1933 Polish YIDDISH Bound 46 MAGAZINES Warsaw \"LITERARISHE BLETER\" Judaica 720pp
![1933 Polish YIDDISH Bound 46 MAGAZINES Warsaw \](img-large/g/aUAAAOSwg3FUbKfu/s-l1600/1933-Polish-YIDDISH-Bound-46-MAGAZINES-Warsaw-LITE.jpg "1933 Polish YIDDISH Bound 46 MAGAZINES Warsaw \")
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1933 Polish YIDDISH Bound 46 MAGAZINES Warsaw \"LITERARISHE BLETER\" Judaica 720pp:
$495.00
DESCRIPTION :Here for sale is a GREAT FIND. It\'s an original , Almost 80 years old , Beautifuly original BOUND VOLUME of 46 numbers of the WARSAW POLAND 1933 weekly Yiddish - JewishRICHLY ILLUSTRATED and PHOTOGRAPHED YIDDISH MAGAZINE named \"LITERARISHE BLETER\" - \"A WEEKLY ILLUSTRATED MAGAZINE For LITERATURE , THEATRE and ART\". Published by the BORIS KLETZKIN Verlag. Numerous YIDDISH - JEWISH - POLISH PHOTOGRAPHED articles and ILLUSTRATIONS. With its around 720 throughout ILLUSTRATED and PHOTOGRAPHED pages - This volume is a RELYABLE MIRROR for that PERIOD in the Polish , Eastern Europe JEWRY. Pre HOLOCAUST years. Hitler is being mentioned. Issues and subjects of ACTUALIA , POLITICS , ART , HUMOUR , LITERATURE, CULTURE , LOCAL AFFAIRS , JUDAISM , TRADITION - All these issues are covered by literaly HUNDREDS of illustrations, Photos and articles. This bound volume with its 46 magazines is being offered here for less than $ 10 for number. Enlarged ISSUE is dedicated to the Yiddhish artist MAURICE SCHWARTZ . Numerous illustrated period advertisements regarding cultural events : Theatre, Music, Folklore, Review , Satire, Comedy. Size of the BOUND VOLUME is 9\" x 12 \".Originaly bound by the publisher. Green cloth binding. Leather immitation. Gilt headings. Excellent condition. clean . No tears or creases of leaves. tightly bound . ( Please watch the scan for a reliable AS IS scan )Will be sent in a special protective rigid sealed packaging.
AUTHENTICITY :TheBOUND VOLUME of 46 magazinesisfullyguaranteed ORIGINAL from 1933 ,Itholds alife long GUARANTEE foritsAUTHENTICITY and ORIGINALITY.
PAYMENTS : Payment method accepted : Paypal .SHIPPMENT : Shipp worldwide viaregistered airmailis $35 ( Very heavy volume ).Will be sent in a special protective rigid sealed packaging. Handling within 3-5 days after payment. Estimated duration 14 days.\"Literarisze Bleter\", a literary magazine published in Warsaw in Yiddish Yiddish literary and cultural weekly periodical, published between April 1924 and June or July 1939. Literarishe bleter was the leading Yiddish literary publication in interwar Poland. With Warsaw suddenly bereft of Yiddish cultural periodicals and the appearance of a new Polish weekly, Wiadomości Literackie (which soon became Poland’s leading literary publication), a group of young Warsaw writers created the Yiddish weekly Literarishe bleter. Melech Ravitch, Perets Markish, I. J. Singer, and Nakhmen Mayzel edited and published the new periodical at their own expense. Initially, about 2,000 copies were issued, but within a year its circulation doubled. As a publication without an explicit ideology, Literarishe bleter attracted contributors from Poland and abroad. Its success motivated its publishers to organize lectures in various places and to invite readers to be involved in the periodical’s affairs. Despite success, the editorial board did not last more than one year. In March 1925, Literarishe bleter became a part of the Boris Kletskin publishing house that had moved from Vilna to Warsaw, with Mayzel serving as the paper’s editor in chief. To increase circulation, he contacted the YIVO Institute in Vilna and the Warsaw chapter of the Yiddish PEN club; until the early 1930s, he published their bulletins in conjunction with his own weekly. Each issue of Literarishe bleter consisted of 16 pages with illustrations and photographs. Articles dealt with literature, art, theater, motion pictures, and education. While its emphasis was on Yiddish culture, the paper also published pieces on contemporary European literature and included interviews with local and visiting authors. Its editorials covered issues pertaining to Yiddish culture, such as the struggle of young authors for recognition and their denunciation of the literary establishment, the ongoing war against noncanonical literature known as shund (“trash”), manifestations of antisemitism among Polish authors, the growing trend of linguistic assimilation into Polish, and the deteriorating economic situation of Yiddish writers. Each issue allocated space to literary works (some of them serialized), to critical reviews, and to coverage of new books, recently dramatized theatrical plays, and brief reports on recent events relevant to literature. Throughout its existence, Literarishe bleter provided a platform to