\nFrom Rabbi\u2019s Daughter to World-Shocker
\nJudith Malina Turns 86 With Memoir and Documentary<\/strong><\/p>\nBy Benjamin Ivry (Forward)<\/p>\n
A rabbi\u2019s daughter who turned 86 on June 4, Malina has long been invigorating and scandalizing audiences with avant-garde theatrical inventiveness. Although occasionally appearing in films and TV \u2014 from Sidney Lumet\u2019s \u201cDog Day Afternoon\u201d (1975) to \u201cThe Addams Family\u201d (1991), and as a dying nun who confesses to being a gangster\u2019s birth mother on HBO\u2019s \u201cThe Sopranos\u201d (2006) \u2014 Malina\u2019s main focus has been overwhelmingly theatrical.<\/p>\n
The Living Theatre, which she co-founded in 1947 with her husband Julian Beck, who died in 1985, broke boundaries and expectations while expressing a spirit of left-wing pacifist anarchy. For many years, the theater company also featured nudity and overt sexuality, which discomfited some of the critics and public. Before one of Malina\u2019s 1990s theatrical happenings in Paris, the American Jewish jazz clarinetist Steve Lacy (1934\u20132004, born Steven Norman Lackritz) told me: \u201cWe only recently convinced Judith to put her clothes back on during the shows, since some audiences were complaining.\u201d<\/p>\n
Related
\nJewish Art for the New Millennium: Avant-Garde Poetry, Music and Politics
\nFriends Honor Avant-Garde Artist Ira Cohen
\nStill a wild child and free spirit, Malina is deeply influenced by Yiddishkeit, which her compelling new journal and memoir, \u201cThe Piscator Notebook,\u201d makes clear. In it we read about how Malina was born in Kiel, Germany, in 1926 to Rabbi Max Malina and Rosel Zamora. Malina\u2019s mother, a Yiddish theater actress, had shelved her own career ambitions to raise a family. In 1928, already wary of the rise of European anti-Semitism, the family moved to New York.<\/p>\n
Once there, as we read in Steven Lowenstein\u2019s \u201cFrankfurt on the Hudson: The German Jewish Community of Washington Heights, 1933-82, Its Structure and Culture,\u201d Rabbi Malina became a key figure in New York\u2019s German Jewish spiritual life. His daughter realized her mother\u2019s frustrated ambitions by studying acting and directing at a school founded by one of Rosel\u2019s artistic heroes, the leftist director Erwin Piscator, who resolved, as Malina describes, \u201cto make the world better through the art of the theatre.\u201d<\/p>\n
The Nazis hated Piscator\u2019s Marxism so much that even though he was Protestant, he was treated as if he were Jewish and forced to flee Germany in 1936. Piscator established a New York theatrical school where the teachers included Jewish refugees such as the Habima company\u2019s Raikin Ben-Ari, who taught the young Malina, as she recalls, that the \u201cstage is not a mirror but a magnifying glass, and that I could overcome my Jewish inhibition of making the sign of the cross on stage because, as an actor, \u2018there is no facet of human nature alien to myself.\u2019\u201d<\/p>\n
Although Malina shared her mother\u2019s deep admiration for Piscator\u2019s innovations, she did not agree with all of her mentor\u2019s political views:<\/p>\n
I did not share Piscator\u2019s unqualified admiration for FDR. My father had been dedicated to the lifting of the [anti-Semitic U.S.] immigration quotas, which would have saved countless lives. But petitions and protests and appeals were to no avail. Roosevelt defended the legal limitations that prevented masses of Jews from escaping from their Nazi persecutors.<\/p>\n
Though she stayed home from school for Passover and other High Holy Days, Malina was sometimes obliged to work on Shabbat. During a 1946 production of \u201cHannele,\u201d Gerhardt Hauptmann\u2019s play about a \u201cyoung soul striving towards purity,\u201d Malina reflected that she herself had been forced to choose \u201cbetween the theatre and the shabbos. But since I had already made my decision for the theatre, the best I could do was light the shabbos lights in the dressing room, or in a hotel room, which I have managed to do all my life.\u201d<\/p>\n
Among other teachers were the eminent German Jewish architect and art historian Paul Zucker and stagecraft wizard Hans Sondheimer, a veteran of Berlin\u2019s Jewish Culture League, who taught Malina \u201chow to drive a three-penny nail through a half-inch plank in three strokes.\u201d She was also influenced by her fellow students, including aspiring Jewish actors destined for film or TV careers, such as Walter Matthau, Tony Curtis (then known as Bernie Schwartz), Jerry Stiller and Bea Arthur (born Bernice Frankel).<\/p>\n
