![]() ![]() Vogel’s initial scenes introduce us to Asch as a member of the famed poet I. Asch’s play, Vogel argues, is a product of its time and ahead of its time in its recognition that human passion transcends gender barriers, and that it is also a necessary component to sustain the human spirit. She restages scenes from that “little Jewish play”- The God of Vengeance, penned in 1906 by Polish Yiddish playwright Sholem Asch (1880–1957)-and she crafts back-story scenes to show how Asch’s play was created, how it experienced triumphs and failures, and why it is worthy of being included among works by the twentieth century’s most pioneering writers. 1 They compose a minyan, or quorum, required by Jewish law before a worship service can begin.Īs the stage lights brighten, this ghostly minyan announces they will perform multiple roles-Yiddish writers, actors, producers, a stage manager, a husband and wife, a rabbi, and lesbian lovers-to share a “true story of a little Jewish play.”Īwarding-winning playwright Paula Vogel structures Indecent as a play-within-a-play. ![]() At a performance of Paula Vogel’s one-act play Indecent, as the audience enters the auditorium, 10 men and women seated onstage appear as apparitions-some holding instruments, some wearing fedoras, all dressed in funereal sackcloth. ![]()
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