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74-545: The play, which depicts the possession of a young woman by the malicious spirit – known as dybbuk in Jewish folklore – of her dead beloved, became a canonical work of both Hebrew and Yiddish theatre , being further translated and performed around the world. The play is set in the Jewish town ( shtetl ) of Brinitz, presumably near Miropol , Volhynia , in the Pale of Settlement . No date

148-406: A mezuzah —a piece of parchment inscribed with specific Torah verses—to the doorposts of a home. While the mezuzah primarily serves as a reminder of faith and adherence to God’s commandments, it is also viewed as a protective amulet against harmful spirits, including dybbuks. The *Zohar*, a foundational Kabbalistic text, suggests that a properly affixed mezuzah can prevent such entities from entering

222-408: A dream. He told that Khanan is his son and he sues Sender before the court, on the charge he is responsible for his death. The rabbis determine to hold the litigation on the day after, and exorcise the spirit only upon discovering the truth. Nisan's soul arrives at the court and communicates via Rabbi Samson. He tells the assembled that he and Sender were old friends, and swore that if one would father

296-490: A few centuries of the ban. (A full orchestra played in the temple. The ban was so that this would not be taken for granted, hence the wording of the ban, "if I forget thee, O Jerusalem, over my chiefest joy...".) The shofar is generally no longer used for secular purposes (see a notable exception in a section further down ). Halakha (Jewish law) rules that the Rosh Hashana shofar blasts may not be sounded on Shabbat, due to

370-438: A home. Additionally, Jewish folklore includes accounts where neglected or improperly maintained mezuzot were believed to make homes susceptible to dybbuk possession. These perspectives emphasize the mezuzah’s dual role in Jewish life: as both a symbol of faith and a spiritual safeguard. Shofar A shofar ( / ʃ oʊ ˈ f ɑːr / shoh- FAR ; from שׁוֹפָר ‎, pronounced [ʃoˈfar] )

444-401: A layer of cartilage in between, which can be removed to leave the hollow keratin horn. An antler , on the other hand, is made of solid bone, so an antler cannot be used as a shofar because it cannot be hollowed out. There is no requirement for ritual slaughter ( shechita ). Theoretically, the horn can come from a non-kosher animal, because under most (but not all) interpretations of Jewish law,

518-534: A massive success, drawing large audiences for over a year, from all the shades of society and a considerable number of Christians. A Yiddish columnist in Warsaw remarked that "of every five Jews in the city, a dozen watched The Dybbuk . How could this be? It is not a play you attend merely once." In the Polish capital alone, they staged it over three hundred times. During their tour across Europe between 1922 and 1927, it remained

592-469: A master exorcist of dybbuk spirits. Samuel served as the prototype for the character Azriel, who is also said to reside in that town. Historian Nathaniel Deutsch suggested he also drew inspiration from the Maiden of Ludmir , who was also rumored to have been possessed, thus explaining her perceived inappropriate manly behavior. Craig Stephen Cravens deduced that An-sky began writing the play in late 1913. It

666-464: A non-kosher substance. The Elef Hamagen (586:5) delineates the order of preference: 1) curved ram; 2) curved other sheep; 3) curved other animal; 4) straight—ram or otherwise; 5) non-kosher animal; 6) cow. The first four categories are used with a bracha (blessing), the fifth without a bracha , and the last, not at all. In practice, two species are generally used: the Ashkenazi and Sefardi shofar

740-729: A patron of Habima, who purchased the rights to translate it to Hebrew. The author set but one condition, demanding it would be handed over to Hayim Nahman Bialik . The latter accepted the task in February and completed it in July. Bialik's translation was the first version of the play to be published: it was released in the Hebrew literary magazine Ha'tkufa in February 1918. Meanwhile, the Moscow Art Theatre's planned production of The Dybbuk encountered severe hardships. Michael Chekhov , cast as Azriel, had

814-570: A performance of the play in New York in 1929, he was struck by this melody and made it the basis of his piano trio Vitebsk , named for the town where An-sky was born. In 1929 George Gershwin accepted a commission from the Metropolitan Opera to write an opera based on The Dybbuk . When he was unable to acquire the rights (assigned to the Italian composer Lodovico Rocca , whose opera, Il Dibuk ,

