Żydowskie aktorki z Polski w rolach szekspirowskich w teatrze jidysz

Jewish Actresses From Poland in Shakespearean Roles In the Yiddish Theater The article aims at analyzing the role played by Jewish actresses in the development of the Shakespearean Yiddish theater. The paper includes the profiles of artists coming from Poland and/or working in the Polish lands: Bertha Kalisch, Miriam Orleska, and Ester Goldenberg, who contributed to popularization of Shakespeare’s works among the Jewish community. Moreover, the article illustrates their contribution to the changes in the perception of Jewish theatre from the “jargon drama”enterprise to an ambitious cultural institution with a Shakespearean repertoire. Among those discussed are the characters of Hamlet performed by Kalisch, Portia (The Merchant of Venice) played by Orleska, Jessica (The Merchant of Venice), and Ariel (The Tempest) interpreted by Goldenberg, and their assessment. The reception of these stage creations of Shakespearean heroes is analyzed on the basis of press materials published in daily newspapers and weeklies in Yiddish, Polish, and English. Some academic studies on the premieres of Hamlet, The Merchant of Venice, and The Tempest with participation of Jewish female artists have already been conducted, but their authors did not analyze the roles performed by those actresses and did not refer to the sources in Yiddish at all. The article discusses not only the artistic activities of Kalisch, Orleska, and Goldenberg, but also attempts to analyze the reception of the characters created by the latter two artists from the perspective of the social and political relations in the Second Polish Republic. Moreover, efforts were made to show that Jewish actresses, by impersonating heroines and heroes of Shakespeare’s plays, proved with their style of acting, professional preparation, and understanding of the nuances of the performed characters that Yiddish theater definitely deserved to be called a temple of art. Their creations became an inherent part of the history of Jewish, and thus the world’s Shakespearean theater.

Edna Nahshon (ed.), New York’s Yiddish Theater: From the Bowery to Broadway. New York: Columbia University Press, 2016. 327 pp.

In 1913, a Russian and Yiddish playwright, Osip Dymow, immigrated to America. That year, his play Eternal Wanderer (Der Eibiger vanderer) was performed by Boris Tomashefsky’s Yiddish theater. In 1917, another play by Dymow, Nju was staged by the Bendbox Theater on Broadway. And then, as he later recounted, “in 1919, I wrote a comedy, ...

Maurice Schwartz

The actor-manager Maurice Schwartz (b. 1888–d. 1960) was a towering figure of the modern Yiddish stage. Born Moshe Schwartz in Sudilkov, a small town in the Ukraine, Schwartz came to America in 1901, and within a few years he launched a successful acting career. In 1918 he founded the Yiddish Art Theatre (Yidish Kunst Teater), a New York City-based company that was devoted to the sophisticated production of quality drama in Yiddish. At the time, the idea of a Yiddish art theater was in the air, promoted by the cultural elite of the American Jewish immigrant community, who were dissatisfied with the prevalence of what they termed shund (trash), namely popular escapist melodramas and operettas. Schwartz produced, directed, and starred in most of his productions, his name practically synonymous with that of his company. The Yiddish Art Theatre was widely recognized as a prestigious communal institution. It gained critical acclaim and international renown and, despite the rapid Americanization of the Yiddish-speaking community in the U.S., it managed to remain active (albeit with some hiatuses) until the mid-1950s. Schwartz’s inexhaustible energy, unflagging commitment to his mission, and astute managerial skills made this longevity possible in the face of growing financial and sociological odds. All told, the Yiddish Art Theatre staged nearly two hundred plays. The repertoire included works by major Yiddish playwrights and by major Russian and European dramatists. In the 1930s the repertoire became almost exclusively Jewish in content, offering depictions of the Old World of eastern Europe, plays directly or implicitly related to contemporary concerns, and dramas about Jewish historical personalities and events. Plays based on I. B. Singer’s novels—The Brothers Ashkenazi (1931), The Family Carnovsky (1931), and Yoshe Kalb (1932)—were particularly well received. The latter proved a sensational success and drew unprecedented interest at home and abroad. Schwartz’s productions had reputations as unabashedly theatrical—full of color, movement, emotion, and pathos. This theatricality gained the admiration of many Anglo critics, notably Brooks Atkinson of the New York Times. Schwartz was a gifted character actor. While always the star of his productions, he also surrounded himself with top talent. Notable performers associated with his theater include Ludwig Satz, Jacob Ben-Ami, Celia Adler, Stella Adler, Jacob Buloff, Paul Muni, Bertha Gerstein, and many others. Schwartz also worked with top-notch musical directors and stage designers. His collaboration with Boris Aronson, later one of Broadway’s most celebrated set designers, is particularly striking. A standout experiment was their 1926 revival of Abraham Goldfaden’s musical farce TheTenth Commandment as an avant-garde extravaganza produced for the opening of Schwartz’s new playhouse, an elegant neo-Moorish construction built on Second Avenue and Twelfth Street in New York City. The playhouse is the only surviving Yiddish theater on Second Avenue, an entertainment area that was the nerve center of the American Yiddish theater. Schwartz also had a career in Yiddish films. He starred in four, all based on stage productions produced by his Yiddish Art Theatre: Yisker (1924), Broken Hearts (1926), Uncle Moses (1926), and Tevye (1939). He both directed and cowrote the latter. It is considered his best and most lasting cinematic work. Schwartz also played secondary parts in several less consequential English-language films. Hundreds of articles and reviews on Schwartz and his theatrical productions were published in the Yiddish and English press of the time. However, the only book-length monograph on Schwartz is Bialin’s Moris Shṿarts un der Idisher Ḳunsṭ ṭeaṭer (New York: Farlag Biderman, 1934). Written for a popular readership, it tends toward the hagiographic and, as suggested by its date of publication, covers only part of Schwartz’s career. An excellent source for factual information on Schwartz’s theater work is Volume 3 of Zylbercweig’s Leksikon fun yidishn theater (New York: Farlag Elishevam, 1931), as well as Volume 7, which has remained unpublished. Though there exists no comprehensive volume devoted to Schwartz, several book chapters and essays that focus on particular aspects on his enterprise are available. This bibliography consists of three subsections. Section 1, Books, lists chapters or book sections that discuss the overall career of Schwartz and the Yiddish Art Theatre. Section 2 lists Articles that focus on specific productions and on the physical aspects of the Yiddish Art Theatre playhouse. Section 3, Film, is devoted to Schwartz’s Yiddish films, notably Tevye (1939), which has earned special attention because it is based on the play by Sholem Aleichem, whose Tevye stories were the basis for the immensely popular musical Fiddler on the Roof.