The Dybbuk Century

A little over 100 years ago, the first production of An-sky’s The Dybbuk, a play about the possession of a young woman by a dislocated spirit, opened in Warsaw. In the century that followed, The Dybbuk became a theatrical conduit for a wide range of discourses about Jews, belonging, and modernity. This timeless Yiddish play about spiritual possession beyond the grave would go on to exert a remarkable and unforgettable impact on modern theater, film, literature, music, and culture. The Dybbuk Century collects essays from an interdisciplinary group of scholars who explore the play’s original Yiddish and Hebrew productions and offer critical reflections on the play’s enduring influence. The collection will appeal to scholars, students, and theater practitioners, as well as general readers.

Relates the untold story of a traveling Yiddish theater company and traces their far- reaching influence

This volume presents The Dybbuk, S. Ansky's well-known drama of mystical passion and demonic possession, along with little-known works of his autobiographical and fantastical prose fiction and an excerpt from his four-volume chronicle of the Eastern Front in the First World War, The Destruction of Galacia.

The Dybbuk is the first comprehensive study of the historical and kabbalistic sources of the dybbuk phenomenon, from the first recorded case of dybbuk possession in Safed in 1571 onward. Dybbuk possession differs from possession by demons or Satan. Its origin is in the Kabbalistic concept of gilgul (transmigration) for sins that are so grievous that Gehenna is not sufficient punishment, and the soul must therefore wander until expiation is found. The dybbuk can temporarily find refuge in animals or people and can only be exorcised by a Baal Shem, a great kabbalist or expert in Jewish magic. In addition to describing the history and evolution of this concept, The Dybbuk includes English translations of all dybbuk stories discussed in the book, many translated for the first time.

THE DYBBUK (BETWEEN TWO WORLDS) YIDDISH-ENGLISH EDITION x, 192 pp. Yiddish and English on facing pages. The Dybbuk, by S. An-sky (1863-1920) is the crown jewel of the Jewish theatre, the most renowned, most beloved, most translated, and most performed of all Jewish plays. It was first performed in Yiddish by the Vilna Troupe in Warsaw in 1920, and by the Habima Theatre in Moscow in 1922. It has subsequently been performed thousands of times all over the world in a score of languages. It is still being performed well into the 21st Century. As an agnostic Socialist, An-sky enigmatically wrote this play which favorably depicts a late 19th Century Hasidic community. A young maiden in love with one youth being forced to marry another is the kernel of the play around which the rest is developed: the dybbuk himself. A dybbuk is usually defined as a malevolent spirit that inhabits the body of a living person. An-sky's dybbuk is unique in that the spirit of the unsuccessful lover inhabits the body of the hapless bride. That is, the two love each other. This is the nature of the tragedy. ABOUT THE TRANSLATOR Fernando Peñalosa, born in 1925 in Berkeley, California, is Professor of Sociology, Emeritus, California State University, Long Beach. He has carried out research in California, Hawaii, Mexico, Guatemala, Israel, and Macedonia, and has written and published books in a number of fields. A convert to Judaism in 1965, Peñalosa is selftaught in Hebrew, Yiddish, and Jewish studies. He has published translations from Yiddish, Hebrew, German, Akatek Mayan, and from and to Spanish. A more remote connection to Judaism is documented by the frequent occurrence of the surname Peñalosa in the archives of the Spanish Inquisition. His family is descended from a Converso who came to Mexico with Hernán Cortés and the other Spanish invaders in 1520.

While a frequently used term, Jewish Theatre has become a contested concept that defies precise definition. Is it theatre by Jews? For Jews? About Jews? Though there are no easy answers for these questions, "Jewish Theatre: A Global View," contributes greatly to the conversation by offering an impressive collection of original essays written by an international cadre of noted scholars from Europe, the United States, and Israel. The essays discuss historical and current texts and performance practices, covering a wide gamut of genres and traditions.

Ghosts haunt the stages of world theatre, appearing in classical Greek drama through to the plays of 21st-century dramatists. Tracing the phenomenon across time and in different cultures, the chapters collected here examine their representation, dramatic function, and what they may tell us about the belief systems of their original audiences and the conditions of theatrical production. As illusions of illusions, they foreground many dramatic themes common to a wide variety of periods and cultures. Arranged chronologically, this collection examines how ghosts represent political change in Athenian culture in three plays by Aeschylus; their function in traditional Japanese drama; the staging of the supernatural in the dramatic liturgy of the early Middle Ages; ghosts within the dramatic works of Middleton, George Peele, and Christopher Marlowe, and the technologies employed in the 18th and 19th centuries to represent the supernatural on stage. Coverage of the dramatic representation of ghosts in the 20th and 21st centuries includes studies of Noël Coward's Blithe Spirit, August Wilson's Pittsburgh Cycle, plays by Sam Shepard, David Mamet, and Sarah Ruhl, Paddy Chayefsky's The Tenth Man, Suzan-Lori Parks' Topdog/Underdog, and the spectral imprint of Shakespeare's ghosts in the Irish drama of Marina Carr, Martin McDonagh, William Butler Yeats, and Samuel Beckett. The volume closes by examining three contemporary American indigenous plays by Anishinaabe author, Alanis King.

This extraordinary collection of essays is the first to approach the phenomenon of spirit possession among Jews from a multidisciplinary perspective. What beliefs have Jews held about spirit possession? Have Jewish people believed themselves to be possessed by spirits? If so, what sorts of spirits were they? Have Jews' conceptions of possession been the same as those of their Christian and Muslim neighbors? These are some of the questions addressed in these thirteen essays, which together explore spirit possession in a wide range of temporal and geographic contexts. The phenomena known as spirit possession are both very widespread and very difficult to explain. The late Raphael Patai initiated study of spirit possession as found in the Jewish world in the post-Talmudic period by taking a folkloric and anthropological approach to the subject. Other scholars have opened up new avenues of inquiry through discussions of the topic in connection with Jewish mystical and magical traditions. The essays in this collection expand the variety of approaches to the subject, addressing Jewish possession phenomena from the points of view of religion, mysticism, literature, anthropology, psychology, history, and folklore. Scholarly views and popular traditions, benevolent spirits and malevolent shades, exorcism, social control, messianic implications, madness, literary structure, and a host of other topics are brought into the discussion of spirit possession in Jewish culture. This juxtaposition of approaches among the essays in this volume, some of which analyze the same texts in different ways, creates a broad foundation on which to contemplate the meaning of spirit possession.