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888-409: A severe nervous breakdown due to the use of extreme acting techniques; Stanislavski fell ill with typhus . On 7 March 1918, Boris Suskevich notified An-sky his play was not to be included in that season's repertoire. The author left the city to Vilnius , losing his original copy on the way, but eventually receiving another from Shmuel Niger . He read his renewed edition before David Herman, director of

962-520: A shofar played by Yitzhak Sinwani on the Confessions Tour and the album Confessions on a Dance Floor for the song "Isaac", based on Im Nin'alu . In 2003, The Howard Stern Show featured a contest called "Blow the Shofar", which asked callers to correctly identify popular songs played on the shofar. Additionally, Stern Show writer Benjy Bronk has repeatedly used a shofar in his antics. The shofar

1036-589: A shofar with the Art Ensemble of Chicago . In the film version of the musical Godspell , the first act opens with cast member David Haskell blowing the shofar. In his performances, Israeli composer and singer Shlomo Gronich uses the shofar to produce a wide range of notes. Since 1988, Rome-based American composer Alvin Curran 's project Shofar features the shofar as a virtuoso solo instrument and in combination with sets of natural and electronic sounds. Madonna used

1110-446: A son and the other a daughter, they will be married to each other. Nisan died prematurely, but his son Khanan arrived at Brinitz and his heart went after Leah, as was destined. He claims that Sender recognized him but did not want to have his daughter marry a poor man. Sender confides that he felt a strange urge to reject all suitors and take Khanan, but he eventually managed to resist it. Nisan pleads on, stating his desperate son turned to

1184-455: A specific natural sound.... However, one should consult a competent rabbi if an unusually pressing situation arises, as some authorities believe that performing mitzvot through electronically reproduced sound is preferable to not performing them at all." According to Jewish law women and minors are exempt from the commandment of hearing the shofar blown (as is the case with any positive, time-bound commandment), but they are encouraged to attend

1258-715: A variety of sizes and shapes, depending on the choice of animal and level of finish. The shofar is mentioned frequently in the Hebrew Bible , the Talmud and rabbinic literature . In the first instance, in Exodus 19 , the blast of a shofar emanating from the thick cloud on Mount Sinai makes the Israelites tremble in awe. The shofar was used to announce the new moon and the Jubilee year . The first day of Tishrei (now known as Rosh Hashana )

1332-436: Is an ancient musical horn typically made of a ram 's horn , used for Jewish ritual purposes. Like the modern bugle , the shofar lacks pitch -altering devices, with all pitch control done by varying the player's embouchure . The shofar is blown in synagogue services on Rosh Hashanah and at the end of Yom Kippur ; it is also blown every weekday morning in the month of Elul running up to Rosh Hashanah. Shofars come in

1406-462: Is flattened and shaped by the application of heat, which softens it. A hole is made from the tip of the horn to the natural hollow inside. It is played much like a European brass instrument , with the player blowing through the hole while buzzing the lips, causing the air column inside to vibrate. Sephardi shofars do usually have a carved mouthpiece resembling that of a European trumpet or French horn , but smaller. Ashkenazi shofars do not. Because

1480-489: Is forced out. Menashe is invited, and a wedding is prepared. When Leah lies alone, she senses Khanan's spirit and confides she loved him ever since seeing him for the first time. Mourning her never-to-be children, she rises and walks towards him. The two are united in death. Between 1912 and 1913, S. An-sky headed an ethnographic commission, financed by Baron Vladimir Günzburg and named in honor of his father Horace Günzburg , which traveled through Podolia and Volhynia in

1554-577: Is made from the horn of a domestic ram , while a Yemeni shofar is made from the horn of a kudu . A Moroccan shofar is flat, with a single, broad curve. A crack or hole in the shofar affecting the sound renders it unfit for ceremonial use. A shofar may not be painted in colors, but it may be carved with artistic designs. Shofars (especially the Sephardi shofars) are sometimes plated with silver across part of their length for display purposes, although this invalidates them for use in religious practices. The horn

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1628-495: Is mentioned, but it takes place after the death of David of Talne  [ he ] , who is said to be "of blessed memory", in 1882. Three idlers lounge in the synagogue, telling stories of the famed hasidic Tzadikim and their mastery of Kabbalah powers. They are accompanied by the Messenger, a sinister stranger who demonstrates uncanny knowledge of the subject. Khanan, a dreamy, emaciated student, joins them. Upon seeing him,