Others she studied with were talented, but remained as devoted to theater as Malina. George Bartenieff was later celebrated for his marathon show \u201cI Will Bear Witness,\u201d adapted from Victor Klemperer\u2019s 1933-1941 diary of Nazi oppression. Anna Berger, another classmate and mentor, starred in the 2009 Aviva Kempner documentary \u201cYoo Hoo, Mrs. Goldberg\u201d as well as the 1950s TV series which it celebrates, and was recently still touring with her own one-woman show.<\/p>\n
To pay for classes, Malina worked in a laundry and as a \u201cwaitress, singer, and hat-check girl\u201d at the nightspot owned by the German Jewish cabaret icon Valeska Gert, who had played the role of Polly Peachum in the 1931 film version of the Kurt Weill-Bertolt Brecht \u201cThreepenny Opera.\u201d In one class, a teacher commended Malina\u2019s well-honed pantomime in the role of a waitress, unaware of the student\u2019s laborious nightly training in such gestures.<\/p>\n
The classes themselves, as described by Malina, were revelatory on many levels. When one teacher played a scratchy recording of the famous French Jewish actress Sarah Bernhardt in Racine\u2019s \u201cPh\u00e8dre,\u201d Malina recalls: \u201cAt first, it sounded like nothing but a most unhappy chicken,\u201d but after repeated study, the \u201cgliding, classical rhythm, and the beauty of Sarah Bernhardt\u2019s rendition became clear.\u201d Other classes included performances that immediately struck her as exemplary, such as when instructor Herbert Berghof recited excerpts from the 18th-century German philo-Semitic play \u201cNathan the Wise.\u201d Malina comments: \u201cMr. Berghof\u2019s Nathan was so wise, so Semitic, so humorous as to elude description.\u201d<\/p>\n
By contrast, Malina was fiercely self-critical of her own early class performances, such as in Racine\u2019s Old Testament-inspired \u201cEsther,\u201d as part of a chorus which played the role of the eponymous heroine in the student staging. Concentration was a problem for Malina as a teenager, and the more she struggled, the \u201charder I was thinking of thinking and the less I was being a Jewess freed from slavery.\u201d This pensiveness made her independent-minded. Though her classmates dismissed it as commercial Broadway fare, Malina relished \u201cJacobowsky & the Colonel,\u201d a 1944 romantic comedy-drama adapted by S. N. Behrman from a Franz Werfel original. The same play was later filmed, starring Danny Kaye, as \u201cMe and the Colonel.\u201d Malina mused: \u201cPerhaps [the play\u2019s] European, Semitic flavor was closer to me.\u201d<\/p>\n
That flavor led Malina to perform at Maurice Schwartz\u2019s Yiddish Art Theatre on Second Avenue as one of the angels in a production of I.L. Peretz\u2019s \u201cDray Matones\u201d (Three Gifts). From Schwartz, Malina states that she learned a \u201cdifferent discipline\u201d derived from the acting style of the celebrated \u201cDybbuk\u201d: \u201cIt is an endless struggle between outcry and restraint. The Jewish outcry overcoming the restraint of oppression.\u201d<\/p>\n
Malina was still exemplifying this outcry in Living Theatre street appearances during last fall\u2019s Occupy Wall Street protests. She is a bearer of powerful tradition, part of her lastingly intense, illuminatingly idealistic theatrical legacy.<\/p>\n
Benjamin Ivry<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":" Depuis la Tha\u00eflande le po\u00e8te am\u00e9ricain Benjamin Ivry (commandeur exquis de l\u2019Ordre de G.G. pataphysique) m\u2019informe: From Rabbi\u2019s Daughter to World-Shocker Judith Malina Turns 86 With Memoir and Documentary By Benjamin Ivry (Forward) A rabbi\u2019s daughter who turned 86 on June 4, Malina has long been invigorating and scandalizing audiences with avant-garde theatrical inventiveness. Although occasionally appearing in films and TV \u2014 from Sidney Lumet\u2019s \u201cDog Day Afternoon\u201d (1975) to \u201cThe Addams Family\u201d (1991), and as a dying nun who confesses to being a gangster\u2019s birth mother on HBO\u2019s \u201cThe Sopranos\u201d (2006) \u2014 Malina\u2019s main focus has been overwhelmingly theatrical. The Living Theatre, which she co-founded in 1947 with her husband Julian Beck, who died in 1985, broke boundaries and expectations while expressing a spirit of left-wing pacifist anarchy. For many years, the theater company also featured nudity and overt sexuality, which discomfited some of the critics and public. Before one of Malina\u2019s 1990s theatrical happenings in Paris, the American Jewish jazz clarinetist Steve Lacy (1934\u20132004, born Steven Norman Lackritz) told me: \u201cWe only recently convinced Judith to put her clothes back on during the shows, since some audiences were complaining.