Amos Gitai investigates chronic anti-Semitism in ‘Golem’

Anti-Semitism is a topic of many artists, as seen in this montage. Gitai is investigating persecution of the Jews since the Middle Ages and he does it all starting with literature, such as the great Joseph Roth, with the fact that nothing more than the beginning of the work challenges us whether we are ready to bear the problems of the disaffected and poor Jews of the European diaspora, some of the akabarons who found the state of Israel.

Production will also return to the present Golem by Isaac Bashevis Singer and other authors who wrote in Yiddish such as the Ukrainian-American Lamed Shapiro, fables that are related to other more current liveries from a wide and cosmopolitan list of actors and musicians. They play and sing in Yiddish, Ladino, German, French, Spanish, Hebrew, Arabic, English and Russian the polyphony of languages ​​characteristic of wandering people how about the music

The montage works like a puzzle in which some of the pogroms against popular Jewish communities in Europe, narrated by actors who often supported the music scene, are related to the incident of how they overcame the pain and tried to survive such a fate.

The legend of a golem he emerges as a metaphor (and we explain this in the show) of hope and salvation, in the manner of an angel who redeems the iniquity of the chosen community, but who also puts himself at risk of desmadrarse by how he uses it. El a golem It is a protector that is similar in technology today, says Gitai, that can give us many good things, but we ignore its consequences.

Many themes are explored in this production, but the author never fails to offer us a hopeful wonder. The conclusion leads us to think about how to achieve a peaceful coexistence of races and religions, which is based on the humanist idea of ​​art as a space for resistance and interpretation of the contradictions of humanity.

The stage doors copy the style of the front set seen in the same theatre, Housegoing back to watching documentaries — you open with ancient fragments of small children’s films that are very emotional about what happens in other parts of your film Tsil — reproduce what is happening in the scenario.

Cae rope flood from heights, recorded property of the Jews of the Holocaustand serves to create a scenic topography with the help of the actors – including the standouts Irene Jacob, Laurent Naouri and Anne Laure Ségla –.

The production is of high quality The scenic design is plastic in the second part. However, the performance exceeds two hours and requires an excess of narration, very fragmented, with recurring scenarios. How did you look at it? Housethe musical moments are of the greatest emotional intensity and lyricism, with an extraordinary chorus of female voices (Lucy Page, Zoé Fouray, Sophie Leleu (also playing the harp) and Marie Picaut).

For the music, the director returned to Alexdey Kochetkov (violin and synthesizers) and Kioomars Musayyebi (santur), who accompanies the pianist Florian Pichlbauer, sings gracefully with an extraordinary sound (Eric Neveux).