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". The central couple of the play must balance their passion for each other against their marriages to other people. 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. Yenkel der Shmid ( Yankel the Smith, 1906) set a new level of frankness in Yiddish-language theater in dealing with sexual passions. The play could not be officially published openly performed in Imperial Russia, but circulated there surreptitiously, and was even given clandestine amateur productions. In this tragedy, various Jews-a religious zealot, a socialist from the Bund, a Zionist, and a disillusioned assimilationist-resist the onslaught in different ways, and for different ideologies, but they all resist. Rich and poor, secular and religious, all participate in the frenzy a supernatural climax involves the souls of the dead, annoyed by the disruption.įamily Tsvi (1904), written in the wake of the Kishinev pogrom, is a call for Jews not to passively accept violence against them. His dark comedy Der Oytser ( The Treasure), written in Yiddish 1902-1906 but first staged in German, by Max Reinhardt in Berlin in 1910, tells of a sequence of events in which the people of a town dig up and desecrate their own graveyard because they have come to believe there is a treasure buried somewhere in it. Like many of Pinski's central characters, he is something other than a traditional hero or even a traditional tragic hero. He finally smashes the machines he has created, and falls into drunken self-destruction. His naturalistic tragedy Isaac Sheftel (1899) tells of a technically creative weaver, whose employer scorns him, but exploits his inventions. 1918 edition of The Bookman (New York City) Works Poster: the Federal Theatre presents Pinski's "The Tailor Becomes a Storekeeper" ( Chicago, 1930s) examination, he failed to show up for the exam, and never finished the degree. He pursued a doctorate at Columbia University however, in 1904, having just completed his play Family Tsvi on the day set for his Ph.D. He briefly began studies in Vienna (where he also wrote his first significant short story, "Der Groisser Menshenfreint"-"The Great Philanthropist"), but soon returned to Warsaw, where he established a strong reputation as a writer and as an advocate of Labor Zionism, before moving to Berlin, Germany in 1896 and to New York City in 1899. Peretz in Warsaw (then also under Russian control, now the capital of Poland) convinced him to pursue a literary career instead. At 19 he left home, originally intending to study medicine in Vienna, Austria, but a visit to I.L. At first destined for a career as a rabbi, he had achieved an advanced level in Talmudic studies by the age of 10. He was born in Mogilev, in the Russian Empire (present-day Belarus), and was raised in nearby Vitebsk. He was also notable among early Yiddish playwrights in having stronger connections to German language literary traditions than Russian. At a time when Eastern Europe was only beginning to experience the industrial revolution, Pinski was the first to introduce to its stage a drama about urban Jewish workers a dramatist of ideas, he was notable also for writing about human sexuality with a frankness previously unknown to Yiddish literature. David Pinski ( Yiddish: דוד פּינסקי Ap– August 11, 1959) was a Yiddish language writer, probably best known as a playwright.
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