\u201d Related Jewish Art for the New Millennium: Avant-Garde Poetry, Music and Politics Friends Honor Avant-Garde Artist Ira Cohen Still a wild child and free spirit, Malina is deeply influenced by Yiddishkeit, which her compelling new journal and memoir, \u201cThe Piscator Notebook,\u201d makes clear. In it we read about how Malina was born in Kiel, Germany, in 1926 to Rabbi Max Malina and Rosel Zamora. Malina\u2019s mother, a Yiddish theater actress, had shelved her own career ambitions to raise a family. In 1928, already wary of the rise of European anti-Semitism, the family moved to New York. Once there, as we read in Steven Lowenstein\u2019s \u201cFrankfurt on the Hudson: The German Jewish Community of Washington Heights, 1933-82, Its Structure and Culture,\u201d Rabbi Malina became a key figure in New York\u2019s German Jewish spiritual life. His daughter realized her mother\u2019s frustrated ambitions by studying acting and directing at a school founded by one of Rosel\u2019s artistic heroes, the leftist director Erwin Piscator, who resolved, as Malina describes, \u201cto make the world better through the art of the theatre.\u201d The Nazis hated Piscator\u2019s Marxism so much that even though he was Protestant, he was treated as if he were Jewish and forced to flee Germany in 1936. Piscator established a New York theatrical school where the teachers included Jewish refugees such as the Habima company\u2019s Raikin Ben-Ari, who taught the young Malina, as she recalls, that the \u201cstage is not a mirror but a magnifying glass, and that I could overcome my Jewish inhibition of making the sign of the cross on stage because, as an actor, \u2018there is no facet of human nature alien to myself.\u2019\u201d Although Malina shared her mother\u2019s deep admiration for Piscator\u2019s innovations, she did not agree with all of her mentor\u2019s political views: I did not share Piscator\u2019s unqualified admiration for FDR. My father had been dedicated to the lifting of the [anti-Semitic U.S.] immigration quotas, which would have saved countless lives. But petitions and protests and appeals were to no avail. Roosevelt defended the legal limitations that prevented masses of Jews from escaping from their Nazi persecutors. Though she stayed home from school for Passover and other High Holy Days, Malina was sometimes obliged to work on Shabbat. During a 1946 production of \u201cHannele,\u201d Gerhardt Hauptmann\u2019s play about a \u201cyoung soul striving towards purity,\u201d Malina reflected that she herself had been forced to choose \u201cbetween the theatre and the shabbos. But since I had already made my decision for the theatre, the best I could do was light the shabbos lights in the dressing room, or in a hotel room, which I have managed to do all my life.\u201d Among other teachers were the eminent German Jewish architect and art historian Paul Zucker and stagecraft wizard Hans Sondheimer, a veteran of Berlin\u2019s Jewish Culture League, who taught Malina \u201chow to drive a three-penny nail through a half-inch plank in three strokes.\u201d She was also influenced by her fellow students, including aspiring Jewish actors destined for film or TV careers, such as Walter Matthau, Tony Curtis (then known as Bernie Schwartz), Jerry Stiller and Bea Arthur (born Bernice Frankel). Others she studied with were talented, but remained as devoted to theater as Malina. George Bartenieff was later celebrated for his marathon show \u201cI Will Bear Witness,\u201d adapted from Victor Klemperer\u2019s 1933-1941 diary of Nazi oppression. Anna Berger, another classmate and mentor, starred in the 2009 Aviva Kempner documentary \u201cYoo Hoo, Mrs. Goldberg\u201d as well as the 1950s TV series which it celebrates, and was recently still touring with her own one-woman show. To pay for classes, Malina worked in a laundry and as a \u201cwaitress, singer, and hat-check girl\u201d at the nightspot owned by the German Jewish cabaret icon Valeska Gert, who had played the role of Polly Peachum in the 1931 film version of the Kurt Weill-Bertolt Brecht \u201cThreepenny Opera.