1702-466: Is old and weak, but the latter encourages him with tales of his father and grandfather, both renowned miracle-workers. He calls Leah and demands from the spirit to leave her body. The Dybbuk refuses. Azriel recognizes him as Khanan, and summons the rabbinical court to place an anathema upon him. Rabbi Samson arrives and recounts that the spirit of Nisan, a scholar who died and knew the Tzadik , came to him in

1776-455: Is shocked, mumbling all his labors were in vain, but then something dawns on him and he is ecstatic. He falls to the floor. The townspeople are busy with Sender, but eventually notice Khanan and try to awake him. They discover he is dead, and that he clasped the Book of Raziel . Several months later, Leah's wedding day has arrived. As decreed by custom, a humble feast is held for the poor folk prior to

1850-493: Is sometimes used in Western classical music . Edward Elgar 's oratorio The Apostles includes the sound of a shofar, although other instruments, such as the flugelhorn , are usually used instead. The shofar has been used in a number of films, both as a sound effect and as part of musical underscores. Elmer Bernstein incorporated the shofar into several cues for his score for Cecil B. DeMille 's The Ten Commandments ; one of

1924-520: Is termed a "memorial of blowing", or "day of blowing", the shofar. Shofars were used for signifying the start of a war. They were also employed in processions as musical accompaniment, and were inserted into the temple orchestra by David . Note that the "trumpets" described in Numbers 10 are a different instrument, described by the Hebrew word for 'trumpet' ( Hebrew : חצוצרה , romanized :  ḥaṣoṣrah ), not shofar ( Hebrew : שופר ). In

1998-616: The Alexandrinsky Theatre , who explained they could not perform another play by a Jew after the negative reaction to Semyon Yushkevich 's Mendel Spivak . An-sky then contacted the managers of the Moscow Art Theatre . He failed to secure a meeting with Constantin Stanislavski himself, but director Leopold Sulerzhitsky read the play during the autumn, and replied much further work was required. Guided by him via correspondence,

2072-468: The Hebrew verb דָּבַק ‎ dāḇaq meaning 'adhere' or 'cling') is a malicious possessing spirit believed to be the dislocated soul of a dead person. It supposedly leaves the host body once it has accomplished its goal, sometimes after being exorcised . Dybbuk comes from the Hebrew word דִּיבּוּק ‎ dibūq , meaning 'a case of attachment', which is a nominal form derived from

2146-592: The Other Side and died, leaving him with none to say Kaddish after him. The court absolves Sender, stating that one cannot promise an object not yet created under the laws of the Torah, but fine him severely and oblige him to say Kaddish for Nisan and Khanan for all his life. Azriel commands the spirit to exit Leah's body, but it refuses. The holy man then conducts a dramatic exorcism, summoning various mystical entities and using ram horns' blasts and black candles. The Dybbuk

2220-452: The Pale of Settlement . They documented the oral traditions and customs of the native Jews, whose culture was slowly disintegrating under the pressure of modernity. According to his assistant Samuel Schreier-Shrira, An-sky was particularly impressed by the stories he heard in Miropol of a local sage, the hasidic rebbe Samuel of Kaminka-Miropol (1778 – May 10, 1843), who was reputed to have been

2294-618: The President of Israel , a shofar is blown once the President has been sworn in, followed by a call of "Long live the President". An American group called Shofar Army, described by outsiders as Christian nationalists , have adopted the use of the shofar into their activities. In pop music, the shofar is used by the Israeli Oriental metal band Salem in their adaptation of " Al Taster " ( Psalm 27 ). The late trumpeter Lester Bowie played

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2368-459: The Russian Academy of Theatre Arts . They were considerably different from the known stage version: most notably, the Messenger was not yet conceived. Stanislavski agreed to review the play, though not thoroughly, on 30 December. Though many accounts link him with The Dybbuk , Cravens commented this is the only actual documentation in the matter. He never even watched The Dybbuk fully. He and

2442-600: The Studio des Champs-Élysées . In 1977, Joseph Chaikin , a central figure in American avant-garde theatre, directed a new translation of The Dybbuk by Mira Rafalowicz, a dramaturg, yiddishist and longtime collaborator of Chaikin's at The Public Theater . The Royal Shakespeare Company staged Rafalowicz' translation, directed by Katie Mitchell , in 1992. Besides stories, An-sky also collected traditional melodies, one of which he incorporated into this play. When Aaron Copland attended

