Relevant bibliographies by topics / Yiddish Actors

Academic literature on the topic 'Yiddish Actors'

Author: Grafiati
Published: 26 July 2024
Last updated: 27 July 2024

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Journal articles on the topic "Yiddish Actors"

1

Underwood, Nick. "The Yiddish Art Theatre in Paris after the Holocaust, 1944–1950." Theatre Survey 61, no. 3 (July 27, 2020): 351–71. http://dx.doi.org/10.1017/s0040557420000277.

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Almost as soon as Paris was liberated from Nazi Occupation on 25 August 1944, Yiddish actors took back the stages on which they had once performed. In fact, on 20 December 1944, while war and the Holocaust still raged, a small cohort of actors produced what they advertised in the Naye prese as the “first grand performance by the ‘Yiddish folks-bine.’” This performance was to take place at the four-hundred-seat Théâtre Lancry, a performance space located in Paris's 10th arrondissement, not far from the Place de la République and the Marais. “Lancry,” as it was known, had played host to Yiddish theatre as early as 1903 and, during the interwar years, it was the center of Parisian Yiddish cultural activity: dozens of theatre performances occurred there and it was where the Kultur-lige pariz was based, among other institutions. During the postwar years, it also went by the name Théâtre de la République after 1947 and Théâtre du Nouveau-Lancry after 1951, but many still referred to it simply as “Lancry.”
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2

SHAHAR, GALILI. "The Jewish Actor and the Theatre of Modernism in Germany." Theatre Research International 29, no. 3 (October 2004): 216–31. http://dx.doi.org/10.1017/s030788330400063x.

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This article explores images of the Jewish actor in modernist German theatre. It deals with the question of theatrical identities on the stages of the Weimar period and discusses the complexities of cultural stereotyping applied to actors of Jewish origin. Special attention will be devoted to the perspectives of the avant-garde used here in the historical sense of the term. In the second part of the article, individual actors such as Max Pallenberg, Alexander Granach and Fritz Kortner will be analysed with respect to certain physical or vocal characteristics deemed to be typically ‘Jewish’. In the final section Kafka's reactions to visiting Yiddish performers will be examined as an example of aesthetic (self)reflection on the question of Jewish identity and modernism.
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Caplan, Debra. "Nomadic Chutzpah: The Vilna Troupe's Transnational Yiddish Theatre Paradigm, 1915–1935." Theatre Survey 55, no. 3 (August 18, 2014): 296–317. http://dx.doi.org/10.1017/s0040557414000325.

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Consider an unlikely scenario. In the midst of World War I, a motley group of Jewish refugees in their teens and early twenties becomes obsessed with the idea of creating a “Yiddish art theatre” modeled upon Stanislavski's famous Russian company. By day they work as laborers, storekeepers, housepainters, and wartime smugglers; by night they teach themselves the basics of acting and stagecraft from outdated Russian and German books. The only theatre building where they can afford to perform is a dilapidated former circus on the outskirts of town, repurposed by the German army as a military stable. The roof leaks, and the stage reeks of horse dung. It is a bitterly cold winter, and since there is no money for heat, the actors rehearse with frozen limbs and thaw their stage makeup over the footlights. They eat one meal a day—a single boiled potato—and rehearsals are routinely interrupted when actors faint from hunger.
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4

Shem-Tov, Naphtaly. "The Hegemonic Ashkenaziness of Hebrew Theatre." New Theatre Quarterly 40, no. 2 (April 29, 2024): 177–91. http://dx.doi.org/10.1017/s0266464x24000071.

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This article argues that Hebrew theatre is defined by a hegemonic Ashkenaziness that has been present from its beginning and which continues today. It identifies four main components of this hegemony, each of which is examined in turn. The first two components, Hebrew culture and Eurocentrism, are analyzed in relation to the repertoire of plays presented at such theatres as Habima, Ohel, and Cameri. This repertoire combines Yiddish plays and translations of European plays, while also reproducing Orientalist attitudes towards Mizrahi culture. The third component, privileged citizenship, centres on the privileges afforded to Ashkenazi artists and actors in the theatre when compared to Mizrahi actors, especially in terms of casting decisions. Finally, hegemonic Ashkenaziness is defined by membership of the middle class, which, in the theatre, leads to productions being targeted at an Ashkenazi audience and its cultural capital.
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Avineri, Netta. "Contested Stance Practices in Secular Yiddish Metalinguistic Communities: Negotiating Closeness and Distance." Journal of Jewish Languages 5, no. 2 (November 20, 2017): 174–99. http://dx.doi.org/10.1163/22134638-05021119.

