Dr. Diane Coloton Tim Fink Graduate School Southern Illinois University Carbondale April 17, 2015 AN ABSTRACT OF THE RESEARCH PAPER OF EMILY DAVIS, for the Master of Music degree in VOCAL PERFORMANCE, presented on March 22, 2015, at Southern Illinois University Carbondale. TITLE: SCHOLARLY PROGRAM NOTES ON THE GRADUATE VOICE RECITAL OF EMILY DAVIS MAJOR PROFESSOR: Dr.