encourage its audience to read and purchase Yiddish books. For a number of years, it published reports on behalf of the Bibliotekn Tsenter, the association of Jewish libraries throughout Poland. Publishing houses regularly advertised current offerings, and most new books published in Poland were promptly introduced or reviewed. Supplementary pamphlets of translations from world literature were often distributed with the weekly. These gave readers access to such authors as Gorky, Tolstoy, Remarque, Hamsun, and others. As political affiliation within the Jewish literary world in Poland grew during the late 1930s, Literarishe bleter also took sides on issues, showing opposition to the Bund and sometimes to communism. Within the Jewish community Kletskin and Mayzel themselves were considered procommunist (despite Mayzel’s regular work for the Zionist Haynt); consequently, the Bund and its institutions viewed them as political enemies. Under these circumstances a substantial audience was alienated from the journal, and this situation may also have prevented cooperation between the Literarishe bleter and other major cultural institutions affiliated with the Bund. Despite the fact that it was a unique publication with a regular readership of about 20,000 (five times its official circulation), Literarishe bleter faced closure many times over the years. Mayzel placed his efforts into expanding the subscription base, finding sponsors, and obtaining loans from the Yiddish-speaking world. Financial difficulties notwithstanding, Literarishe bleter evolved into a crucial cultural institution. Perusing its 750 issues provides a broad, multifaceted picture of Jewish cultural life in independent Poland. (1875–1937), Yiddish publisher. Born in Horodishche (now in Belarus), Boris Kletskin and his family moved to Vilna, the city with which his name would thereafter be associated. An only child of wealthy parents, he received a traditional religious education and was also tutored in secular subjects.In his younger years, Kletskin was a founder of the zhargonishe komitetn, which established libraries and disseminated Yiddish reading matter among Jewish workers. Active in the Bund especially before World War I, he helped set up that organization’s Di Velt (The World) publishing house and its official press organs, Der veker (The Alarm Clock) and Di folks-tsaytung (The People’s Newspaper). Kletskin’s own publishing company, the Vilner Farlag fun B. A. Kletskin, was established about 1910. Kletskin was one of the first Yiddish publishers to pay authors generous advances and honoraria, and is considered “the first genuine publisher of modern Yiddish literature” (Melech Ravitch, 1947, p. 272). Before World War I, he issued the pioneering journals Der pinkes (The Record Book; 1913), Di yudishe velt (The Jewish World; 1913–1915), and Grininke beymelekh (Little Green Trees; 1914–1939), along with dozens of Yiddish books (original works and translations, fiction and nonfiction) for adults and children. Among the press’s editors were A. Vayter, Shmuel Niger, Nokhem Shtif, Zelig Kalmanovitsh, Dovid Bergelson, and Ber Borokhov; writers included Sholem Asch, Dovid Eynhorn, Hersh Dovid Nomberg, and Avrom Reyzen. Kletskin’s publishing activities were severely disrupted by the war. He left Vilna and did not return until 1919, and in 1925 transferred the company to Warsaw. Its list of authors during the interwar decades include the major Yiddish literary writers, both from the prewar period (including the collected works of Y. L. Peretz and Sholem Aleichem) and his contemporaries Perets Hirshbeyn, H. Leyvick, Moyshe Nadir, Yoysef Opatoshu, Isaac Bashevis Singer, and Oyzer Varshavski. A high proportion of his offerings were translations of works from other languages into Yiddish; among these was the young Isaac Bashevis Singer’s translation of Knut Hamsun’s Pan. Children’s books and textbooks were a staple component of the output as well. Kletskin also published the influential literary weekly Literarishe bleter (1924–1939), the theatrical journal Yidish teater (1927), and a revived version of Di yudishe velt (1928). Zalmen Reyzen’s lexicon of Yiddish authors (1926–1929) was also among the hundreds of titles. Kletskin was a devoted patron of Vilna’s YIVO Institute. His publishing company produced YIVO’s Filologishe shriftn (Philological Writings; 1926–1938) and helped to distribute the institute’s newsletter. As a member of YIVO’s executive board, he also helped to purchase the land upon which YIVO built its headquarters. Kletskin’s personal fortune was virtually exhausted during the Great Depression. Nevertheless, books continued to appear under the Kletskin imprint even after he himself succumbed to heart disease in