2516-505: The Temple in Jerusalem , the shofar was sometimes used together with the trumpet . On Rosh Hashana, the principal ceremony was conducted with the shofar, with the instrument placed in the center with a trumpet on either side; it was the horn of a ibex (a type of wild goat) and straight in shape, being ornamented with gold at the mouthpiece . On fast days, the principal ceremony was conducted with

2590-602: The Vilna Troupe , but did not live to see it performed. He died on November 8, 1920. On 9 December, at the end of the thirty days' mourning after An-sky's departure, Herman and his troupe staged the world premiere of The Dybbuk in Yiddish, at the Warsaw Elizeum Theater. Miriam Orleska , Alexander Stein, Abraham Morevsky and Noah Nachbusch portrayed Leah, Khanan, Azriel and the Messenger, respectively. The play turned into

2664-469: The 2000 Audie Award for Audiobook Adapted from another Media. In January 2008, the opera The Dybbuk: Between Two Worlds , by composer Ofer Ben-Amots , premiered in Montreal, Canada. In May 2015, an adaptation by Canadian playwright Anton Piatigorsk opened at Toronto's Soulpepper Theatre . Dybbuk In Jewish mythology , a dybbuk ( / ˈ d ɪ b ə k / ; Yiddish : דיבוק , from

2738-550: The Jubilee Year only the Shofar blasts. The Rabbis created the practice of the Shofar's sounding every Yom Kippur rather than just on the Jubilee Year (once in 50 years). Otherwise, for all other special days, the Shofar is sounded shorter and two special silver Trumpets announced the sacrifice. When the trumpets sound the signal, all the people who were within the Temple complex prostrate themselves, stretching out flat, face down, and on

2812-675: The Middle East. In November 1997 an adaptation by Tony Kushner and Joachim Neugroschel opened at The Public Theatre in New York. In 1999 The Dybbuk: An opera in Yiddish , by American composer Solomon Epstein, premiered in Tel Aviv. This is apparently the world's first original Yiddish opera. In 1999, the Hollywood Theater of the Ear , under the direction of Yuri Rasovsky , recorded an English-language production, released by Dove Audio. It won

2886-602: The Temple Mount in the Old City." The Shofar has been sounded as a sign of victory and celebration. Jewish elders were photographed blowing multiple shofars after hearing that the Nazis surrendered on May 8, 1945. The shofar has played a major role in the pro-Israel movement and often played in the Salute to Israel Parade and other pro-Israel demonstrations. In the inauguration ceremony of

2960-508: The Torah and shall be God-fearing. The Shulchan Aruch discusses who is fit to blow the shofar on behalf of a congregation: According to the Talmud, a shofar may be made from the horn of any animal from the Bovidae family except that of a cow, although a ram is preferable. Bovidae horns are made of a layer of keratin (the same material as human toenails and fingernails) around a core of bone, with

3034-602: The author rewrote his piece through 1915. When he accepted the revised version in September, Sulerzhitsky regarded it as much better, but not satisfactory. At that time, An-sky's publisher Zinovy Grzhebin submitted it to the state censorship in St. Petersburg . Censor Nikolai von Osten-Driesen commented the banishment of the spirit resembled the Exorcism of the Gerasene demoniac , and An-sky rewrote

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3108-428: The call of the shofar from their position because of its distinct sound. While the shofar is best known nowadays for its use on Rosh Hashana , it also has a number of other ritual uses. It is blown each morning (and in some communities in the afternoon as well) during the month of Elul , and to mark the end of the day of fasting on Yom Kippur, once the services have been completed in the evening. In Talmudic times

3182-402: The ceremony, and the maiden dances with the beggars. She and her nurse discuss the fate of the souls of those who died prematurely, mentioning Khanan who Leah says came to her in a dream. They visit the holy grave in the center of Brinitz, the resting place of a bride and a groom who were killed under their wedding canopy when the " Evil Chmiel " raided the area in 1648. She ceremoniously invites

3256-402: The ceremony. If the ba'al tekiah (shofar sounder) blows with the intention that all who hear will perform the mitzvah, then anyone listening—even someone passing by—who intends to hear the Shofar can perform the mitzvah because the community blower blows for everybody. If the listener stands still, it is presumed he intends to hear. If one hears the blast but with no intention of fulfilling

