Shakespeare

Henry V’s Distressful Bread — Thoughts for the Seder in Memory of my son Niot z”l

by

Haim Watzman

This is a Hebrew translation of my annual dvar Torah for Pesach in memory of my son Niot z”l, whom we lost ten years ago during Pesach. A pdf file of the Hebrew original, which appears in this week’s issue of “Shabbat Shalom,” the weekly Torah sheet published by Oz Veshalom, the religious peace movement, can be downloaded here.

At the beginning of the Seder, before we begin the magid, the telling of the story of the exodus from Egypt, we perform a ritual called yahatz. We break, according to most customs, the middle of the three matzot that we have placed on the table along with the other signs of the holiday. We set the larger piece aside or conceal it so that it will serve after the meal as the afikoman.

At the end of the magid we make two blessings on the matzot that remain on the table—the two whole ones and the piece that remains of the middle one. According to one opinion (as in, for example, the commentary on the Haggadah of Rabbi Yitzhak Mirsky), the two blessings are intended for different combinations of these matzot. The hamotzi blessing, the one we use all year before eating bread and which on Shabbatot and holidays we make over two loaves, as part of the happiness of the occasion, is the blessing over the two whole matzot. The second blessing, al ahilat matzah, specific to the fulfilment of the command to eat matzah on the Seder night, is directed at one whole matzah and the broken matzah. The broken one represents the concept of lehem oni, usually translated into English as “the bread of affliction.”

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Bottom Up — “Necessary Stories” column from The Jerusalem Report

by

Haim Watzman

It was Timothy Asfal’s fingers that caught my eye when I boarded an overloaded 21 bus at Davidka Square on the way home to Talpiot. I could see them clearly because he was seated in the front row, on the aisle just behind the driver, clutching a plastic DVD box. Tim has the slender, agile digits of the artistic weaver he is, so finely-shaped that you want them to touch you.

illustration by Avi Katz

Tim and I have been friends since the 1980s, when we were both lonely and dreamy young men new in Jerusalem. I valued his company then because he had the wit of a sad clown and could see deep into my soul. Even then the beauty of his fingers stood out, but I barely noticed the way he looked then, or that the rest of his body was out of proportion. Now that he lives in Beit HaKerem we don’t see each other that often, even for a year at a time. And I admit that these days, when I run into him, I am taken aback for a moment. I notice all the things that friendship once led me to disregard. His body is thick, fleshy, and hirsute. His head is long and angular, with a protruding nose and ears that are two sizes too large. Maybe, in part, these physical flaws are even more noticeable now because when he was young he had hope. He could be ironic about love because he believed deep down that despite everything he would find it. Now, in middle age, he is unhappy and lonely.

It was late on a Thursday afternoon in mid-June and the bus was packed back to front with shoppers from the Machaneh Yehuda shuk, the open-air produce market. Their baskets sprouted basil and leeks and the fragrance of raw carrots filled the air. I pushed myself onto the bus and, while I couldn’t get far, I managed to wedge myself right up against Tim’s seat, standing between a teenage couple grooving to their Ipods and each other and a Kurdish grandmother who sighed intermittently as if the entire world’s sorrows were on her shoulders.

Tim barely smiled when he saw me. His head swung back and forth slowly, first to me, then toward the fair-haired woman in a blue summer dress who sat on the seat to his left, deeply absorbed in a paperback. His head halted just where he could see her out of the corner of his eye.

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Rape Those Women! Slaughter Those Babies!–Why You Can’t Just Stage “Henry V” For The Hell Of It

by

Haim Watzman

Shannon Kisch, the director of Shakespeare Jerusalem’s initially promising but ultimately amorphous production of Henry V, at least has my daughter Mizmor on her side. At nearly midnight last night, as we walked home from The Lab (Jerusalem’s newest and finest stage), Mizmor said, “It’s nice for a change to see someone just do a Shakespeare play the way it’s written.”

Which is what Kisch, in her program notes, says she wanted to do. Recalling a conversation about the problems of staging this historical drama, she writes: “The sentence I remember most clearly, and that which made the most sense to me, was this: ‘Why don’t you just tell the story?’”

I love my daughter and respect her opinions, and I sincerely admire Shakespeare Jerusalem’s ambition to stage the Bard’s works for Israeli audiences, but this production is a textbook demonstration of exactly why you can’t just “just tell the story.”

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Shrew Lit

by

Haim Watzman

At first glance, The Taming of the Shrew looks like the Shakespeare play most irrelevant to our times. I know, the butchery of Titus Andronicus is hard to swallow, but that play doesn’t end with a long speech about the virtues of hacking your enemies to pieces. Kate’s paean to wifely submission is certainly the most embarrassing classic English text that any actress today is ever called on to declaim.

No one knows why the Bard chose to write this play. He lived apart from his own wife, so he had no reason to seek revenge. But I have a theory. I have no documents or scholarly tradition to support it, but I can cite in my favor a writer’s intuition. Shakespeare was a writer, I’m a writer. QED Shakespeare and Watzman think alike.

In this play Shakespeare was protesting the female tyranny over literature. In his day, it was personified in Queen Elizabeth, which according to reliable sources such as the film Shakespeare in Love told him what plays to write and when. In our day, publishers cater to women because, they say, women purchase close to 70 percent of all books.

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