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Abstract This ethnographic research examines language socialization practices and language ideologies in secular Yiddish “metalinguistic communities,” communities of positioned social actors shaped by practices that view language as an object. “Metalinguistic community” is a framework for diverse participants who can experience both distance from and closeness to the language and its speakers, due to historical, personal, and/or communal circumstances. Through an examination of classroom interactions in California, this article shows how simultaneous distancing and closeness experienced by metalinguistic community members can manifest in “contested stance practices,” public demonstrations of language ideologies that reveal both internal and external tensions. Contested stance practices reveal how members’ perceptions of language are shaped by their personal histories and those of their imagined communities; these practices become a fertile means through which individuals negotiate their relationships with language as a symbol of identity, ideology, and community.
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6

Sloin, Andrew. "“Who is a Fascist?” Jews, Nazis and Stalinist Anti-Fascism." Judaic-Slavic Journal, no. 2 (6) (2021): 101–26. http://dx.doi.org/10.31168/2658-3364.2021.2.06.

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The struggle against global fascism constituted a central thrust of Soviet and Comintern policy throughout the Stalin Revolution and the early 1930s. Yet even as Soviet leaders and policy makers railed against Nazi and Fascist enemies abroad, contemporaneous anti-fascist discourses produced within the Soviet Union revealed highly contradictory and ambivalent depictions of internal enemies who supposedly aligned themselves with the global fascist movement. This article focuses upon one of the most controversial manifestations of Soviet anti-fascist politics through an analysis of visual and rhetorical depictions of alleged Jewish fascists in Soviet Yiddish and Russian publications from Moscow and Minsk during the 1930s. It examines how depictions of alleged Jewish fascist collaborators, produced largely by Jewish actors in Yiddish public discourses during the 1930s, served to reinscribe “traditional” and non-Bolshevik Jewish groups – including religious Jews, Zionists, and capitalist class enemies – as intractable existential political enemies. As depictions of alleged Jewish fascist collaborators migrated to the Russian press during the Great Terror, they focused with increasing singularity on the alleged fascist collaboration of Jewish Bolsheviks and, above all, Trotskyists. Increasingly bestial and demonic in representation, such images not only highlighted the alleged political unreliability of Jews across the political spectrum, but also served to depict Jewish enemies as being intrinsically, inherently, and biologically outside of the acceptable Soviet body politic.
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7

Radkiewicz, Małgorzata. "Maria Hirszbein: An (In)visible Figure of Polish Cinema of the 1920s and 1930s." Camera Obscura: Feminism, Culture, and Media Studies 36, no. 3 (December 1, 2021): 61–83. http://dx.doi.org/10.1215/02705346-9349357.

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Abstract This article examines the career of the Polish film producer Maria Hirszbein (1889–1939/1942) in relation to the development of interwar Polish cinema, including Yiddish films, and the modern idea of a “New Woman.” Investigating Hirszbein's activities as the successful manager of her company, Leo-Film, and as cofounder and member of the Polish film producers’ unions, the article explores her professional accomplishments and innovative work style, which was based on teamwork and promoting young, talented actors, creative directors, and screenwriters sensitive to social issues. In reconstructing Hirszbein's professional biography, the text combines different sources such as press reports, film reviews, photographs from the collection of the Polish National Film Archive (FINA), and data collected by the Institute of Jewish History in Warsaw.
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8

Erdman, Harley. "Jewish Anxiety in “Days of Judgement:” Community Conflict, Antisemitism, and the God of Vengeance Obscenity Case." Theatre Survey 40, no. 1 (May 1999): 51–74. http://dx.doi.org/10.1017/s0040557400003276.