3330-567: The doctors' protests. Leah became her signature role. The Hebrew-language premiere was staged on 31 January 1922, at Habima's residence in the Sekretariova Theater. Rovina, Miriam Elias (who was replaced by male actors in subsequent stagings), Shabtai Prudkin and Nachum Tzemach appeared in the four leading roles. Habima performed it precisely 300 times in the Soviet Union, 292 in Moscow; the last

3404-727: The eve of their weddings, typically in a sexual fashion by entering the women through their vaginas, which is seen in An-sky's play. However, men and boys could be posessed as well. In psychological literature, the dybbuk has been described as a hysterical syndrome. In traditional Jewish communities, the concept of the dybbuk served as a socially acceptable way of expressing unacceptable urges, including sexual ones. Within Jewish mysticism and folklore, particularly in Kabbalistic traditions, protective practices were also used to ward off these malevolent spirits. One such practice involves affixing

3478-447: The ground. The shofar was blown in the times of Joshua to help him capture Jericho . As they surrounded the walls, the shofar was blown and the Jews were able to capture the city. The shofar was commonly taken out to war so the troops would know when a battle would begin. The person who would blow the shofar would call out to the troops from atop a hill. All of the troops were able to hear

3552-520: The hollow of the shofar is irregular in shape, the harmonics obtained when playing the instrument can vary: rather than a pure perfect fifth, intervals as narrow as a fourth, or as wide as a sixth may be produced. The shofar is used mainly on Rosh Hashanah . It is customary to blow the shofar 100 or 101 times on each day of Rosh Hashanah ; however, halakha only requires that it be blown 30 times. The various types of blast are known as tekiah , shevarim , and teruah . The 30 required blasts consist of

3626-412: The intricacy of the play and the production of others delayed its stagings. Director Yevgeny Vakhtangov planned it for years. He originally cast Shoshana Avivit (Lichtenstein), one of his young actresses, as Leah. Avivit was a notorious prima donna and an intimate friend of Bialik, and abandoned the theater unexpectedly on 21 March 1921, due to constant quarrels with the directors. She was confident that

3700-418: The management would call her back, but they dismissed her of the role of Leah, to Bialik's chagrin; he ceased attending rehearsals. Vakhtangov gave the piece to Hanna Rovina , to the dismay of his associates, who considered the thirty-year-old actress too mature for portraying an eighteen-year-old Leah. Rovina was recovering from Tuberculosis in a sanatorium north of Moscow, and left the establishment in spite of

3774-638: The members of the Hebrew Writers Union in Tel Aviv conducted "the Dybbuk trial", a public debate attended by an audience of 5,000 people. They discussed the gap between the needs of the Zionist enterprise and the play's atmosphere, voicing concern that it might overshadow the "young Hebrew culture" developing in Palestine, struggling to free itself from the constraints of diaspora mentality . Eventually, they approved

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3848-401: The mitzvah, then the mitzvah has not been fulfilled. The expert who blows (or "blasts" or "sounds") the shofar is termed the ba'al tokeah or ba'al tekiah (lit. "master of the blast"). Being a ba'al tekiah is an honor. Every male Jew is eligible for this sacred office, providing he is acceptable to the congregation. The one who blows the shofar on Rosh Hashanah should be learned in

3922-518: The pinnacle of their repertoire. While most of their acts drew few visitors, The Dybbuk remained an audience magnet. On 1 September 1921, the play had its American premiere in the New York Yiddish Art Theatre of Maurice Schwartz . Celia Adler , Bar Galilee, Schwartz and Julius Adler appeared as Leah, Khanan, Azriel and the Messenger. It ran for several months. While Habima Theater accepted Bialik's translation much earlier, both

3996-537: The play. The German-language premiere opened on 28 February 1925, in Vienna 's Rolandbühne, with Friedrich Feher as Azriel and Magda Sonja playing Leah. The first English production ran from 15 December 1925 and 1926 at the off-Broadway Neighborhood Playhouse in New York City. It was translated and adapted by Henry G. Alsberg and Winifred Katzin. On 31 January 1928, Gaston Baty 's French-language version premiered in

