dybbuk

I recently saw The Dybbuk for the first time in quite a few years, and for the first time ever on the big screen.

A new kind of unwelcome body invader entered the Jewish lexicon during the 16th century--the dybbuk. A malevolent spirit or ghost, the dybbuk was said to usually possess low-status members of society, most commonly women and children.

In January 1944, Bernstein premiered "Jeremiah," the first of his three symphonies that included "Age of Anxiety" and "Kaddish." He followed "Jeremiah" by composing numerous concert works ("Chichester Psalms," "Mass"), theater works ("On the Town," "Wonderful Town," "Candide," "A Quiet Place," songs and chorus for "Peter Pan," "West Side Story"), film scores ("On the Waterfront," among others), and ballet scores ("Fancy Free," "Dybbuk").

Bahya ben Asher's Shulhan Shel Arba, the dybbuk: the origins and history of a concept, and worlds to come between East and West: immortality and the rise of modern Jewish thought.

(58) But that absence is compensated by the extended space given to the movie's similarly Old World--if not otherworldly--seven-minute prologue, in Yiddish, about Reb Groshkover, a possible dybbuk (a malevolent possessing spirit), played by the inimitable star of Yiddish theater and character actor Fyvush Finkel, who visits the house of a shetl couple and is or is not fatally stabbed in the process.

Which is why you became so upset, last night on the telephone, when she suggested in exhaustion that you stop fighting President Truman and that dybbuk ofhis, Leslie Groves, head ofthe Project, who's tried to get you interned as an enemy for the duration of the war.

He also appeared in "Brighton Beach Memoirs," "For Love or Money" and "Nixon." In 2009 Finkel appeared in the opening scene of Academy Award best picture nominee "A Serious Man" playing a Treitle Groshkover, known as a "dybbuk" in Jewish lore -- the wandering soul of a dead person that enters the body of a living person and controls his or her behavior.

MUSIC Dybbuk: Momus Sings Bowie Momus presents a dark and leftfield take on Bowie's work, concentrating on the early cabaret work, the demos, the avant-garde and eccentric moments.

(19) In 1918, Hayim Bialik translated Ansky's play The Dybbuk into Hebrew.

When I first poke my head in, the company is in the middle of the show's final scene, "The Dybbuk," based on the Yiddish play by S.

(4) On An-sky and his ethnographic work, see Gabriella Safran, Wandering Soul: The Dybbuk's Creator; S.