\u201d In one class, a teacher commended Malina\u2019s well-honed pantomime in the role of a waitress, unaware of the student\u2019s laborious nightly training in such gestures. The classes themselves, as described by Malina, were revelatory on many levels. When one teacher played a scratchy recording of the famous French Jewish actress Sarah Bernhardt in Racine\u2019s \u201cPh\u00e8dre,\u201d Malina recalls: \u201cAt first, it sounded like nothing but a most unhappy chicken,\u201d but after repeated study, the \u201cgliding, classical rhythm, and the beauty of Sarah Bernhardt\u2019s rendition became clear.\u201d Other classes included performances that immediately struck her as exemplary, such as when instructor Herbert Berghof recited excerpts from the 18th-century German philo-Semitic play \u201cNathan the Wise.\u201d Malina comments: \u201cMr. Berghof\u2019s Nathan was so wise, so Semitic, so humorous as to elude description.\u201d By contrast, Malina was fiercely self-critical of her own early class performances, such as in Racine\u2019s Old Testament-inspired \u201cEsther,\u201d as part of a chorus which played the role of the eponymous heroine in the student staging. Concentration was a problem for Malina as a teenager, and the more she struggled, the \u201charder I was thinking of thinking and the less I was being a Jewess freed from slavery.\u201d This pensiveness made her independent-minded. Though her classmates dismissed it as commercial Broadway fare, Malina relished \u201cJacobowsky & the Colonel,\u201d a 1944 romantic comedy-drama adapted by S. N. Behrman from a Franz Werfel original. The same play was later filmed, starring Danny Kaye, as \u201cMe and the Colonel.\u201d Malina mused: \u201cPerhaps [the play\u2019s] European, Semitic flavor was closer to me.\u201d That flavor led Malina to perform at Maurice Schwartz\u2019s Yiddish Art Theatre on Second Avenue as one of the angels in a production of I.L. Peretz\u2019s \u201cDray Matones\u201d (Three Gifts). From Schwartz, Malina states that she learned a \u201cdifferent discipline\u201d derived from the acting style of the celebrated \u201cDybbuk\u201d: \u201cIt is an endless struggle between outcry and restraint. The Jewish outcry overcoming the restraint of oppression.\u201d Malina was still exemplifying this outcry in Living Theatre street appearances during last fall\u2019s Occupy Wall Street protests. She is a bearer of powerful tradition, part of her lastingly intense, illuminatingly idealistic theatrical legacy. Benjamin Ivry<\/p>\n","protected":false},"author":6,"featured_media":5330,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[33043,33313],"class_list":["post-5327","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-miscellannees","tag-benjamin-ivry","tag-judith-malina"],"yoast_head":"\n
...ma tr\u00e8s ch\u00e8re ("entra\u00f1able") et inoubliable amie Judith Malina (Living Theatre) s'est occult\u00e9e \u00e0 (Lillian Booth Actors Home) Englewood, N.J. - Ceci n\u2019est pas un blog<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/laregledujeu.org\/arrabal\/2015\/04\/12\/5327\/ma-tres-chere-entranable-et-inoubliable-amie-judith-malina-living-theatre-sest-occultee-a-lillian-booth-actors-home-englewood-n-j\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"...ma tr\u00e8s ch\u00e8re ("entra\u00f1able") et inoubliable amie Judith Malina (Living Theatre) s'est occult\u00e9e \u00e0 (Lillian Booth Actors Home) Englewood, N.J. - Ceci n\u2019est pas un blog\" \/>\n<meta property=\"og:description\" content=\" Depuis la Tha\u00eflande le po\u00e8te am\u00e9ricain Benjamin Ivry (commandeur exquis de l\u2019Ordre de G.G. pataphysique) m\u2019informe: From Rabbi\u2019s Daughter to World-Shocker Judith Malina Turns 86 With Memoir and Documentary By Benjamin Ivry (Forward) A rabbi\u2019s daughter who turned 86 on June 4, Malina has long been invigorating and scandalizing audiences with avant-garde theatrical inventiveness. Although occasionally appearing in films and TV \u2014 from Sidney Lumet\u2019s \u201cDog Day Afternoon\u201d (1975) to \u201cThe