The Shiur as Theater
Word from: Alieza
Today I began the intensive Talmud program at Matan, a Midrasha in Jerusalem.
During the intro shiur, I was thinking about the structure of a traditional Talmud classes. The shiur is much like a story, beginning with a set up of the problem, followed by the revelation of further details, and finally a surprise ending. Shiurim save the point for the end, unlike essays (at least the way we are often traditionally taught to write) in which some form of the thesis appears in the introduction to the essay.

Working as a Writing Fellow at Barnard, I learned that Chinese immigrants often burry their thesis because they feel it is rude or presumptuous to thrust your thesis on the reader, instead they gradually weave to the point in the end.
But the shiur structure is not motivated by modesty or the feeling that the respected audience is not to be put upon; rather, there is a sort of pageantry in the revelation of the Chap of a shiur. For example, the person giving shiur often builds up the wrong opinion, supports it, and develops it so that their ability to topple the idea will seem even more miraculous, as a denouement, the powerful aha! Our teachers are actors, magicians who delight in the stunned faces of their audience.
But it doesn't always work. The women in today's class seemed wise to the wiles of the teacher. They stopped him at every step toppling the straw-man before he had a chance to blow in the wind for an instant. I was disappointed that the teacher didn't fully relate to their challenges; he needed to play along with the script that he had prewritten- continue to support the opinion that was clearly to fall until the moment of simulated demise.
This is not the fault of the teacher. Of course all these contradictory texts exist simultaneously and if the students happen to know the cannon, how can you prevent them from jumping to the conclusion. But the wind was taken out of his climax. Now I wonder what would have happened if he had related to their comments. Would the shiur have continued? Could the material itself be interesting sans the pageantry of revelation? If we had eaten dessert first would he have lost our attention for all the other sources?














3 Comments:
At 1:34 PM, Jake said…
Such an interesting point. I think the element of suspence, set up at the start, and the unavoidable struggle of the brain to predict the resolution is at the center of these theatrics. It would be cool to see how far you can push this - can you say that the concept of shiur has evolved along with evolution of the theater? Like, what would be a surrealist of avant-garde version of it?
Anyway, I was thinking of Herodotus with his historical discourses or other Greek orators, who debated in front of massive crowds the issues of ethics, divinities etc. It was really mostly about the theatrical, entertaining pleasure of it all, right? I once read a paper that speculated on how Sophocles and Herodotus were friends, and some parts of "Histories" were set up in the tradition of the Greek drama. So my question is this - do the theatrics betray the purely intellectual focus of the discourse - since theater is meant to represent fiction, rather than the "truth"? Is it a worthy exchange?
-Jake
At 1:14 AM, Alieza said…
This extreme experience that made me aware of the scripted nature of some shiurim, made we wish for a true conversation between students and teachers. Perhaps a good shiur would be like good improv where the teacher reacts truly to the audience.
Does the theatrical aspect of shiurim betray the intellectual element? I don't think so. It does bring to light what intellectuals have been realizing recently that there are many many versions of the truth and nearly no way to pick one of them. My hope for shiurim (and college classes for that matter) is for the teacher to present their version of the truth while really listening and really allowing for exchange with their student's ideas.
At 9:15 AM, Shlomo said…
a real "exchange of ideas" does seem to be ideal. For me, I just started graduate school classes, and have been a little disappointed with the pedagogical techniques of my teachers. Ive been waiting for one of them to actually ask us what we know about the topic, and actually meet us at the point where our understanding of the big picture and knowledge of the small details ends, rather than just throwing information at us from a rote lecture.
In regards to theatrics of shiur, I had a fantastic maggid shiur when I was in yeshiva in israel. He was not a theatrical person outside of his shiruim, but the way he structured his lectures kept me on the edge of my seat. And he did that while allowing his students to knock the straw men down at every juncture.
While that was a brsiker style shiur, I later saw that the drama of discovery could be trasposed just as easily to more mechkar style shiurim. However the mechkar-styled shiur that I attended in YU was robbed of all sesne of drama. The rosh yeshiva in YU would blurt out the ending after a coupe of minutes, in what seemed like a bid for more academic integrity.
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