Warsaw. As the writer and photographer Alter-Sholem Kacyzne claimed, “For a certain period he was able to control the entirety of modern Yiddish publishing. During that time, through his strenuous exertions, he pushed Yiddish literature to a higher level” (Literarishe bleter, 27 November 1936, p. 190). Boris Kletskin’s publishing house “not only enriched Yiddish literature . . . but it also helped to raise the prestige of Yiddish and modern Yiddish culture” (Zalmen Reyzen, in Literarishe bleter, 27 November 1936, p. 760) Maurice Schwartz, born Avram Moishe Schwartz[1] (June 15, 1889 – May 10, 1960)[2] was a Russian-born theatre and film actor active in the United States. He founded the Yiddish Art Theatre in 1918 in New York City and its associated school. He was its theatrical producer, and director, and did work in Hollywood, mostly in silent films as an actor and worked as a film director, producer and screenwriter.Early life and educationSchwartz was born Avram Moishe Schwartz in Sudlekov (Zhidachov), Ukraine, then part of the Russian Empire, to Isaac, a grain dealer, and his wife Rose Schwartz, a Jewish family. Moishe was the oldest of three boys among the six siblings, and had three older sisters.[1] Like many similar families, his immigrated to the United States in two portions. First his father left in 1898 with the three teen-aged daughters, as they could all work to get started in New York and earn money for passage of the rest of the family. The following year, Isaac sent tickets for Rose and their sons. Rose and the boys made it to Liverpool, where they were to sail for the US, but got separated and she was forced to leave without Moishe. Without any English, he made his way to London, where he lived for two years, surviving with the help of strangers. His father located him in 1901 and they traveled together to New York when Moishe was twelve.[1]He joined his family in their flat on the Lower East Side, where his father enrolled him in the Baron de Hirsch school, designed to teach immigrants. In the afternoon he worked with his father at his small factory to recycle rags for the clothing industry. In New York, he took the name Morris. His uncle introduced him to Yiddish theatre and he was captivated. Groups of boys and young men were partisans of different theatres and actors. Admiring the actors David Kessler and Jacob Adler, Morris began reading widely, including Henrik Ibsen and William Shakespeare.[3]Because his Orthodox father opposed his desire to act, Morris moved out and to support himself, he took a variety of jobs. He finally got one acting, and traveled with companies out of town. He joined a couple of troupes, including one that toured the Midwest. He returned to New York in 1907, finding Kessler and Adler continuing to rise in their profession. Soon he had a contract with Mike Thomashevsky and acted in Philadelphia.[4]Marriage and familySchwartz was briefly married to Eva Rafalo, a contralto singer and Yiddish actress born in Cincinnati, Ohio, whom he met while touring with an acting company. They were divorced by 1911, after which he returned full-time to New York. She and her older sister Clara Rafalo were both actresses in the Yiddish theatre. After the divorce, Eva married Henry (Zvi Hersch) Fishman, another actor on the Yiddish stage.In 1914 Schwartz married Anna Bordofsky, a 24-year-old woman from Brest-Litovsk, Russia, who had been in the United States about a decade. She was initially involved with Kessler\'s Yiddish theater as well. She became the business partner, helping run the theatre. They remained married until Schwartz\'s death.In 1947 they adopted two Polish Jewish war orphans, Moses and Fannie Englander, aged 9- and 8-years old, respectively. After losing their parents Abraham Joseph and Chana Englander in 1942, the children had been placed by the underground with Belgian Christian families. Fannie was renamed Marcelle and grew up with Maurice and Denise Vander Voordt as the only parents she really knew. The Vander Voordts protected her as their own during the German occupation. She spoke only French.[5]After the war, Jewish groups had worked to reunite families and place Jewish orphans with Jewish families. Schwartz met the boy Moses at the Wezenbeck Orphanage in Europe in 1946 while on a theatrical tour for displaced persons. He arranged to adopt Moses and his sister through the American Jewish Joint Distribution Committee (JDC), which had located Fannie and brought the siblings together.[5] The Schwartzes met Fannie for the first time when she arrived with her brother at La Guardia Airport. They renamed the children Marvin and Risa.[6] In New York, they taught them Yiddish and English, and about Judaism.