Addams Family\u201d (1991), and as a dying nun who confesses to being a gangster\u2019s birth mother on HBO\u2019s \u201cThe Sopranos\u201d (2006) \u2014 Malina\u2019s main focus has been overwhelmingly theatrical. The Living Theatre, which she co-founded in 1947 with her husband Julian Beck, who died in 1985, broke boundaries and expectations while expressing a spirit of left-wing pacifist anarchy. For many years, the theater company also featured nudity and overt sexuality, which discomfited some of the critics and public. Before one of Malina\u2019s 1990s theatrical happenings in Paris, the American Jewish jazz clarinetist Steve Lacy (1934\u20132004, born Steven Norman Lackritz) told me: \u201cWe only recently convinced Judith to put her clothes back on during the shows, since some audiences were complaining.\u201d Related Jewish Art for the New Millennium: Avant-Garde Poetry, Music and Politics Friends Honor Avant-Garde Artist Ira Cohen Still a wild child and free spirit, Malina is deeply influenced by Yiddishkeit, which her compelling new journal and memoir, \u201cThe Piscator Notebook,\u201d makes clear. In it we read about how Malina was born in Kiel, Germany, in 1926 to Rabbi Max Malina and Rosel Zamora. Malina\u2019s mother, a Yiddish theater actress, had shelved her own career ambitions to raise a family. In 1928, already wary of the rise of European anti-Semitism, the family moved to New York. Once there, as we read in Steven Lowenstein\u2019s \u201cFrankfurt on the Hudson: The German Jewish Community of Washington Heights, 1933-82, Its Structure and Culture,\u201d Rabbi Malina became a key figure in New York\u2019s German Jewish spiritual life. His daughter realized her mother\u2019s frustrated ambitions by studying acting and directing at a school founded by one of Rosel\u2019s artistic heroes, the leftist director Erwin Piscator, who resolved, as Malina describes, \u201cto make the world better through the art of the theatre.\u201d The Nazis hated Piscator\u2019s Marxism so much that even though he was Protestant, he was treated as if he were Jewish and forced to flee Germany in 1936. Piscator established a New York theatrical school where the teachers included Jewish refugees such as the Habima company\u2019s Raikin Ben-Ari, who taught the young Malina, as she recalls, that the \u201cstage is not a mirror but a magnifying glass, and that I could overcome my Jewish inhibition of making the sign of the cross on stage because, as an actor, \u2018there is no facet of human nature alien to myself.\u2019\u201d Although Malina shared her mother\u2019s deep admiration for Piscator\u2019s innovations, she did not agree with all of her mentor\u2019s political views: I did not share Piscator\u2019s unqualified admiration for FDR. My father had been dedicated to the lifting of the [anti-Semitic U.S.] immigration quotas, which would have saved countless lives. But petitions and protests and appeals were to no avail. Roosevelt defended the legal limitations that prevented masses of Jews from escaping from their Nazi persecutors. Though she stayed home from school for Passover and other High Holy Days, Malina was sometimes obliged to work on Shabbat. During a 1946 production of \u201cHannele,\u201d Gerhardt Hauptmann\u2019s play about a \u201cyoung soul striving towards purity,\u201d Malina reflected that she herself had been forced to choose \u201cbetween the theatre and the shabbos. But since I had already made my decision for the theatre, the best I could do was light the shabbos lights in the dressing room, or in a hotel room, which I have managed to do all my life.\u201d Among other teachers were the eminent German Jewish architect and art historian Paul Zucker and stagecraft wizard Hans Sondheimer, a veteran of Berlin\u2019s Jewish Culture League, who taught Malina \u201chow to drive a three-penny nail through a half-inch plank in three strokes.