1949 Signd LITHOGRAPH Yiddish DYBBUK Jewish ART Theatre HABIMAH Miron SIMA

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1949 Signd LITHOGRAPH Yiddish DYBBUK Jewish ART Theatre HABIMAH Miron SIMA:
$95.00

DESCRIPTION : Here for sale is an ORIGINAL hand SIGNED Jewish - Judaica stone LITHOGRAPH by theRUSSIAN born , Israeli artistMIRON SIMA. This EXPRESSIVE piece was createdin 1949 in Eretz Israel ( Then also refered to as PALESTINE ) right after the birth of the STATE OF ISRAEL, Very EXPRESSIVELY depicting an IMAGINARYSCENE from the JEWISH - YIDDISH play DYBBUK , Or a SCENE from the HABIMAH play DYBBUK with the clear IMMAGE of HANNA ROVINA ( Chana Robina ) as LEAH\'LE .The STONE LITHOGRAPH was made in B&W . It wasHAND SIGNEDand DATED bySIMAwith pencilin HEBREW and also in LATIN letters. Sheet size is around 11.5 x 17 \"while the actual lithograph size is around 8.5 x 12\" .Very good condition.Clean. No stains , Tears or creases. ( Pls look at scan for accurate AS IS images ) .The lithographwill be sent rolled in a special protective rigid sealed tube. AUTHENTICITY : Thisis anORIGINALvintage 1949( Dated ) hand signedLITHOGRAPH, NOT a reproduction or a reprint , Itholds life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.PAYMENTS : Payment method accepted : Paypal .

SHIPPMENT : Shipp worldwide via registered airmail is $14 .The lithographwill be sent rolled in a special protective rigid sealed tube. Handling within 3-5 days after payment. Estimated duration 14 days.

Miron Sima: Born in a shtetl in Czarist Russia, MironSima first studied art in Odessa in 1921. In the following year he moved toDresden, Germany to continue his studies. For a seven year period Sima both studiedand worked at Dresden\'s Academy of Fine Arts under the important Expressionistartist, Otto Dix. Dix taught Sima both painting and graphic art techniques andhad a wide ranging influence upon the younger artist. Like Dix, Sima oftenexplored the effects of poverty and victimization in his art. Sima\'s woodcutswere widely exhibited throughout Germany by 1930 and he was awarded theprestigious Dresden Art Prize in 1932. Sadly, with the rise of Hitler and theNazis he was the last Jew to receive such an award. Miron Sima moved toPalestine in 1933. He first settled in Tel Aviv and supported himself bydesigning theatre sets. Five years later he settled permanently in Jerusalemand taught art classes. In 1949 Miron Sima co-founded the Jerusalem ArtistsHouse and was among the first to participate in its exhibitions. During thefollowing years he was twice awarded the Dizengoff Prize and a medal at theVenice Biennale (1963). Miron Sima was a full member of the Art Academies ofboth Zurich and Florence. Despite Miron Sima\'s international successes,however, he was often neglected in Israel. Around 1950 the abstract art of theNew Horizons movement began to dominate throughout the country. Realist andExpressionist artists such as Sima often worked on in obscurity. Yet from 1955to 1977, Sima produced a number of brilliant colour woodcuts which gave him aninternational recognition throughout Europe. Since Sima\'s death,Israel has re-discovered both his art and the work of other important earlyIsraeli artists. Fortunately, Sima willed his estate to Jerusalem\'s Ein HarodMuseum of Art. The museum now houses many paintings and prints from all periodsof Sima\'s career. Major retrospectives of Sima\'s art were held in Israel inboth 2000 and 2001.TheDybbuk, or Between Two Worlds (Yid. דערדיבוק אָדער צווישן צוויי וועלטן, Der dibuk oder tsvishn tsvey veltn) is a1914 play by S. Ansky, relating the story of a young bride possessed by a dybbuk—a malicious possessing spirit, believed to be the dislocated soul of a deadperson— on the eve of her wedding. The Dybbuk, is considered a seminalplay in the history of Jewish theater, and played an important role in thedevelopment of Yiddish theatre and theatre in Israel. The play was based onyears of research by S. Ansky, who travelled between Jewish shtetls in Russiaand Ukraine, documenting folk beliefs and stories of the Hassidic JewsPlot summary Act 1:Hannan, a brilliant talmudic scholar, falls in love with