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Edward Einhorn blends absurdist humor with philosophy in these critically acclaimed plays about legendary Jewish figures. Golem Stories retells an old Kabalistic legend. It's a ghost story and a love story, about a childlike clay man who may be a demon inside. In The Living Methuselah, the oldest living man survives every disaster is human history, with the help of his wife Serach, the oldest living woman. But when a doctor tells him he will only live until the end of the play, will this be his final curtain? To find the title character of A Shylock, Jacob Levy interrogates every character in The Merchant of Venice, but oddly Hamlet may know the most-although this Hamlet is a woman. And in One-Eyed Moses and the Churning Red Sea, Rabbi Tzipporah Finestein dreams Moses is a pirate captain, but what do the dreams mean? Two congregants hold the key.
Playwright Einhorn, known for his comic absurdist plays, translates the ancient Greek humor for a modern audience. Complete with essays, selected sheet music, and a second version of the play for inventive directors, this newest adaptation focuses on war, sex, and, most of all, laughter. (Plays/Drama)
In this play in eight scenes, a modern boy finds Judah Maccabee in an abandoned room that exists both in his own temple and the ancient Temple in Jerusalem. This story of the celebration of both Hanukkah and its ancient origins is told with gentle humor.
In his historic play The Melting Pot, Israel Zangwill (1864-1926) introduced into our discourse a potent metaphor that for nearly a hundred years has served as a key definition of the United States. The play, enthusiastically espoused by President Theodore Roosevelt, to whom it was dedicated, offered a grand vision of America as a dynamic process of ethnic and racial amalgamation. By his own admission, The Melting Pot grew out of Zangwill's intense involvement in issues of Jewish immigration and resettlement and was grounded in his interpretation of Jewish history. Zangwill, Anglo Jewry's most renowned writer, began writing seriously for the stage in the late 1890s. At the time, the negative stereotype of the so-called Stage Jew was still deeply entrenched in the theatrical mainstream, so much so that Jewish playwrights writing for the English-language stage avoided altogether the portrayal of Jewish life. Zangwill shattered this silence in 1899 with the American premiere of Children of the Ghetto-his first full-length drama, and the first English-language play devoted in its entirety to the depiction of Jewish life in an authentic and positive fashion. The play's groundbreaking production drew tremendous attention and generated heated debates, but since the script was never published, the memory of the passions it generated dimmed, and its whereabouts eventually became unknown. After more than a century, theater historian Edna Nahshon has discovered the original manuscript of this milestone text, as well as that of another unpublished Zangwill play, The King of Schnorrers, and the original version of The Melting Pot. Nahshon brings these three works together in print for the first time in From the Ghetto to the Melting Pot. Edna Nahshon's in-depth introduction to this volume includes a biography of Israel Zangwill that especially pertains to these works and situates them within the Anglo-American theater of the time. The essays preceding each play provide rich and hitherto unknown information on the scripts, their stage productions, and their popular and critical reception. While some issues addressed in From the Ghetto to the Melting Pot are uniquely Jewish, others are universal and typical of the negotiation of self-presentation by ethnic and minority groups, particularly within the American experience.
First published in 1996, James Shapiro's pathbreaking analysis of the portrayal of Jews in Elizabethan England challenged readers to recognize the significance of Jewish questions in Shakespeare's day. From accounts of Christians masquerading as Jews to fantasies of settling foreign Jews in Ireland, Shapiro's work delves deeply into the cultural insecurities of Elizabethans while illuminating Shakespeare's portrayal of Shylock in The Merchant of Venice. In a new preface, Shapiro reflects upon what he has learned about intolerance since the first publication of Shakespeare and the Jews.
Crack the case with George Cornelius Factor in this entertaining math adventure that introduces simplified and reduced fractions with equal parts intrigue and humor. When a valuable fraction goes missing, George Cornelius Factor (a.k.a. GCF) vows to track it down. Knowing that the villainous Dr. Brok likes to disguise his ill-gotten fractions, GCF invents a Reducer—half ray gun, half calculator— that strips away the disguise, reducing the fraction to its lowest common denominator and revealing its true form. With the Reducer in hand, George seeks out Dr. Brok in hopes of retrieving the missing fraction. Back matter includes more detail on simplifying, or reducing, fractions.
Chancellor Rieger is leaving office. But does leaving office necessarily mean that he, his mistress and his extended family have to leave the state villa, which has been their home for years? While his former secretary, and the former secretary to his former secretary, grapple with the mechanics of change and his family prepare to vace an uncertain future, the chancellor himself considers his legacy amid visits from journalists, an infatuated student and his arch-rival and possible successor, Patrick Klein. With echoes of both King Lear and The Cherry Orchard, Vaclav Havel's Leaving addresses the themes of change, dispossession and the transfer of power from one generation to the next. The play received its English-language world premiere at the Orange Tree Theatre, Richmond, in September 2008. Leaving is Vaclav Havel's first play since he was propelled to political office in 1989.