The Arts

The Dead Sea Scrolls, With Access For All

Israel Museum-Google digitization project a boon for public but perhaps not for scholars.
10/10/2011 - 20:00
Staff Writer

When Google and the Israel Museum announced three weeks ago that they were digitizing images of the Dead Sea Scrolls — perhaps the most important biblical discovery of the last century — the praise was nearly ubiquitous.

People involved with the Google digitization project say it is only the beginning of a larger goal.

The Love Triangle Of All Love Triangles

Inside the Freud-Jung-Sabine Speilrein relationship.
10/10/2011 - 20:00
Special to the Jewish Week

David Cronenberg has always been fascinated by the relationship between mental state and bodily consequences. So it was perhaps inevitable that he would make a film about Sigmund Freud and the psychoanalytic movement. His very first film, a seven-minute short, “Transfer,” is about the relationship between a psychiatrist and a patient.

 Fassbender and Keira Knightley as Sabine Speilrein.

Joel Rubin, In Two Keys

The tradition-minded clarinetist steps ‘out’ in new album, but goes back ‘in’ for rare N.Y. show.
10/05/2011 - 20:00
Special to the Jewish Week

Joel Rubin doesn’t get to New York very often these days. Being a professor at the University of Virginia is something of a full-time job.
So when the clarinetist-ethnomusicologist doffs mortarboard and travels north with his instrument, as will be the case on Oct. 11, it is well worth making the trip to Manhattan to hear what he’s doing.

Joel Rubin.

Death Be Not … Cruel

10/03/2011 - 20:00
Special To The Jewish Week

Death should not be proud, as the poet John Donne warned, but it certainly can be shameless. In Nicky Silver’s new play, “The Lyons,” the patriarch of a Jewish family, about to succumb to terminal cancer, suddenly vents the hatred that he feels for his wife and children, prompting them to uncork their own vitriol at him and at each other.

Linda Lavin in Nicky Silver’s “The Lyons,”

The Banality Of Violence?

Film festival includes Polanski working of ‘God of Carnage’ and Israeli piece on dysfunctional cops.
10/03/2011 - 20:00
Special to the Jewish Week

There is a tiny detail in “Carnage,” the new Roman Polanski film that opened this year’s New York Film Festival, something small but telling in the excellent production design by Dean Tavoularis. The film, which is almost a verbatim rendering of Jewish playwright Yasmina Reza’s “God of Carnage,” is a sardonic reflection on how well-intentioned and soi-disant sophisticated New Yorkers deal with the intrusion of violence on a small scale into their lives.

Jodie Foster, left, John C. Reilly, Christoph Waltz and Kate Winslet in Roman Polanski’s “Carnage.” Guy Ferrandis/Sony Pictures

Strip Tease

YU Museum’s ‘Graphic Details’ exhibit spotlights feminist and edgy Jewish comics.
10/03/2011 - 20:00
Special To The Jewish Week

Yeshiva University Museum has upped its cool — and its feminist — factor with a new exhibition showcasing comic art by Jewish women artists.

“Graphic Details: Confessional Comics by Jewish Women,” which opened last week, presents work by 18 artists from the U.S., Canada, England and Israel from the 1970s to the present.

Miriam Katin’s “Eucalyptus Nights” and Diane Noomin’s “Baby Talk” are included in the “Graphic Details” show.

Prescription For Genocide

The ‘Deadly Medicine’ exhibit shows how politics and broader cultural currents perverted medicine.
10/03/2011 - 20:00
Staff Writer

To the extent that people know about Josef Mengele, the German doctor dubbed the “Angel of Death” for his grisly experiments on inmates at Auschwitz, he is usually taken to be an aberration. Surely, many assume, there was a silent majority of German doctors, who, if not bold enough to speak out against the ghastly turn medicine had taken under the Nazi regime, were against the race-based science the Nazis preached.

Students at the Berlin School for the Blind examine racial head models circa 1935.

Dancing Between Worlds

Acclaimed young choreographer Avi Scher has had to balance the rigors of ballet and of Orthodox Judaism. It hasn’t been easy.
09/26/2011 - 20:00
Staff Writer

When Avi Scher was accepted to the School of American Ballet almost two decades ago, when he was 10, he and his family faced a stark choice: they could stay in Israel with their tight-knit Orthodox community, where Scher was already training with one of the country’s prestigious ballet companies.

Nancy Richer and Kelsey Coventry in Scher’s “No Matter What.”

The ‘Key’ To ‘Kaddish’

Mourning and madness in stage version of Ginsberg’s elegy for his mother
09/26/2011 - 20:00
Special To The Jewish Week

He was not a practicing Jew, but Allen Ginsberg’s poetry was deeply religious in its mystical energies, shimmering visions and profound longings for transcendence. Nowhere is this more apparent than in “Kaddish,” Ginsberg’s incantatory, surrealistic elegy for his mother, written in 1959. Now comes “Kaddish (or The Key in the Window)” as a one-man play starring Donnie Mather in a new production in the East Village.

Donnie Mather, above, in his one-man show “Kaddish,” an homage to Beat poet Allen Ginsberg, right.

The Kol Nidre Project

One prayer, several melodies and 18 perspectives explored in documentary and related concert.
09/20/2011 - 20:00
Special To The Jewish Week

The text is straightforward but dry. It’s a little like singing a rental agreement.

Yet “Kol Nidre,” the liturgy for Yom Kippur eve, is one of the most spiritually powerful experiences Jewish worship has to offer. How does one explain this seeming contradiction?

Cellist Mairi Dorman-Phaneuf and Stephen Scholle
Syndicate content