Leah\'le, the daughterof Sender, a rich merchant. Sender opposes a marriage between the two, as heprefers a rich suitor for his daughter. In desperation, Hannan decides to studythe mystical arts of the Kabbalah, in the hopes of finding a way to win backLeah\'le, whom he feels is his predestined bride. When Sender announces that hehas found a suitable bridegroom for Leah\'le, Hannan drops dead in a state ofmystical ecstasy. Act 2: On the day of her wedding, Leah\'le goes to thegraveyard, for the purpose of inviting the spirit of her dead mother to attendthe wedding. She stops by the graves of a bride and groom who were murderedtogether before their marriage was consummated, and invites their spirits tothe wedding. Finally she is drawn to the grave of Hannan, and leaves thegraveyard appearing somehow \"changed\". Under the wedding canopy,Leah\'le suddenly cries out to her intended: \"You are not mybridegroom!\" and rushes to the grave of the slaughtered bride and groom. Aman\'s voice issues from her mouth, saying \"I have returned to mypredestined bride, and I shall not leave her\". She has been possessed bythe Dybbuk. Act 3: Leah\'le is brought to the home of a Hassidic sage who is toexorcise the dybbuk from her body. Several attempts fail, and finally the sagecalls upon the chief rabbi of the city for assistance. The chief rabbi arrivesand tells of a dream he had, in which Nisn, the long-dead father of Hannan,demanded that Sender, father of Leah\'le, be called before the rabbinical court.Act 4: The room is prepared as a court, and the spirit of Hannan\'s father isinvited to plead its case from within a chalk circle drawn upon the floor. Thespirit speaks to the rabbi, and tells him of a pact made between him andSender, many years ago, that their two children shall be wed. By denying Hannanhis daughter\'s hand in marriage, Sender broke the pact. The rabbis attempt toappease the spirit, and order that Sender must give half of his worldly goodsand money to the poor, and say Kaddish over the spirits of Hannan and hisfather. But the dybbuk does not acknowledge that it has been appeased. Leah\'leis left within the chalk circle of protection while the others leave to preparefor her wedding. The image of Hannan appears before her, and she leaves thesafety of the circle to unite with her beloved—presumably, in death. Production history Thefirst version of the play was written in Yiddish, then translated into Russian.Inone version, Ansky presented the play to Konstantin Stanislavski, the legendarydirector of the Moscow Art Theatre, who praised the play and urged Ansky totranslate it into Yiddish so that it could be performed\"authentically\" by a Jewish troupe. In another, the original Yiddishmanuscript was lost and Ansky retranslated it either from the Russian versionor, in yet another variant of the history, from the Hebrew version translatedby Bialik. Ansky died on November 8, 1920, and did not live to see the playprofessionally produced. As a tribute to Ansky, a production of the play wasprepared by a troupe of actors from Vilna during the 30-day period of mourningafter his death, and on December 9, 1920, the play opened at the ElyseumTheatre in Warsaw. It proved to be the Vilna Troupe\'s greatest success. A yearafter the Warsaw premiere the play was produced again by Maurice Schwartz in NewYork City\'s Yiddish Art Theatre and several months later the Hebrew translationby H. N. Bialik was staged in Moscow by the Habima Theatre, under the directionof Yevgeny Vakhtangov, a protege of both Stanislavski\'s and Meyerhold\'s anddirector of the experimental \"Studio One\" of the Moscow Art Theatre.At that time, Habima was the Hebrew language unit of the MAT. They later emigratedto Palestine and after Israeli independence, became the state\'s nationaltheatre. Though the Vachtangov production was finally retired from thecompany\'s repertory, the play remains a symbol of Habima. At the same time, itis also a symbol of Yiddish theatre, though, in fact, it is hardly a typicalrepresentative of it. The first English production ran in 1925 and 1926 at theoff-Broadway Neighborhood Playhouse in New York City. This highly