\u201d She was also influenced by her fellow students, including aspiring Jewish actors destined for film or TV careers, such as Walter Matthau, Tony Curtis (then known as Bernie Schwartz), Jerry Stiller and Bea Arthur (born Bernice Frankel). Others she studied with were talented, but remained as devoted to theater as Malina. George Bartenieff was later celebrated for his marathon show \u201cI Will Bear Witness,\u201d adapted from Victor Klemperer\u2019s 1933-1941 diary of Nazi oppression. Anna Berger, another classmate and mentor, starred in the 2009 Aviva Kempner documentary \u201cYoo Hoo, Mrs. Goldberg\u201d as well as the 1950s TV series which it celebrates, and was recently still touring with her own one-woman show. To pay for classes, Malina worked in a laundry and as a \u201cwaitress, singer, and hat-check girl\u201d at the nightspot owned by the German Jewish cabaret icon Valeska Gert, who had played the role of Polly Peachum in the 1931 film version of the Kurt Weill-Bertolt Brecht \u201cThreepenny Opera.\u201d In one class, a teacher commended Malina\u2019s well-honed pantomime in the role of a waitress, unaware of the student\u2019s laborious nightly training in such gestures. The classes themselves, as described by Malina, were revelatory on many levels. When one teacher played a scratchy recording of the famous French Jewish actress Sarah Bernhardt in Racine\u2019s \u201cPh\u00e8dre,\u201d Malina recalls: \u201cAt first, it sounded like nothing but a most unhappy chicken,\u201d but after repeated study, the \u201cgliding, classical rhythm, and the beauty of Sarah Bernhardt\u2019s rendition became clear.\u201d Other classes included performances that immediately struck her as exemplary, such as when instructor Herbert Berghof recited excerpts from the 18th-century German philo-Semitic play \u201cNathan the Wise.\u201d Malina comments: \u201cMr. Berghof\u2019s Nathan was so wise, so Semitic, so humorous as to elude description.\u201d By contrast, Malina was fiercely self-critical of her own early class performances, such as in Racine\u2019s Old Testament-inspired \u201cEsther,\u201d as part of a chorus which played the role of the eponymous heroine in the student staging. Concentration was a problem for Malina as a teenager, and the more she struggled, the \u201charder I was thinking of thinking and the less I was being a Jewess freed from slavery.\u201d This pensiveness made her independent-minded. Though her classmates dismissed it as commercial Broadway fare, Malina relished \u201cJacobowsky & the Colonel,\u201d a 1944 romantic comedy-drama adapted by S. N. Behrman from a Franz Werfel original. The same play was later filmed, starring Danny Kaye, as \u201cMe and the Colonel.\u201d Malina mused: \u201cPerhaps [the play\u2019s] European, Semitic flavor was closer to me.\u201d That flavor led Malina to perform at Maurice Schwartz\u2019s Yiddish Art Theatre on Second Avenue as one of the angels in a production of I.L. Peretz\u2019s \u201cDray Matones\u201d (Three Gifts). From Schwartz, Malina states that she learned a \u201cdifferent discipline\u201d derived from the acting style of the celebrated \u201cDybbuk\u201d: \u201cIt is an endless struggle between outcry and restraint. The Jewish outcry overcoming the restraint of oppression.\u201d Malina was still exemplifying this outcry in Living Theatre street appearances during last fall\u2019s Occupy Wall Street protests. She is a bearer of powerful tradition, part of her lastingly intense, illuminatingly idealistic theatrical legacy. Benjamin Ivry\" \/>\n<meta property=\"og:url\" content=\"https:\/\/laregledujeu.org\/arrabal\/2015\/04\/12\/5327\/ma-tres-chere-entranable-et-inoubliable-amie-judith-malina-living-theatre-sest-occultee-a-lillian-booth-actors-home-englewood-n-j\/\" \/>\n<meta property=\"og:site_name\" content=\"Ceci n\u2019est pas un blog\" \/>\n<meta property=\"article:published_time\" content=\"2015-04-12T06:05:33+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2015-08-18T14:26:38+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/laregledujeu.org\/arrabal\/files\/2015\/04\/220px-JudithMalina1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"766\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"fernandoarrabal\" \/>\n<meta name=\"twitter:label1\" content=\"\u00c9crit par\" \/>\n\t<meta name=\"twitter:data1\" content=\"fernandoarrabal\" \/>\n\t<meta name=\"twitter:label2\" content=\"Dur\u00e9e de lecture est.