David Pinski: differenze tra le versioni

Versione delle 10:16, 18 mag 2021

Versione delle 07:51, 10 giu 2021

Riga 51:

| death_place = [[Israel]] -->

In un momento in cui l'[[Europa orientale]] stava appena iniziando a sperimentare la [[rivoluzione industriale]], Pinski fu il primo a introdurre sul suo palcoscenico un dramma sui lavoratori urbani ebrei; drammaturgo di idee, si distinse anche per aver scritto sulla [[sessualità umana]] con una franchezza precedentemente sconosciuta alla [[letteratura yiddish]]. Era anche noto tra i primi drammaturghi yiddish per avere legami più forti con le tradizioni letterarie in [[lingua tedesca]] rispetto al [[lingua russa|russo]].

==Primi anni==

Riga 66:

''Family Tsvi'' (1904), written in the wake of the [[Chișinău pogrom (1903)|Kishinev pogrom]], is a call for [[Jew]]s not to passively accept violence against them. In this tragedy, various Jews—a religious zealot, a [[socialism|socialist]] from the [[General Jewish Labour Bund in Lithuania, Poland and Russia|Bund]], a [[Zionism|Zionist]], and a disillusioned assimilationist—resist the onslaught in different ways, and for different [[ideology|ideologies]], but they all resist. The play could not be officially published openly performed in [[Imperial Russia]], but circulated there surreptitiously, and was even given clandestine amateur productions.

''Yenkel der Shmid'' (''Yankel the Smith'', 1906) set a new level of frankness in Yiddish-language theater in dealing with sexual passions. Although Yiddish theater was more open to such themes than the English-language theater of the same era, it had mostly entered by way of works translated from miscellaneous European languages. The central couple of the play must balance their passion for each other against their marriages to other people. Ultimately, both return to their marriages, in what [[Sol Liptzin]] describes as "an acceptance of family living that neither negated the joy of the flesh nor avoided moral responsibility". [<ref>Liptzin, 1972, 86]</ref> A film based on the play was made in 1938, filmed at a Catholic monastery in [[New Jersey]]; it starred [[Moyshe Oysher]], was the film premier of [[Herschel Bernardi]] (playing Yankel as a boy), and is also known as ''The Singing Blacksmith''. It has also been adapted by [[Caraid O'Brien]] as the English-language play ''Jake the Mechanic''.

He continued to explore similar themes in a series of plays, ''Gabri un di Froyen'' (''Gabri and the Women'', 1908), ''Mary Magdalene'' (1910), and ''Professor Brenner'' (1911), the last of which deals with an older man in love with a young woman, again breaking Jewish theatrical tradition, because such relationships had always been considered acceptable in arranged marriages for financial or similar reasons, but socially taboo as a matter of emotional fascination. "Professor Brenner" has been translated into English by Ellen Perecman and will be presented by New Worlds Theatre Project in November 2015 in a production directed by Paul Takacs at HERE Arts Centre with David Greenspan in the leading role. The English script will be available at www.newworldsproject.org in December 2015.<ref>Ellen</ref>

Riga 76:

During the period between the World Wars, he wrote numerous plays, mostly on biblical subjects, but continuing to engage with many of his earlier themes. For example, ''King David and His Wives'' (1923?) looks at the biblical [[David]] at various points in his life: a proud, naively idealistic, pious youth; a confident warrior; a somewhat jaded monarch; and finally an old man who, seeing his youthful glory reflected in the beautiful Abishag, chooses not to marry her, so he can continue to see that idealized reflection. During this period, Pinski also undertook a large and fanciful fiction project: to write a fictional portrait of each of King [[Solomon]]'s thousand wives; between 1921 and 1936, he completed 105 of these stories.

During this period he also undertook the major novels ''Arnold Levenberg: Der Tserisener Mentsh'' (''Arnold Levenberg: The Split Personality'', begun 1919) and ''The House of Noah Edon'' which was published in English translation in 1929; the Yiddish original was published in 1938 by the Wydawnictvo ("Publishers") Ch. Brzozo, Warsaw.<ref>Photocopy of title and publication page in possession of editor to be scanned and uploaded shortly</ref> The former centers on an Uptown, aristocratic German Jew, who is portrayed as an overefined and [[decadence|decadent]], crossing paths with, but never fully participating in, the important events and currents of his time. The latter is a multi-generational saga of a [[Lithuania]]n Jewish immigrant family, an interpretation of assimilation modeled{{Citation needed|date=February 2011}} on Peretz's ''Four Generations—Four Testaments''.

==Emigrazione==