The show

With humor, David Bursztein takes us for a trip.

He takes us by the hand to the Shtetl’s streets, where some ghosts from other times are discussing in Yiddish songs.

Along side a quintet, David Bursztein transmits and shares with us and his audience his own relation to Judaism.

 

The universality of this culture staged like this, addresses all generations, all audiences, whatever their origins or classes.

With a lot of "pilpoul", of discussions and of never-ending questioning, Welt introduces a real anthem to the nuance.

 

We smile, we discover, we identify, we become attached to these dybbuks who moved from generation to generation, like travelling spirits, to invite themselves on stage, among us.

 

Yiddish.

This language that was spoken by David Burstein’s grand parents and parents, opens an imaginary world, a dramatic fantasy favorable to jokes and to humor. A language that calls for the past, the ancestors and the dead, and makes them chat together.

 

 

                Welt is composed of a quintet.

                A violin, a double bass, a bandoneon,

a musical saw, a guitar, a cimbalom and a barrel organ.

The instruments themselves also have a power of evocation, beyond music.

The simple violin's move towards the double bass makes us see, or sense the “yiddishe mame”, this mom from other times.

The stage design will impose itself following the instruments' singularity and the way they are set on stage.

But also according to the sound color and the timbres' harmony they bring. The barrel organ and the cimbalom have specific sounds.

The cimbalom's evoke the colors of eastern countries and is testament to the travelling people. The barrel organ reminds us of the shtetl's street. The primary goal of this formation is to revisit the Yiddish songs.

This work is mainly based on the will to pay tribute to the Yiddish culture, reviving its words' richness, its perspicuity and its humor.

 

 

                 

                This work is mainly based on the will to                pay tribute to the Yiddish culture, reviving its words' richness, its perspicuity and its humor. Lastly, for "the Walk with the dead", the Dybbuks, the real ones, will come into being before your very eyes.

This very peculiar staging will result in reincarnating a multitude of Dybbuks.

This sensitive and necessary topic, the one of the testimony of the shtetlekh's culture, follows the humor path.

This ambitious project, of which we are only the humble performers, is thus carried by the music.

 

 

 

Instruments Memory's items

"Welt" Audio extracts

(Scroll down)

Dibbuks & co...

 

David feeds himself with memories of people he met, of voices, faces or figures that shape his "dybbuk".

 

This intimate "dybbuk" is a kind and friendly walker, who keeps all his mischief, and who insistently visits David without haunting him.

 

This "walker", this "dybbukshnik", or "dybbukele" is thus in contradiction with the commonly accepted idea of the dybbuk,  who is frequently represented as a ghostly and terrifying spirit.

David has chased the last witnesses who can still speak Yiddish with the ancients' accent.

This search for authenticity led him to singers like Léo Fuld and Bentzion Witler.

 

 

 

                As the show goes on, three figures of                        "Dybbuks" express themselves, making the show more lively, more playful, and of course showing at the same time the tragical condition of the very people from the schtetl.

 

 

 

The first dibbouk 

 

He is the one who tells the story, the direct, timeless and more universal witness. The one who may have been on the battlefield, who knew the "schnorer" (the comical and unavoidable beggar), who might have known Avremel the thief, or even the little tailor. Is he himself the thief, or again the tailor?

He was there anyway, as he is still here now, on stage, where he testifies, sympathetic and mischievous. He is the guiding principle of the show, being the link between the audience and the songs’ world, between the audience and the "Welt", at the whim of his mood of his humor, and of his stories.

 

 

The  second dibbouk

 

He represents the lost figures, the ancient characters, those of the songs. For each song, they realize a whole series of metamorphosis and thus replace the first one, the narrator.

 

 

 

The third dibbouk

 

He represents the absentees : the remembrance.

Those we do not see.

Those we can hear without ever seeing, who are outside the walls, who we make out through the shadows and the lights.

The dusty items, witnesses of that time, are like spitted out of the hollow: on stage is an old sewing machine with only one shoe on the drive.

Thanks to the emptiness and its setting into motion, a tailor is appearing.