1937 Palestine JEWISH YIDDISH THEATRE Ohel \"YOSHE KALB\" Program MAURICE SCHWARTZ
![1937 Palestine JEWISH YIDDISH THEATRE Ohel \](img-large/g/xYMAAOSwpDdVDEpC/s-l1600/1937-Palestine-JEWISH-YIDDISH-THEATRE-Ohel-YOSHE-K.jpg "1937 Palestine JEWISH YIDDISH THEATRE Ohel \")
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1937 Palestine JEWISH YIDDISH THEATRE Ohel \"YOSHE KALB\" Program MAURICE SCHWARTZ:
$135.00
DESCRIPTION: Up for sale isan EXTREMELY RARE gem. It\'s an advertising YIDDISH THEATRE program , Published and issued in Eretz Israel ( Then also refered to as Palestine ) in 1937 for the Hebrew - Yiddish THEATRE ADAPTATION of the most popular Yiddish piece \"YOSHE KALB\" by Israel Joshua SINGER which was produced by the \"OHEL - WORKERS\' THEATRE in PALESTINE\" toether with the acclaimed Jewish Russian American YIDDISH THEATRE ACTOR - MAURICE SCHWARTZ , The founder and director of the great \"THE JEWISH ART THEATRE\" in New York USA . SCHWARZ was the PRODUCER and STAGE MANAGER , Namely the DIRECTOR . The YIDDISH play by Singer was treanslated to Hebrew by Zalman Shneur. The exciting PROGRAM , With its richly illustrated and photographed pp is written in ENGLISH and in a most ARCHAIC Hebrew, Typical to the 1930\'s . The program size is around 7x 9.5 \" . Hebrewand English . 16 pp excluding the wrappers. Numerous illustrated period advertisements. Very good condition . Clean. (Pls look at scan for accurate AS IS images )Will be sent inside aprotective rigidsealed tube
PAYMENTS: Payment method accepted : Paypal .SHIPPMENT:SHIPP worldwide via registered airmail is $14 .Will be sent inside aprotective rigidsealed tube . Will be sent within3-5days after payment .Kindly note that duration of Int\'l registered airmail is around 14 days.
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. Israel Joshua Singer (1893-1944), the older brother of the Nobel Prize Winning author, Isaac Bashevis Singer (who was born in 1902) wrote two great novels, two masterpieces: The Brothers Ashkenazi and The Family Carnovsky. Yoshe Kalb is not as good, but it is almost so, and those who read it will enjoy it and also learn about Jewish life in Eastern Europe before the period of enlightenment.Israel Joshua Singer, a Yiddish writer, like his brother, and like the more famous Shalom Aleichem and I.L. Peretz, has a different writing style. His brother’s tales are filled with demons, ghosts, and other other-wordly figures; Shalom Aleichem’s stories contain subtle humor; I. L. Peretz’s short stories are intellectual, witty, sarcastic, such as his best tales If Not Higher and Bontshe the Silent. I. J. Singer, in contrast, presents realistic portrayals of Eastern European Jewry.The Chassidic Movement began in the early 1700s in this area as a reaction against the idea that only Jews who spend their time studying will merit the world to come. Chassidim felt that one could approach God with joy. Their idea had merit, but it soon deteriorated. Soon many ignorant charismatic leaders, who called themselves Rebbes, to distinguish themselves from rabbis, created dynasties with thousands of followers. Some were good, truly pious men, but many were not. They were interested in gathering money and living a good life.Singer tells of some of them in this novel. He describes with insightful and telling details the atmosphere of the petty courts of several Rebbes; their foolish, naïve, and superstitious clients; intrigues; commercial nastiness; the sensuality and ignorance of the Rebbes, the courts, and of Jews and non-Jews generally. We read about bizarre beliefs: the notion that Rebbes have divine powers; a Rebbe would not only not dare touch a woman, he would not even mention a woman’s name; God would punish the uncovering of a strand of a woman’s hair from her head covering or wig by killing many people in the community; men and women were so fearful their words could bring calamity that they frequently said the opposite of what they meant, thus when they thought there was so much evil that the world would end, they said the world will not end; an oath was taken before a rabbinical court when a black, not a white candle was lit, a shofar was blown, and in front of a board upon which dead bodies was washed; and many people, Jews and non-Jews, were certain that dead men walk among the living.This story focuses on an old money-hungry Rebbe whose three previous wives died and who wants to marry a young girl, a virgin. But he feels that he cannot do so unless he first marries off his youngest daughter, a cloistered uneducated girl, who is very naïve and very superstitious. He arranges a marriage for her with the son of another Rebbe, Nahum, who is also very naïve, superstitious, introverted, overly pious, interested in mysticism, desirous of saying Psalms daily, and, like his wife, un-worldly.The two marriages are disastrous. Some very dramatic events occur. Nahum leaves his wife and runs away. He has deep feelings of guilt. He hides his identity and calls himself Yoshe. Because he is so reclusive and always sitting alone reciting Psalms, people call him a Kalb, a Yiddish word meaning a calf or loon; a loon being a worthless, sorry, lazy, or stupid fellow. And because he is so naïve, so immersed in Psalms, so out of touch with what is occurring around him, he finds himself in a worse situation than when he was in the Rebbe’s court married to his daughter. In the 1920s I.J. (Israel Joshua) Singer worked with Markish as coeditor of literary journals in Warsaw. He wrote conventional novels about Hasidic life in Poland, such as Yoshe Kalb (1932; Eng. trans. Yoshe Kalb), which was serialized in Forverts and adapted for the Yiddish stage by Maurice Schwartz. After the great success of this work in Schwartz’s Yiddish Art Theatre, Singer moved to New York. Di brider Ashkenazy (1936; The Brothers Ashkenazi) is a three-volume historical novel about the growth of the Jewish textile industry in Poland.I.J. Singer, in full Israel Joshua Singer, also spelled Yisroel Yeshue Zinger, Yisroel also spelled Yisroyel (born Nov. 30, 1893, Biłgoraj, Pol.