4070-620: The populace as a preventative measure. Michał Waszyński 's 1937 film The Dybbuk , based on the Yiddish play by S. An-sky, is considered one of the classics of Yiddish filmmaking . Rabbi Yoel Teitelbaum , the Satmar rebbe (1887–1979), is reported to have supposedly advised an individual said to be possessed to consult a psychiatrist . Traditionally, dybbuks tended to be male spirits. According to Hayyim Vital, women could not become dybbuks because their souls did not participate in gilgul . Sometimes these spirits were said to possess women on

4144-463: The potential that the ba'al tekiah (shofar sounder) may inadvertently carry it, which is in a class of forbidden Shabbat work . Originally, the shofar was sounded on Shabbat in the Temple in Jerusalem . After the temple's destruction, the sounding of the shofar on Shabbat was restricted to the place where the great Sanhedrin was located. However, when the Sanhedrin ceased to exist, the sounding of

4218-509: The rest of the management continued to request revisions. On 25 November 1916, An-sky wrote in his diary that Stanislavski was almost pleased, asking but for only minor changes in the ending. On 8 January 1917, the press reported the Moscow Art Theatre accepted The Dybbuk and was preparing to stage it. At the very same time, Stanislavski was supporting the incipient Habima Theater , a Hebrew-language venture headed by Nahum Zemach  [ he ] . An-sky read his play to Hillel Zlatopolsky,

4292-425: The scene using subtler terms. This version was approved by Driesen on 10 October, after removing another minor reference to angels. The play was still undergoing modifications: on 21 October, An-sky propositioned to Sulerzhitsky they add a prologue, epilogue and a long scene of Leah's wedding day. He agreed, and the censor approved the expanded edition on 30 November. Both copies submitted by An-sky were found in 2001 at

4366-482: The sequences tekiah - shevarim - teruah - tekiah , tekiah - shevarim - tekiah , tekiah - teruah - tekiah , each sequence repeated three times. The shofar is also blown in synagogue at the conclusion of Yom Kippur . Some only blow a tekiah gedolah ; others blow tekiah - shevarim - teruah - tekiah . Because of its inherent ties to the Days of Repentance and the inspiration that comes along with hearing its piercing blasts,

4440-677: The shofar is also blown after weekday morning services (in some communities, also at weekday afternoon services) for the entire month of Elul , the last month of the Jewish civil year, preceding Rosh Hashana. It is not blown on the last day of Elul (in some communities, the last 3 days of Elul), however, to mark the difference between the voluntary blasts of the month and the mandatory blasts of Rosh Hashana. Shofar blasts are also used in some communities during penitential rituals such as Yom Kippur Katan and optional prayer services called during times of communal distress. The exact modes of sounding can vary from location to location. In an effort to improve

4514-404: The shofar is not required to be muttar be-fikha ('permissible in your mouth'); the mitzvah is hearing the shofar, not eating the animal it came from. The shofar falls into the category of tashmishei mitzvah – objects used to perform a mitzvah that do not themselves have inherent holiness. Moreover, because horn is always inedible, it is considered afra be-alma ('mere dust') and not

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4588-532: The shofar on Shabbat was discontinued. The Sages indicated that the mitzvah was to hear the sounds of the shofar. If a shofar was blown into a pit or cave, one fulfilled the mitzvah if they heard the original sound, but not if they heard the echo. Thus, most modern halakhic authorities hold that hearing a shofar on the radio or the Internet would not be valid to satisfy the mitzvah because "electronically reproduced sounds do not suffice for mitzvot that require hearing

4662-418: The shofar was also blown to introduce Shabbat . It was also used both to initiate and dissolve a Herem . At the inception of the diaspora , during the short-lived ban on playing musical instruments, the shofar was enhanced in its use, as a sign of mourning for the destruction of the temple. The declaration of the ban's source was in fact set to the music itself as the lamentation "Al Naharoth Bavel" within

4736-757: The skills of shofar blowers, an International Day of Shofar Study is observed on Rosh Chodesh Elul , the start of the month preceding Rosh Hashanah. During the Ottoman and the British rule of Jerusalem , Jews were not allowed to sound the shofar at the Western Wall . After the Six-Day War , Rabbi Shlomo Goren famously approached the Wall and sounded the shofar. This fact inspired Naomi Shemer to add an additional line to her song " Jerusalem of Gold ", saying, "a shofar calls out from