regardedproduction was translated and adapted by Henry G. Alsberg. In 1977, JosephChaikin, a central figure in American avant-garde theatre, directed a newtranslation of The Dybbuk by Mira Rafalowicz, a dramaturg, yiddishist andlongtime collaborator of Chaikin\'s at The Public Theatre. The Royal ShakespeareCompany staged Ms.Rafalowicz\' translation, directed by Katie Mitchell, in 1992.The most recent UK production was a minimalist, close-focus staging directed byEve Leigh at The King\'s Head Theatre in early 2008. Other modern versionsinclude a two-person adaptation by Bruce Myers, a long-time member of PeterBrook\'s Paris-based company. Mr Myers, who had acted in Joseph Chaikin\'sproduction of The Dybbuk, won an Obie when he performed his \"Dybbuk\"in New York in 1979. The two-actor \"Dybbuk\" was produced three timesby San Francisco\'s TJT (The Jewish Theatre San Francisco, formerly TravelingJewish Theatre)and won several awards. Adaptations Besides stories, Ansky also collectedtraditional melodies, one of which he incorporated into this play. When AaronCopland attended a performance of the play in New York in 1929, he was struckby this melody and made it the basis of his piano trio Vitebsk, namedfor the town where Ansky was born.The play has also been adapted into the1937 film The Dybbuk. With some changes in the plot structure, it wasdirected by Michał Waszyński in Warsaw, starring Lili Liliana as Leah, LeonLiebgold as Hannan (Channon, in the English-language subtitles), and AvromMorevsi as Rabbi Azrael ben Hodos. The film adds an additional act before thosein the original play: it shows the close friendship of Sender and Nisn as youngmen. Besides the language of the film itself, the movie is noted among filmhistorians for the striking scene of Leah\'s wedding, which is shot in the styleof German Expressionism. The film is generally considered one of the finest inthe Yiddish language. David Tamkin and Alex Tamkin adapted the play into theopera The Dybbuk, which was composed in 1933 but did not premiere until1951. Based on the play, Leonard Bernstein composed music for the 1974 ballet Dybbukby Jerome Robbins. It was adapted for BBC Radio 4 in 1979 starring Cyril Shaps,but is believed lost. The word dybbuk comes from the Hebrew verb ledavek,\"to cling.\" While the concept of an \"evil spirit\" is commonin Second Temple, talmudic and kabbalistic literature, the term dybbukonly came into use during the 1700s As head of the Jewish ethnographicexpedition through the villages of Volhynia and Podolia from 1911 to 1914,Ansky came across the routine practice of exorcising dybbuks among theHasidim with whom he came into contact. A dybbuk is a restless soul orevil spirit that \"impregnates\" a living person, usually for a limitedperiod of time, causing mental illness and creating a separate personality foritself, and talking through that person\'s mouth. This practice and otherfolkloristic material inspired his famous play The Dybbuk. Set inEastern Europe in the end of the 19th century, Ansky\'s story revolves around apair of ill-fated lovers — Khonnon, a penniless but devout student of Jewishmysticism, and Leah, the young woman he adores and is destined to marry. WhenLeah\'s greedy father breaks the marriage contract to marry off Leah to a richerman, Khonnon dies instantly; his soul, however, lives on as a dybbuk,entering Leah\'s body so to gain possession of her love for all eternity. Aftervarious nefarious deeds are revealed, the rabbi, aided by other rabbinicaljudges, finally succeeds in exorcising the dybbuk, using incantationsand rituals, followed by blasts of the shofar. Leah, meanwhile, mustconfront the choice between marriage to a man for whom she feels nothing or anunworldly union with her dead lover\'s spirit. The Dybbuk was composedover the period 1912-1919, and its evolution outlived the author himself. Anskywrote the play in Yiddish (originally called Tsvishn Tsvey Veltn) andtranslated it into Russian, continually making changes in characters, motifs,and text. Once the play was completed, Ansky performed readings and continuedto make changes based upon his audiences\' reaction. The first production of