[5]CareerTheatreSchwartz started acting early, working for six years in companies and locations outside New York: the Midwest and Philadelphia. In 1911 he was hired by David Kessler for his company at his Second Avenue Theatre.[7] In 1913, he gained a Hebrew Actors Union card, having to take the test twice and do some politicking with influential leaders, such as Abe Cahan, editor of The Jewish Forward, to get voted in.[8] After a total of six years with Kessler, Schwartz had other ambitions to pursue.In 1918 Schwartz founded the Yiddish Art Theatre, taking a lease on the Irving Place Theatre[9] on Second Avenue in New York City (since designated as the Yiddish Theater District for its history). He had ambitions for a people\'s theater that would produce classic, literary works. As he announced in The Day, a Yiddish-language newspaper, he wanted \"a company that will be devoted to performing superior literary works that will bring honor to the Yiddish Theatre.\"[10]Believing that an actor needed to develop by taking on a wide variety of roles, the next year he founded an associated school. He wanted to nurture talent by giving students chances to learn: he felt that taking on 25 roles would teach someone much about \"the possibilities of voice, gesture and make-up.\"[7] Among the actors Schwartz helped develop were Paul Muni, who played 40 roles in his productions. Schwartz said of Muni in a 1931 interview: \"He is a sincere actor. The theatre is more to him than just a job.\"[7]The Yiddish Art Theatre operated for the next 40 years, and produced a rotating repertoire of 150 plays. They performed classics of Yiddish, European and English theatre, ranging from works by Sholem Aleichem to William Shakespeare.Schwartz continued to perform and he was billed as the \"Greatest of All Yiddish Actors\" or the \"Lawrence Olivier of the Yiddish Stage\".[citation needed] He also performed in English on Broadway and in other venues. His most lauded featured roles were as \"Reb Malech\" in Israel Joshua Singer\'s Yoshe Kalb, \"Luka\" in Maxim Gorki\'s The Lower Depths, Oswald in Henrick Ibsen\'s Ghosts, Shylock in William Shakespeare\'s The Merchant of Venice, at the Palace Theatre,[7] and the title role in King Lear.Schwartz took his company on a tour in Europe in 1924 and in South America in 1929. In 1928 he appeared on Broadway in the Inspector General and Anathema.[7]Between 1931 and 1952, Schwartz appeared in four Broadway-theatre productions in New York City, some of which he produced, and produced others.[11] For example, in 1931 he appeared on Broadway at the Forty-ninth Street Theatre in Ernst Toller\'s Expressionist play, bloody Laughter (Hinkemann).[7] (It had been produced in the UK in a cockney English version, and in Yiddish entitled The Red Laugh. Schwartz commissioned a translation for the New York production.)[12] Related to German expressionism and the First World War, the play was not well received.[12] Schwartz later traveled to the new nation of Israel and performed on stage there.In 1931, the Yiddish theater was declining as ethnic Jews became more assimilated and audiences decreased. In an interview, Schwartz said, \"The Jewish stage was once a night school to which people came to learn the language [English]. Now Jewish playwrights are confused. They cannot go back to the old themes because the Americanized Jew does not know that life, and they have not sufficiently assimilated the life here to understand and write about it.\"[7]In the same interview, Schwartz said, \"The theatre is my life. It is the only interest I have.\"[7]FilmWith his successes as an actor, Schwartz was also drawn to Hollywood, appearing in his first silent film in 1910. He appeared in more than twenty films between 1910 and 1953; the majority were silents.[13] He also wrote, produced or directed several films.[13]Among his major roles in motion pictures were in Broken Hearts (1926), Uncle Moses (1932), Tevye (1939), Mission to Moscow (1943), and as Ezra in the Biblical drama Salome (1953).DeathHe died in Beilinson Hospital in Petah Tikva, Israel near Tel Aviv. He is buried in the Yiddish-theatre section of the Mount Hebron Cemetery in the Flushing neighborhood of Queens, a borough of New York City. Maurice Schwartz was not only one of the world\'s foremost Yiddish actors, he was also the founder and leader of the Yiddish Art Theatre of New York. Under his leadership, the talented theater troupe performed in many high quality Yiddish productions, always striving to maintain Schwartz\'s high artistic standards. Maurice Schwartz was not only one of the world\'s foremost Yiddish actors, he was also the founder and leader of the Yiddish Art Theatre of New York. Under his leadership, the talented theater troupe performed in many high