\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/laregledujeu.org\/arrabal\/2015\/04\/12\/5327\/ma-tres-chere-entranable-et-inoubliable-amie-judith-malina-living-theatre-sest-occultee-a-lillian-booth-actors-home-englewood-n-j\/\",\"url\":\"https:\/\/laregledujeu.org\/arrabal\/2015\/04\/12\/5327\/ma-tres-chere-entranable-et-inoubliable-amie-judith-malina-living-theatre-sest-occultee-a-lillian-booth-actors-home-englewood-n-j\/\",\"name\":\"...ma tr\u00e8s ch\u00e8re (\\\"entra\u00f1able\\\") et inoubliable amie Judith Malina (Living Theatre) s'est occult\u00e9e \u00e0 (Lillian Booth Actors Home) Englewood, N.J. - 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Ceci n\u2019est pas un blog","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/laregledujeu.org\/arrabal\/2015\/04\/12\/5327\/ma-tres-chere-entranable-et-inoubliable-amie-judith-malina-living-theatre-sest-occultee-a-lillian-booth-actors-home-englewood-n-j\/","og_locale":"fr_FR","og_type":"article","og_title":"...ma tr\u00e8s ch\u00e8re (\"entra\u00f1able\") et inoubliable amie Judith Malina (Living Theatre) s'est occult\u00e9e \u00e0 (Lillian Booth Actors Home) Englewood, N.J. - Ceci n\u2019est pas un blog","og_description":" Depuis la Tha\u00eflande le po\u00e8te am\u00e9ricain Benjamin Ivry (commandeur exquis de l\u2019Ordre de G.G. pataphysique) m\u2019informe: From Rabbi\u2019s Daughter to World-Shocker Judith Malina Turns 86 With Memoir and Documentary By Benjamin Ivry (Forward) A rabbi\u2019s daughter who turned 86 on June 4, Malina has long been invigorating and scandalizing audiences with avant-garde theatrical inventiveness. Although occasionally appearing in films and TV \u2014 from Sidney Lumet\u2019s \u201cDog Day Afternoon\u201d (1975) to \u201cThe Addams Family\u201d (1991), and as a dying nun who confesses to being a gangster\u2019s birth mother on HBO\u2019s \u201cThe Sopranos\u201d (2006) \u2014 Malina\u2019s main focus has been overwhelmingly theatrical. The Living Theatre, which she co-founded in 1947 with her husband Julian Beck, who died in 1985, broke boundaries and expectations while expressing a spirit of left-wing pacifist anarchy. For many years, the theater company also featured nudity and overt sexuality, which discomfited some of the critics and public. Before one of Malina\u2019s 1990s theatrical happenings in Paris, the American Jewish jazz clarinetist Steve Lacy (1934\u20132004, born Steven Norman Lackritz) told me: \u201cWe only recently convinced Judith to put her clothes back on during the shows, since some audiences were complaining.\u201d Related Jewish Art for the New Millennium: Avant-Garde Poetry, Music and Politics Friends Honor Avant-Garde Artist Ira Cohen Still a wild child and free spirit, Malina is deeply influenced by Yiddishkeit, which her compelling new journal and memoir, \u201cThe Piscator Notebook,\u201d makes clear. In it we read about how Malina was born in Kiel, Germany, in 1926 to Rabbi Max Malina and Rosel Zamora. Malina\u2019s mother, a Yiddish theater actress, had shelved her own career ambitions to raise a family. In 1928, already wary of the rise of European anti-Semitism, the family moved to New York. Once there, as we read in Steven Lowenstein\u2019s \u201cFrankfurt on the Hudson: The German Jewish Community of Washington Heights, 1933-82, Its Structure and Culture,\u201d Rabbi Malina became a key figure in New York\u2019s German Jewish spiritual life. His daughter realized her mother\u2019s frustrated ambitions by studying acting and directing at a school founded by one of Rosel\u2019s artistic heroes, the leftist director Erwin Piscator, who resolved, as Malina describes, \u201cto make the world better through the art of the theatre.\u201d The Nazis hated Piscator\u2019s Marxism so much that even though he was Protestant, he was treated as if he were Jewish and forced to flee Germany in 1936. Piscator established a New York theatrical school where the teachers included Jewish refugees such as the Habima company\u2019s Raikin Ben-Ari, who taught the young Malina, as she recalls, that the \u201cstage is not a mirror but a magnifying glass, and that I could overcome my Jewish inhibition of making the sign of the cross on stage because, as an actor, \u2018there is no facet of human nature alien to myself.\u2019\u201d Although Malina shared her mother\u2019s deep admiration for Piscator\u2019s innovations, she did not agree with all of her mentor\u2019s political views: I did not share Piscator\u2019s unqualified admiration for FDR. My father had been dedicated to the lifting of the [anti-Semitic U.S.] immigration quotas, which would have saved countless lives. But petitions and protests and appeals were to no avail. Roosevelt defended the legal limitations that prevented masses of Jews from escaping from their Nazi persecutors. Though she stayed home from school for Passover and other High Holy Days, Malina was sometimes obliged to work on Shabbat. During a 1946 production of \u201cHannele,\u201d Gerhardt Hauptmann\u2019s play about a \u201cyoung soul striving towards purity,\u201d Malina reflected that she herself had been forced to choose \u201cbetween the theatre and the shabbos. But since I had already made my decision for the theatre, the best I could do was light the shabbos lights in the dressing room, or in a hotel room, which I have managed to do all my life.