theYiddish play was by the Vilna troupe (1920) The Dybbuk was furthertransformed by the great Hebrew poet H. N. Bialik, who completed a Hebrewtranslation. Bialik combined the significantly different Yiddish and Russianversions, and incorporated echoes and idiomatic expressions from his ownpoetry. Many credited Bialik with significantly improving the play. Even after1919, the directors who staged the first productions of the play had their waywith its scenes, dialogue, structure. Bialik\'s Hebrew translation, which firstappeared in Ha-Tekufah, vol. 1 (1918), was performed by the Habimahcompany in Moscow, Tel Aviv, and New York. Productions in German, English,Polish, Ukrainian, Swedish, Bulgarian, and French followed. The Italiancomposer L. Rocca based an opera on the play, musical versions by Renato Simoniand David Temkin appeared in New York, and movie versions in Poland in 1938 andIsrael in 1968. Along with confusions about the play\'s genre — was it realisticor fantasy? — The Dybbuk was most frequently criticized for containingtoo many different folkloric elements. Bialik wrote: \"I have theimpression that as a collector of folklore, you went around to all the rubbishheaps. There you collected fragments of folklore and pieced them together likea tailor who takes bits of clothing and rags, and makes of them a patchworkquilt.\" Another critic, Z. Voyslavski after seeing the Habimahproduction of The Dybbuk in Berlin in 1927 wrote, \"Take a Hassidictune, the cry of a Jewess giving birth, a Jewish cemetery with crookedtombstones, an old shofar unfit for use, the curtain of an old ark embroideredin gold, a goblet for havdalah. Mix them with a little popular Hassidismand Kabbalah — and you have a nice batter for cooking.\" Althoughthere were some who praised the play as true to the Hasidic home of itsfolklore, Ansky was called a dilettante, his work an \"ethnographicmuseum.\" Hanna Rovina (Hebrew: חנה רובינא‎) (born 1 April 1893,Berazino, Minsk district (guberniya); died 3 February 1980, Tel-Aviv),written also Hannah, Hana, or Chana Rovina or Robina, Israeli actress, isrecognised as the original \"First Lady of Hebrew Theatre\". Biography Born in Belarus inthe Russian Empire, she originally trained as a kindergarten teacher, at acourse for Hebrew-speaking kindergarten teachers in Poland. She began hercareer on stage at the \"Hebrew Stage Theatre\" of Nahum Tzemach. Shejoined the Habima theatre in 1917 just as it was being launched, andparticipated in its first production, a play by Yevgeny Vakhtangov. She becamefamous for her role as Leah\'le, the young bride who is possessed by a demon in TheDybbuk by S. Ansky. Rovina and the other actors of HaBima immigrated to MandatePalestine in 1928. She quickly became a symbol of the emergent Hebrew theatre,and especially of HaBima, which became the Flagship of the new national theatremovement. For many years, the icon representing HaBima was a young girl in awhite nightdress with two long tresses: Rovina in her role as Leah\'le. Shefilled every role she played with dramatic expression, taking every part veryseriously and trying to live the life of the character, as prescribed by the StanislavskiSchool of acting. Outside the theatre, she was a non-conformist, even having achild out of wedlock with the Hebrew poet Alexander Penn, though this was veryunusual for that time. Her lifestyle won her many admirers, even among peoplethat did not frequent the theatre. Her admirers within the theatre includedwriter Nissim Aloni, who wrote a play, Aunt Liza, especially for her. Ofcourse, Rovina played the lead. Rovina had a very stern attitude regarding thetheatre, and made high demands of her audience. She frequently stopped a playin the middle when she felt that the audience wasn\'t behaving appropriately. Inone famous instance, she stopped the play Hannah Senesh right in themiddle of a moving scene, when she was visiting her daughter in prison beforeher execution. Turning to a group of school children in the audience, sheshouted at them to stop munching sunflower seeds. Rovina was awarded the IsraelPrize for theatre in 1956.She remained active on stage until her death, in 1980.