—died Feb. 10, 1944, New York, N.Y., U.S.), Polish-born writer of realistic historical novels in Yiddish.Singer’s father was a rabbi who was a fervent Ḥasid, and his mother was from a distinguished Mitnagged family. Singer began writing tales of Ḥasidic life in 1915 and then worked as a newspaper correspondent in Warsaw during the 1920s and early ’30s, publishing several collections of short stories during this time, including the short story “Perl” (“The Pearl”), which was his first international success. His novel Yoshe Kalb, a description of Ḥasidic life in Galicia, appeared in 1932, and the next year he immigrated to the United States. His subsequent writings appeared in serialized form in the Jewish Daily Forward newspaper in New York City. The novel Di brider Ashkenazi (The Brothers Ashkenazi) was published in 1936 and was followed in 1938 by Ḥaver Naḥman (“Comrade Naḥman”), a scathing indictment of communism, and then in 1943 by Di mishpoḥe Ḳarnovsḳi (The Family Carnovsky).Singer was the older brother of the writer Isaac Bashevis Singer and the younger brother of the writer Esther Kreytman (Kreitman). Like his brother, I.J. Singer wrote multigenerational family novels; but, unlike his brother, he firmly linked his vivid characters with a larger historical and socioeconomic setting, to which he devoted considerable attention throughout his books. Singer’s masterpiece, The Brothers Ashkenazi, examines the rivalry of two very different brothers whose fortunes parallel that of their birthplace, the Polish industrial city of Łódź. The Family Carnovsky traces an assimilated German-Jewish family for several decades until its members must immigrate to the United States after the Nazi takeover.Singer also wrote short stories and plays that were successfully produced by Yiddish theatre groups both in Europe and in the United States.The English version of the Yiddish play “Yoshe Kalb”, which had its premier Thursday night at the large National Theatre under the banner of the aged Daniel Frohman, made it possible for all the people who can’t understand a word of Yiddish to remark airily that in the version by Fritz Blocki and Maurice Schwartz, the ethereal and mystical beauty of the Yiddish has been lost. As a matter of fact it is still a moving, stirring and fine drama, well acted and competently staged. Perhaps the Gentiles will not be moved by the now completely understandable story of the lusty rabbi, but to Jews it should satisfy a nostalgia for things Jewish.The story of “Yoshe Kalb” is open to many interpretations. Outwardly it unfolds the strange but not strained situation in which the young wife, her Chassidic rabbi husband, and his too-absorbed son-in-law find themselves. The young wife burns down the rabbi’s synagogue and while it burns, seduces his son-in-law. After she dies in child-birth, the son-in-law wanders off to another town and becomes a symbol of woe upon whom all dire events are blamed.Fritz Lieber as the sixty-eight-year-old rabbi, and, believe it or not, Erin O’Brien-Moore as the young wife, play their parts with gusto and spirit. Horace Braham is the young son-in-law. The large supporting cast, the music and ballets are all worthy. The entire production has been elaborately staged and the ceremonies, traditions and customs of the Jews which are interspersed in the two acts, add color and interest to a play that deserves your patronage. F. V. S.The English version of the Yiddish play “Yoshe Kalb”, which had its premier Thursday night at the large National Theatre under the banner of the aged Daniel Frohman, made it possible for all the people who can’t understand a word of Yiddish to remark airily that in the version by Fritz Blocki and Maurice Schwartz, the ethereal and mystical beauty of the Yiddish has been lost. As a matter of fact it is still a moving, stirring and fine drama, well acted and competently staged. Perhaps the Gentiles will not be moved by the now completely understandable story of the lusty rabbi, but to Jews it should satisfy a nostalgia for things Jewish.The story of “Yoshe Kalb” is open to many interpretations. Outwardly it unfolds the strange but not strained situation in which the young wife, her Chassidic rabbi husband, and his too-absorbed son-in-law find themselves. The young wife burns down the rabbi’s synagogue and while it burns, seduces his son-in-law. After she dies in child-birth, the son-in-law wanders off to another town and becomes a symbol of woe upon whom all dire events are blamed.Fritz Lieber as the sixty-eight-year-old rabbi, and, believe it or not, Erin O’Brien-Moore as the young wife, play their parts with gusto and spirit. Horace Braham is the young son-in-law. The large supporting cast, the music and ballets are all worthy. The entire production has been elaborately staged and the ceremonies, traditions and customs of the Jews which are interspersed in the two acts, add color and interest to a play that deserves your patronage. F. V. S.
1937 Palestine JEWISH YIDDISH THEATRE Ohel \"YOSHE KALB\" Program MAURICE SCHWARTZ:
$135.00