Historical Context
The 1960s was one of the most prosperous decades in American history. From 1960 to 1965, the nation experienced low unemployment and low inflation. During this period, the average worker’s salary increased by 20%. With more disposable income, people had greater purchasing power. However, there was some labor unrest, such as a brief strike by the United Auto Workers (UAW) against General Motors in 1964. Despite these challenges, America's economic strength bolstered its global leadership. This leadership role sometimes led to long-term issues. In 1964, the U.S. renewed its commitment to thwart the communist insurgency in Vietnam by deploying significant troop numbers to support the South against the Vietcong in the North. The U.S. also maintained its stance in the Cold War, a prolonged power struggle with the Soviet Union marked by the threat of nuclear arsenals from both sides. The term "Cold War" reflects the fact that, despite war-like conditions, the fear of nuclear devastation prevented actual combat or severe escalation.
For many Americans, the world was becoming increasingly accessible. Improved and more affordable transportation made travel easier both within North America and internationally. Where travel was not possible, television provided a window to the world, offering a vicarious means of exploration. Television also heightened awareness of the growing social issues in America. This increased awareness of domestic inequalities and injustices spurred many to actively address these problems. Throughout the decade, activists took stands on issues such as civil rights, poverty, and war.
Although courts had affirmed many civil rights principles in the 1950s, it was during the 1960s that activists fought for their meaningful implementation, both passively and aggressively. The struggle for equality in the workplace, schools, and other public spaces became widespread. In 1964, President Lyndon Baines Johnson signed the Civil Rights Act of 1964, which banned racial discrimination in public places and employment. President Johnson also initiated a national war on poverty, signing the Equal Opportunity Act of 1964. This act funded youth programs, community-based anti-poverty measures, small business loans, and the creation of the Jobs Corps.
Inspired by the Civil Rights Movement, women began demanding equal rights, especially as more women joined the workforce. The feminist movement drew inspiration from books like Betty Friedan’s "The Feminine Mystique." One reason the women’s movement gained momentum was the introduction of the birth control pill in the early 1960s. This medication ignited the "sexual revolution" of the 1960s, allowing women (and men) to engage in sexual relationships without the risk of pregnancy.
Various social groups began to question traditional roles. During the 1960s, young people "revolted" not only by joining civil rights movements but also by rejecting their parents' values and societal norms, particularly the middle- and upper-class obsession with material wealth. As the United States became more entrenched in the Vietnam War, college campuses often became hotbeds for powerful antiwar protests. Some young men refused to fight in a conflict they did not believe in and felt posed no real threat to the American way of life.
Despite these significant societal changes, Broadway theater, especially early-1960s musicals, catered to an older, more conservative audience. These musicals often nostalgically referenced the great productions of the past. In 1964, three notable musicals premiered: Fiddler on the Roof, Hello, Dolly!, and Funny Girl. In contrast, the film industry saw a surge of independent filmmakers who used cinema to express counter-culture ideals. The 1960s were a pivotal era for western cinema, with many films challenging the status quo. Notably, 1964 saw the release of Stanley Kubrick’s groundbreaking antiwar satire, Dr. Strangelove.
Style and Technique
SettingFiddler on the Roof is a musical comedy set in 1905 in...
(This entire section contains 506 words.)
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the quaint Russian village of Anatevka. The story unfolds mostly in and around Tevye's home. Key locations include the kitchen, Tevye’s bedroom, the front yard, and the barn. Additionally, there are brief scenes in the village, such as an inn, Model’s tailor shop, the train station, and various streets and roads. Tevye’s house underscores his role as the main character and highlights the significance of family and traditions in the play.
Monologue
In Fiddler on the Roof, Tevye delivers two types of monologues: those
where he prays and talks to God, and those where he directly addresses the
audience. These monologues allow Tevye to convey his religious beliefs,
uncertainties, worries, and fears. He discusses issues like his ailing horse
and the challenge of providing dowries for his five daughters. When speaking to
God, the importance of religion and tradition is emphasized. When addressing
the audience, he usually comments on the play's events. These monologues
highlight that Fiddler on the Roof is told from Tevye’s perspective and
that he is the central character of the musical.
Tevye’s monologues also help move the story forward, especially at the beginning of Act II. In this monologue, Tevye informs the audience about the events that have transpired since the end of Act I.
Dance
Dance is utilized in Fiddler on the Roof to emphasize the play's themes.
Perchik, in particular, uses dance to challenge tradition. In Act I, Scene 6,
Perchik convinces Hodel to dance with him when no one else is around, despite
the custom that women should not dance with men. Although Hodel has been
obedient before, this act—and Perchik’s spirited nature—prompt her to question
traditions. During Tzeitel’s wedding, Perchik again asks Hodel to dance, and
she agrees, leading all the guests except Lazar and Yente to break
tradition.
