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First performed by Shakespeare’s rivals in the 1590s, Christopher Marlowe’s The Jew of Malta was a trend-setting, innovative play whose black comedy and final tragic irony illuminate the darker regions of the Elizabethan cultural imagination. Although Jews were banished from England in 1291, the Jew in the form of Barabas, the play’s protagonist, returns on the stage to embody and to challenge the dramatic and cultural anti-Semitic stereotypes out of which he is constructed. The result is a theatrically sophisticated but deeply unsettling play whose rich cultural significance extends beyond the early modern period to the present day. The introduction and historical documents in this edition provide a rich context for the world of the play’s composition and production, including materials on Jewishness and anti-Semitism, the political struggles over Malta, and Christopher Marlowe’s personal and political reputation.
When French troops occupy the Italian port city of Ancona, freeing the city’s Jews from their repressive ghetto, it unleashes a whirlwind of progressivism and brutal backlash as two very different cultures collide. Mirelle, a young Jewish maiden, must choose between her duty—an arranged marriage to a wealthy Jewish merchant—and her love for a dashing French Catholic soldier. Meanwhile, Francesca, a devout Catholic, must decide if she will honor her marriage vows to an abusive and murderous husband when he enmeshes their family in the theft of a miracle portrait of the Madonna. Set during the turbulent days of Napoleon Bonaparte’s Italian campaign (1796–97), Beyond the Ghetto Gates is both a cautionary tale for our present moment, with its rising tide of anti-Semitism, and a story of hope—a reminder of a time in history when men and women of conflicting faiths were able to reconcile their prejudices in the face of a rapidly changing world.
When Warsaw Ghetto-escapee Sarah visits the Venice Ghetto she happens to witness a group of actors staging a dress rehearsal of The Merchant of Venice, upon this chance encounter Sarah is confronted by the terrible story of 'The Jew' which touches her own life. Through this emotive and provocative play Julia Pascal re-works Shakespeare's controversial text, transposing the fervent theme of anti-Semitism raised by the bard, playing it out in a contemporary setting.Challenging the portrayal of 'The Jew' that for many years has dominated society's attitudes towards the Jewish people, Pascal ambitiously places her own text within Shakespeare's classic, producing a thoroughly thought-provoking and original work.
Boika Sokolova and Kirilka Stavreva’s second edition of the stage history of The Merchant of Venice interweaves into the chronology of James Bulman’s first edition richly contextualised chapters on Max Reinhardt, Peter Zadek, and the first production of the play in Mandatory Palestine, directed by Leopold Jessner. While the focus of the book is on post-1990s productions across Europe and the USA, and on film, the Segue provides a broad survey of the interpretative shifts in the play’s performance from the 1930s to the second decade of the twenty-first century. Individual chapters explore productions by Peter Zadek, Trevor Nunn, Robert Sturua, Edward Hall, Rupert Goold, Daniel Sullivan, and Karin Coonrod. An extensive film section including silent film offers close analysis of Don Selwyn’s Te Tangata Whai Rawa o Weniti and Michael Radford’s adaptation. Accessible and engaging, the book will interest students, academics, and general readers.
This book explores responses to The Merchant of Venice by Jewish writers, critics, theater artists, thinkers, religious leaders and institutions.
Winner of the 2021 National Jewish Book Award for Con­tem­po­rary Jew­ish Life and Prac­tice Finalist for the 2021 Kirkus Prize in Nonfiction A New York Times Notable Book of the Year A Wall Street Journal, Chicago Public Library, Publishers Weekly, and Kirkus Reviews Best Book of the Year A startling and profound exploration of how Jewish history is exploited to comfort the living. Renowned and beloved as a prizewinning novelist, Dara Horn has also been publishing penetrating essays since she was a teenager. Often asked by major publications to write on subjects related to Jewish culture—and increasingly in response to a recent wave of deadly antisemitic attacks—Horn was troubled to realize what all of these assignments had in common: she was being asked to write about dead Jews, never about living ones. In these essays, Horn reflects on subjects as far-flung as the international veneration of Anne Frank, the mythology that Jewish family names were changed at Ellis Island, the blockbuster traveling exhibition Auschwitz, the marketing of the Jewish history of Harbin, China, and the little-known life of the "righteous Gentile" Varian Fry. Throughout, she challenges us to confront the reasons why there might be so much fascination with Jewish deaths, and so little respect for Jewish lives unfolding in the present. Horn draws upon her travels, her research, and also her own family life—trying to explain Shakespeare’s Shylock to a curious ten-year-old, her anger when swastikas are drawn on desks in her children’s school, the profound perspective offered by traditional religious practice and study—to assert the vitality, complexity, and depth of Jewish life against an antisemitism that, far from being disarmed by the mantra of "Never forget," is on the rise. As Horn explores the (not so) shocking attacks on the American Jewish community in recent years, she reveals the subtler dehumanization built into the public piety that surrounds the Jewish past—making the radical argument that the benign reverence we give to past horrors is itself a profound affront to human dignity.
This book explores how the Jewish ghetto engaged the sensory imagination of Venice in complex and contradictory ways to shape urban space and reshape Christian-Jewish relations.