quality Yiddish productions, always striving to maintain Schwartz\'s high artistic standards. Maurice Schwartz was born in the town of Sedikov (Zhidachov), Ukraine on June 18, 1890. He immigrated to the United States in 1902. A renowned Yiddish actor and director, Schwartz began his life in the Yiddish theatre by performing with a number of Yiddish theatrical troupes. Even at this early stage in his career, he had the desire to introduce Yiddish versions of popular European plays to the American audience, many of whom were immigrants like himself. Though he did not succeed in this venture, Schwartz in 1918 formed \"The Yiddish Art Theatre\" in which he produced and performed in many Yiddish plays for more than three decades. The Theatre was located in New York City, though the troupe, over the years, would move their theatre to different locations within the New York metropolitan area. Over more than a thirty year period, Schwartz and his acting troupe performed nearly two-hundred works in Yiddish to audiences in New York City alone. Maurice Schwartz has left his mark on the Yiddish theatre, and those who read about him will discover much about the man, both personally and professionally. The Museum of Family History also makes available to you here the only biography written about Schwartz, \"Once a Kingdom: The Life of Maurice Schwartz and the Yiddish Art Theatre, \" written by the late Martin Boris. The Museum\'s Yiddish Art Theatre is dedicated to Maurice Schwartz and all the wonderful Yiddish actors and actresses and behind-the-scenes personnel that were ever part of a Yiddish language production. At the YAT, you will see photographs of some of his productions as well as some of the many who were part of the Yiddish Art Theatre--not only the acting troupe, but those behind the scenes as well. For more than sixty years, Yiddish acting great Maurice Schwartz has directed and performed in more than one hundred plays both domestically and abroad. His dedication to performing plays of high quality exemplifies the artistry that occurred in the Yiddish Theatre in the nineteenth and first half of the twentieth century. The Yiddish Theatre, in all its glory, was at its zenith on the Lower East Side of New York City, especially in the area on or about Second Avenue. For those of you who are interested in theatre, even if your interest doesn\'t lie in Yiddish theatre, you will still enjoy perusing the more than twenty pages found within this exhibition. You can not only read about Maurice Schwartz the man (an unpublished biography of Schwartz can be found within this exhibition), but also the actor. You can also see photographs of many of his productions and learn a bit about many of the Yiddish Art Theatre productions themselves, not only the plays, but also those who worked behind the scenes as well as the playwrights themselves. You will also learn a bit about Schwartz\'s acting troupe itself and the myriad of talented actors and actresses that once graced the Yiddish stage. You will also find listings of more than one hundred of his productions, including a full cast listing of dozens of them. Though some of the material found within this exhibition has previously been presented by this online Museum, there is much new to be seen. Born in Ukraine, Maurice Schwartz moved to the United States in 1902. After working with several Yiddish theatre troupes, Schwartz hoped to take Broadway by storm with a repertoire of Yiddish-language versions of European plays. Though this venture failed, Schwartz went on to fame and prestige when, in 1926, he founded the Yiddish Art Theatre on New York\'s 2nd Avenue. Also in 1926, he starred in and directed his first film, Broken Hearts. Schwartz\' major contribution to the American theatrical world was his promotion and perpetuation of the works of Jewish playwright/essayist Sholom Alecheim. In 1939, Schwartz directed and starred in a film adaptation of Alecheim\'s Tevye the Milkman, which served as the basis for the much-later Broadway musical hit Fiddler on the Roof. Schwartz made his first appearance in a \"mainstream\" Hollywood film, Mission to Moscow, in 1943. His best-known Hollywood role was as Ezra in Columbia\'s expensive 1953 Biblical drama Salome. When Columbia decided to utilize leftover Salome sets, costumes and background footage for the 1953 programmer Slaves of Babylon, Schwartz reprised his \"Ezra\" characterization as Nebuchadnezzer. In 1959, with the Yiddish theatrical tradition in decline in the U.S., Maurice Schwartz journeyed to Israel, hoping to establish a theatre there; after mounting one single production, Schwartz died at the age of 70.
1933 Polish YIDDISH Bound 46 MAGAZINES Warsaw \"LITERARISHE BLETER\" Judaica 720pp:
$495.00