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On February 19, 1923, a production of Sholem Asch's God of Vengeance (Got fun Nekome) opened at New York's Apollo Theatre on 219 West 42nd Street. The moment was auspicious for Jewish theatre in America. One of the more frequently produced and most critically acclaimed plays in the Yiddish canon, God of Vengeance had been performed internationally since its debut in 1907, not only in Yiddish, but in German, Italian, and Russian as well. However, it had never before been seen in English in New York at a major uptown venue like the Apollo. Coming off a two month run at two smaller downtown venues, where it had played to increasingly large and enthusiastic crowds, the English-language production seemed poised to “cross over” from the downtown margins to the Broadway mainstream, something which had never before occurred with any play from the Yiddish repertory. Moreover, the production represented the English-language stage debut of the celebrated Yiddish actor Rudolf Schildkraut in the commanding role of Yekel Tchaftchovitch. In other words, the event implicitly posed the question of whether there was a place for a “great” Yiddish play (albeit, in translation) starring a “great” Yiddish actor (admittedly, working in his third language) within the geographic and symbolic boundaries of Broadway.
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9

Seigel, Amanda (Miryem-Khaye). "Nahum Stutchkoff's Yiddish Play and Radio Scripts in the Dorot Jewish Division, New York Public Library." Judaica Librarianship 16, no. 1 (December 31, 2011): 55–82. http://dx.doi.org/10.14263/2330-2976.1004.

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The Nahum Stutchkoff collection in the Dorot Jewish Division of The New York Public Library contains Yiddish translations, plays, song lyrics, and radio programs created by Yiddish linguist and playwright Nahum Stutchkoff (1893–1965). This article describes the collection in the context of the Jewish Division’s holdings, using bibliographic details about his known works to trace Stutchkoff’s career as a Yiddish actor, translator, director, playwright, and linguist. Stutchkoff’s radio scripts in particular provide rare documentation of the golden era of Yiddish radio explored by Henry Sapoznik and Ari Y. Kelman. A detailed bibliography of Stutchkoff’s published and unpublished works is included.
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10

Veidlinger, Jeffrey. "Let's Perform a Miracle: The Soviet Yiddish State Theater in the 1920s." Slavic Review 57, no. 2 (1998): 372–97. http://dx.doi.org/10.2307/2501855.

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The history of the Soviet Yiddish State Theater (Gosudarstvennyi evreiskii teatr, or Goset) provides an illuminating glimpse into the life of Jewish entertainers and the position of Yiddish culture in the Soviet Union during the 1920s. While Solomon Mikhoels, the theater's star actor and director from 1929 until 1949, is well known for his role in chairing the Jewish Anti-Fascist Committee during World War II, and for becoming the first victim of Stalin's anti-Semitic purges with his 1948 execution, little research has been conducted on the theater to which he dedicated his life. Art and theater historians have evaluated the theater's aesthetic approach to selected productions, and Mikhoels's contemporaries have provided anecdotal glimpses into that artist's life by writing biographies of him, but there has not yet been an attempt to assess the theater's relationship to the state during its heyday or to place the theater within the context of Soviet culture of the 1920s.
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Books on the topic "Yiddish Actors"

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Museum, Jewish, ed. Yiddish theatre in London. London): London Museum of Jewish Life, 1987.

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2

Museum, Jewish, ed. Yiddish theatre in London. 2nd ed. London: The Jewish Museum, 1996.

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3

Mendelovitch, Bernard. Memories of London Yiddish theatre. Oxford: Oxford Programme in Yiddish, Oxford Centre for Postgraduate Hebrew Studies, 1990.

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4

Der Payatz: Around the world with Yiddish theater. Silver Spring, Md: Bartleby Press, 1995.

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5

Rosenfeld, Lulla. The Yiddish theatre and Jacob P. Adler. 2nd ed. New York: Shapolsky Publishers, 1988.

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Lulla, Rosenfeld, ed. Jacob Adler: A life on the stage : a memoir. New York: Applause, 2001.

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7

Buchalski, Simão. Memórias da minha juventude e do teatro ídiche no Brasil. São Paulo, SP, Brasil: Editora Perspectiva, 1995.

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8

Mendelovitch, Bernard. Memories of London Yiddish theatre: The Seventh Annual Avrom-Nokhem Stencl lecture in Yiddish Studies delivered before the Eighth Annual Oxford Summer Programme in Yiddish Language and Literature on 14 August 1989. Oxford: Oxford Centre for Postgraduate Hebrew studies, 1990.