4810-511: The souls of her mother and grandparents to her celebration. Menashe, her betrothed, arrives with his father. At the ceremony, he approaches to remove Leah's veil. She shoves him back, screaming in a man's voice. The Messenger, standing nearby, announces she is possessed by a Dybbuk . In the home of the Tzadik Azriel of Miropol, the servant enters to announce that Sender's possessed daughter has arrived. Azriel confides to his assistant that he

4884-455: The three gossip of his reputed dealing with the secret lore. They discuss Leah, the daughter of rich Sender, whose suitors are constantly faced with new demands from her father until they despair. Khanan, who is obviously in love with her, rejoices when one of the idlers tells another proposed match came to nothing. Then Sender himself enters, announcing that he wavered but eventually closed the deal. The townspeople flock to congratulate him. Khanan

4958-587: The title The Demon Spirit . In 1979 a version was made for Saturday Night Theatre on BBC Radio 4 starring Cyril Shaps . The same year, a two-person adaptation by Bruce Myers won him an Obie when he performed it in New York. The Jewish Theatre San Francisco (formerly Traveling Jewish Theatre) also performed Myers' adaptation, winning several awards. In 1980 the BBC aired the TV Movie "The Dybbuk", starring David Swift, Simon Callow and other notable actors of that era. It

5032-676: The trumpets in the center and with a shofar on either side. On those occasions, the shofarot were rams' horns curved in shape and ornamented with silver at the mouthpieces. On Yom Kippur of the jubilee year , the ceremony was performed with the shofar as on New Year's Day. Shofar first indicated in Yovel (Jubilee Year—Lev. 25:8–13). Indeed, in Rosh Hashanah 33b, the sages ask why the Shofar sounded in Jubilee year. Rosh Hashanah 29a indicates that in ordinary years both Shofars and trumpets are sounded but in

5106-431: The verb דָּבַק ‎ dāḇaq 'to adhere' or 'cling'. The term first appears in a number of 16th-century writings, though it was ignored by mainstream scholarship until S. An-sky 's 1920 play The Dybbuk popularised the concept in literary circles. Earlier accounts of possession (such as that given by Josephus ) were of demonic possession rather than that of ghosts. These accounts advocated orthodoxy among

5180-429: Was directed by Sidney Lumet and starred Carol Lawrence . In the early 1970s, Leon Katz created multiple adaptations of The Dybbuk ( Toy Show and Shekhina: The Bride ), both directed by Rina Yerushalmi and produced at La MaMa Experimental Theatre Club . In 1974, Jerome Robbins created the ballet Dybbuk with music by Leonard Bernstein . That year, it was also adapted for CBS Radio Mystery Theater under

5254-450: Was first mentioned in a reply to him from Baron Günzburg, on 12 February 1914, who commented he read a draft and found it compelling. The original was in Russian; shortly after completing it, the author was advised by friends to translate it into Yiddish. In the summer, he started promoting The Dybbuk , hoping it would be staged by a major Russian theater. He was rebuffed by Semyon Vengerov of

5328-458: Was on 18 January 1926, before it embarked on an international tour. In the British Mandate of Palestine , it premiered in a makeshift production organized by a labor battalion paving Highway 75 ; while the exact date was unrecorded, it was sometime in February 1922. Abba Hushi depicted Azriel. Professional stagings soon followed suit. On the 6th and 16 June 1926, in two consecutive meetings,

5402-541: Was well received and syndicated overseas. In 1997, an Israeli film adaptation was produced under the name Forbidden Love or The Dybbuk of the Holy Apple Field , starring Israeli actors Yehezkel Lazarov and Ayelet Zurer in the leading roles. The film featured the song Forbidden Love by popular Israeli Mizrahi singer Zehava Ben , which went on to become a popular hit in Israel and, in its Arabic version, throughout

5476-513: Was written on a libretto by Renato Simoni ), he instead began work on his opera Porgy and Bess . In 1933, David Tamkin and Alex Tamkin adapted the play into the opera The Dybbuk . It did not premiere until 1951. In 1937, the play was adapted into the film The Dybbuk , directed by Michał Waszyński and choreographed by Judith Berg . On October 3, 1960, The Play of the Week presented " The Dybbuk ", an English adaptation by Joseph Liss. It

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