\u201d Among other teachers were the eminent German Jewish architect and art historian Paul Zucker and stagecraft wizard Hans Sondheimer, a veteran of Berlin\u2019s Jewish Culture League, who taught Malina \u201chow to drive a three-penny nail through a half-inch plank in three strokes.\u201d She was also influenced by her fellow students, including aspiring Jewish actors destined for film or TV careers, such as Walter Matthau, Tony Curtis (then known as Bernie Schwartz), Jerry Stiller and Bea Arthur (born Bernice Frankel). Others she studied with were talented, but remained as devoted to theater as Malina. George Bartenieff was later celebrated for his marathon show \u201cI Will Bear Witness,\u201d adapted from Victor Klemperer\u2019s 1933-1941 diary of Nazi oppression. Anna Berger, another classmate and mentor, starred in the 2009 Aviva Kempner documentary \u201cYoo Hoo, Mrs. Goldberg\u201d as well as the 1950s TV series which it celebrates, and was recently still touring with her own one-woman show. To pay for classes, Malina worked in a laundry and as a \u201cwaitress, singer, and hat-check girl\u201d at the nightspot owned by the German Jewish cabaret icon Valeska Gert, who had played the role of Polly Peachum in the 1931 film version of the Kurt Weill-Bertolt Brecht \u201cThreepenny Opera.\u201d In one class, a teacher commended Malina\u2019s well-honed pantomime in the role of a waitress, unaware of the student\u2019s laborious nightly training in such gestures. The classes themselves, as described by Malina, were revelatory on many levels. When one teacher played a scratchy recording of the famous French Jewish actress Sarah Bernhardt in Racine\u2019s \u201cPh\u00e8dre,\u201d Malina recalls: \u201cAt first, it sounded like nothing but a most unhappy chicken,\u201d but after repeated study, the \u201cgliding, classical rhythm, and the beauty of Sarah Bernhardt\u2019s rendition became clear.\u201d Other classes included performances that immediately struck her as exemplary, such as when instructor Herbert Berghof recited excerpts from the 18th-century German philo-Semitic play \u201cNathan the Wise.\u201d Malina comments: \u201cMr. Berghof\u2019s Nathan was so wise, so Semitic, so humorous as to elude description.\u201d By contrast, Malina was fiercely self-critical of her own early class performances, such as in Racine\u2019s Old Testament-inspired \u201cEsther,\u201d as part of a chorus which played the role of the eponymous heroine in the student staging. Concentration was a problem for Malina as a teenager, and the more she struggled, the \u201charder I was thinking of thinking and the less I was being a Jewess freed from slavery.\u201d This pensiveness made her independent-minded. Though her classmates dismissed it as commercial Broadway fare, Malina relished \u201cJacobowsky & the Colonel,\u201d a 1944 romantic comedy-drama adapted by S. N. Behrman from a Franz Werfel original. The same play was later filmed, starring Danny Kaye, as \u201cMe and the Colonel.\u201d Malina mused: \u201cPerhaps [the play\u2019s] European, Semitic flavor was closer to me.\u201d That flavor led Malina to perform at Maurice Schwartz\u2019s Yiddish Art Theatre on Second Avenue as one of the angels in a production of I.L. Peretz\u2019s \u201cDray Matones\u201d (Three Gifts). From Schwartz, Malina states that she learned a \u201cdifferent discipline\u201d derived from the acting style of the celebrated \u201cDybbuk\u201d: \u201cIt is an endless struggle between outcry and restraint. The Jewish outcry overcoming the restraint of oppression.\u201d Malina was still exemplifying this outcry in Living Theatre street appearances during last fall\u2019s Occupy Wall Street protests. She is a bearer of powerful tradition, part of her lastingly intense, illuminatingly idealistic theatrical legacy. 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