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9

Geĭzer, Matveĭ. Mikhoėls: Zhiznʹ i smertʹ. Moskva: [Zhurnalistskoe agentstvo "Glasnostʹ"], 1998.

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Geĭzer, Matveĭ. Mikhoėls. Moskva: Molodai︠a︡ gvardii︠a︡, 2004.

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Book chapters on the topic "Yiddish Actors"

1

"“WE ARE JEWISH ACTORS FROM THE DIASPORA”:." In Yiddish in Israel, 101–53. Indiana University Press, 2020. http://dx.doi.org/10.2307/j.ctvs32tq1.8.

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Muir, Simo. "“We Live Forever”." In The Oxford Handbook of Jewish Music Studies, 569–93. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197528624.013.24.

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Abstract Polish Jewish singers and actors played an important role in rebuilding and revitalizing Yiddish culture in Sweden. This chapter discusses their repertoires and performances for the Jewish survivor community in post-Holocaust Sweden in various settings: sanatoria and convalescent homes, concert halls, and venues of the emerging new communities. These contexts offer insight into the meaning of Yiddish song for the sheyres-hapleyte, the surviving remnant, as the survivor community called itself. These contexts further expose the sheyres-hapleyte as a musical community that draws on notions of descent, affinity, and dissent through Yiddish song. The Swedish case ultimately exemplifies how, besides dealing with the trauma and commemorating the perished loved ones, singing and performing constituted an act of remembering and reconnecting with the prewar Yiddish culture in a now new and different environment.
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"The Rise of the Yiddish Actor." In The Rise of the Modern Yiddish Theater, 47–86. Indiana University Press, 2019. http://dx.doi.org/10.2307/j.ctvbnm1h1.7.

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"The Rise of the Female Yiddish Actor." In The Rise of the Modern Yiddish Theater, 138–79. Indiana University Press, 2019. http://dx.doi.org/10.2307/j.ctvbnm1h1.10.

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Del Negro, Giovanna P. "From the Nightclub to the Living Room: Gender, Ethnicity, and Upward Mobility in the 1950s Party Records of Three Jewish Women Comics." In Jews at Home, 188–214. Liverpool University Press, 2010. http://dx.doi.org/10.3828/liverpool/9781904113461.003.0007.

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This chapter addresses mass-media culture, as the Jewish home-based value of laughing at oneself goes public with the rise of the recording of Jewish comedy acts. It explores the bawdy humour of Belle Barth, Pearl Williams, and Patsy Abbott — three working-class, Jewish, stand-up comics who were hugely popular in the United States in the late 1950s and early 1960s. It looks at how this group of entertainers positioned themselves at the intersection of gender, Jewish ethnicity, class, and whiteness in the 1950s, as well as the significance that their humour had for both Jewish and non-Jewish audiences. With their earthy, shtetl sensibility and their smatterings of Yiddish, these performers, who attained their greatest popularity in their middle years, railed against societal mores that told them to be quiet, well-behaved, and sexually passive. That some of the prominent comedy recordings brought into living-rooms across America were by Jewish women brandishing a racy, Yiddish-tinged humour becomes significant in the context of the middle-class suburbanization that Jews were experiencing during the 1950s.
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Zaritt, Saul Noam. "Between Heaven and Earth." In Jewish American Writing and World Literature, 128–50. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198863717.003.0005.

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This chapter examines Saul Bellow’s use of Jewish vernacularity within his world-writing project. Focusing on the 1960s and ’70s, the height of his fame, the chapter analyzes how Bellow embeds his characters in post-immigrant Chicago, yet also active within global networks—and all while still longing, dialectically, for the universal. To reflect this dialectic, Bellow created a style that translates and aestheticizes Yiddish and immigrant colloquialisms. The result is writing characterized by obsessive, exhausting acts of compensation in which Bellow’s narrator must balance descent into Jewish vernacularity with a reach for sublime metaphor. Bellow’s attempts to translate Jewishness without abandoning the vernacular lead to an underdetermined attachment to Jewishness, producing, paradoxically, a parochial world literature—writing that hinges on the possibility of the local as a site of transcendence. But this locality remains untranslatable, such that instead of arriving at the universal Bellow is left with a set of uncertainties.
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