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.
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.
Instruments Memory's items
"Welt" Audio extracts
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.