Dance is also used in other contexts in Fiddler on the Roof. When Tevye consents to Tzeitel marrying Lazar, he dances with joy. The entire inn joins in the dance, including some Russians. Dance primarily symbolizes freedom and happiness in the play.
Symbolism
The title of the musical is inspired by its most prominent symbol: the fiddler
on the roof. As Tevye explains to the audience, the fiddler represents the
delicate balance of life in the village. Tevye remarks that "every one of us is
a fiddler on the roof, trying to scratch out a pleasant, simple tune without
breaking his neck." The fiddler makes appearances at pivotal moments in the
play: during the prologue of Act I; in Act I, Scene 4, when Tevye consents to
the match between Tzeitel and Lazar; when Tevye receives a warning about the
impending pogrom (an attack on the Jews' property); during the wedding scene,
where tradition is disrupted and the pogrom occurs; and at the conclusion of
the play when the family departs for America. Finally, the fiddler climbs onto
Tevye’s wagon, symbolizing that challenges will follow them wherever they
go.
Compare and Contrast
1905: Students across Russia protest against widespread injustices, particularly the inequality in education.
1964: Students are at the forefront of the fight for civil rights and vocal opposition to American involvement in Vietnam.
Today: Although social protest remains vibrant, large-scale national demonstrations are less frequent due to fewer overt social injustices and the absence of a conflict like the Vietnam War.
1905: Jews in Russia face rampant prejudice, with over 600 anti-Jewish pogroms resulting in significant loss of property and life.
1964: African Americans in the United States, especially in the South, face widespread prejudice. Violence is often used to deny them basic civil rights, such as equal access to public services and integrated education.
Today: While prejudice against minorities persists, many institutional barriers have been dismantled, and significant legislation ensures social equality. However, incidents like the Los Angeles riots following the acquittal of white police officers accused of beating Rodney King show that prejudice and injustice still exist.
1905: Jews are legally barred from many jobs in Russian society, denied positions solely based on their religion.
1964: Civil rights legislation in the United States aims to address discriminatory hiring practices against African Americans and other minorities.
Today: Conservative forces in the United States aim to roll back aspects of civil rights legislation, criticizing Affirmative Action and other "quota" practices as reverse discrimination against qualified whites.
1905: Laws restrict the number of Jews allowed to receive secondary or higher education.
1964: Despite court orders to desegregate public schools, some state officials, particularly in the South, resist and even defy the law.
Today: The debate over the benefits of educational integration continues. In some areas, court-mandated busing practices designed to integrate schools are being phased out.
Adaptations
Fiddler on the Roof was transformed into a highly acclaimed film in 1971. Directed by Norman Jewison, this adaptation features Topol in the role of Tevye, Norma Crane as Golde, Molly Picon portraying Yente, and Rosalind Harris as Tzeitel.
Bibliography
Sources
Hewes, Henry. ‘‘Broadway’s Dairy Air’’ in the Saturday Review of
Literature, October 10, 1964, p. 33.
Lewis, Theophilus. Review of Fiddler on the Roof in America, January 2, 1965, p. 25.
Review of Fiddler on the Roof in the Nation, October 12, 1964, p. 229.
Review of Fiddler on the Roof in Time, October 2, 1964, p. 82.
Sheed, Wilfred. ‘‘The Stage: A Zero and a Cipher’’ in the Commonweal, October 16, 1964, p. 100.
Taubman, Howard. ‘‘For Better or For Worse: Unaware of Limitations Popular Musical Theater Turns to Unusual Themes—‘Fiddler’ Brings One Off’’ in the New York Times, October 4, 1964, section 2, p. 1.
Taubman, Howard. ‘‘Theater: Mostel as Tevye in ‘Fiddler on the Roof’’’ in the New York Times, September 23, 1964, p. 56.
Further Reading
Altman, Richard, and Mervyn Kaufman. The Making of a Musical: Fiddler on
the Roof, Crown, 1971. This book explores Fiddler on the Roof
from its inception to the original Broadway production, including premieres in
Europe and the Middle East. It also covers the development of the film
adaptation.
Guernsey, Otis L., Jr. Broadway Song & Story: Playwrights, Lyricists, and Composers Discuss Their Hits, Dodd, Mead, 1986, p. 115. This book features an interview with Jerry Bock, Sheldon Harnick, and Joseph Stein about the creative process behind Fiddler on the Roof.
Rosenberg, Bernard, and Ernest Harburg. The Broadway Musical: Collaboration in Commerce and Art, Crown, 1971. This book delves into the artistic and financial aspects of producing a Broadway musical, with a focus on Fiddler on the Roof.
Suskin, Steven. Opening Night on Broadway: A Critical Quotebook of the Golden Era of Musical Theatre, Schirmer, 1990. This book compiles summaries of critical responses and excerpts from reviews of original Broadway productions, including Fiddler on the Roof.
