ABSTRACT
The poet and playwright Moyshe Broderzon was, in his own manner, an active figure in the Yiddish avant-garde between the two world wars. The years between 1914 and 1918 were a period of literary training in Broderzon's life, during which he became inspired by modern art and literature. Purim-player dialogue is a long series of lamentations, in which his grievances are all aimed directly at women. The Purim-player does not interact verbally with the other two characters; instead, he is trapped within his own monologue. Broderzon expands the tradition of commedia dell'arte by substituting the quiet Purim-player for the character of Pierrot. His character, in turn, meets two gentiles, Harlequin and Columbine, as well as one traditional Jewish personage. Harlequin sees in this quiet Purim-player Ahasuerus, the Wandering Jew of Christian tradition. Later, when the Purim-player takes on his true role and begins to recount the fable, Harlequin and Columbine refuse to listen to him.
