Yiddish Theatre

Notas sobre Living Room e I am America -Depois de delinear brevemente a premissa que move a pesquisa artística e individual dos dois ramos do Workcenter, este texto procura contar a experiência do espectador, ou melhor da testemunha, no encontro com The Living Room e I am America nas versões de 2009-2012. O apelo crítico dessa forma de arte (somente dessa?) não pode deixar de passar por uma problematização radical do papel do interpretante. Palavras-chave: Workcenter of Jerzy Grotowski and Thomas Richards. Jerzy Grotowski. Open Program. Mario Biagini. Performance. ABSTRACT -Notes on The Living Room and I am America -After briefly outlining the premise driving the individual artistic research on two branches of the Workcenter, this text deals with the experience of the viewer, or rather witness, in watching 2009-2012 stagings of The Living Room and I am America. The critical appeal of this art form (only this one?) has to undergo a radical questioning of the interpreter's role.

‘I didn’t anticipate that INDECENT would be as relevant today as it is; we again are witnessing an upheaval of fear, xenophobia, homophobia, and yes, anti-Semitism. […] We must remember where the closing of borders in the 20th century led nations around the globe. […] Theatre is living memory.’ –Paula Vogel, Playbill

First performed in 2015, Paula Vogel and Rebecca Taichman’s Indecent tells the story of the Yiddish play God of Vengeance by Sholem Asch, from its beginnings in the theatres of turn-of-the-century Eastern Europe to its scandalous downfall in 1920s New York. Director Taichman and writer Vogel developed this project together, aiming to tell the story of the play (censored for its depiction of the first lesbian kiss on an American stage) and also to reflect the rise of populism, racism and anti-immigrant sentiment today.

In contrast to its contemporary, the Broadway hit Hamilton, Indecent does not champion the narrative of America as a country where the success of immigrants is merely a question of perseverance; it problematizes ideas such as assimilation, acceptance and achievement by confronting the audience with the xenophobia, anti-Semitism, and homophobia of the early 20th century. Indecent is told from the perspective of an Our Town-esque stage manager figure looking back on his life from within the Łódź Ghetto; the metatheatricality of the play-within-a-play conceit allows the piece to reflect the changes in the socio-political landscape occurring during the creation and production of the show, from the Obama to the Trump Administration.

This paper was presented at the American Dramaturgies for the 21st Century conference at Université Paris-Sorbonne, March, 2018.

Mikhail Epelbaum, the pioneer of Jewish folk music.

Abstract: Mikhail Epelbaum (1894–1957), the world-famous performer of Yiddish songs, was extraordinarily popular among Jewish audiences. For a whole generation of Soviet Yiddish singers, Epelbaum was a pioneer and model. The beginnings of Epelbaum’s career lay in the Jewish operetta and drama troupes that wandered the Pale of Settlement and the Kingdom of Poland. After the Bolshevik Revolution of 1917, Epelbaum began giving solo concerts in Yiddish, and in the early 1920s he made wildly successful concert tours in the cities of Russia, Ukraine, and Belorussia. In 1926, he went on tour in the West, where audiences in Riga, Berlin, Paris, Buenos Aires, and New York enthusiastically received him. It was in New York that he made his first record. In 1929, Epelbaum returned to the Soviet Union, settled in Leningrad, and gave performances all over the country. In 1937, the Soviet government awarded him the official title of Honored Artist of the Russian Federation. In 1949, during Stalin’s infamous anti-Semitic campaign, the same government sentenced Epelbaum to ten years in labor camps and ordered his property confiscated. In 1954, Epelbaum was released from the Gulag: although he was a sick man, he had not been broken. Only two years after the dictator’s death, Epelbaum was among the first to begin touring the country again performing Yiddish songs, thus bringing joy and hope back to intimidated Soviet-Jewish audiences.

Considerando o tema do teatro iídiche como parte da discussão mais ampla sobre a arte judaica e seu papel na ampliação do campo dos estudos judaicos, este texto propõe, como um estudo de caso, acompanhar a trajetória do ator e diretor polonês Zygmunt Turkow (1896-1970). Nesse sentido, buscou-se identificar o amadurecimento
da elaboração do diretor sobre o teatro moderno e particularmente sobre o teatro iídiche moderno, desde os primeiros passos no interior dos círculos intelectuais iidichistas, herdeiros das formulações do escritor I. L. Peretz, na Polônia do entreguerras, até sua estadia brasileira e a atuação junto aos grupos nacionais e judaicos, como o grupo de teatro amador da Biblioteca Israelita Brasileira Sholem Aleichem (BIBSA).
Em particular, o texto aponta para o diálogo epistolar entre Turkow e o pintor Lasar Segall (1889-1957), em 1945, quando o primeiro convidou o já reconhecido artista originário de Vilna para contribuir com os desenhos do cenário e figurinos de sua encenação de Dos Groisse Guevins [A sorte grande], do escritor Sholem Aleichem. A análise da rica correspondência em língua russa trocada entre eles sugere um verdadeiro encontro entre os dois criadores, que, envolvidos pelas discussões sobre as diferentes manifestações da arte moderna e da arte moderna judaica, ainda em sua juventude, engajaram-se, cada um à sua maneira, denunciando a dolorosa fortuna do judaísmo europeu.

This essay seeks to demonstrate how the spoken language became a central feature of modern Yiddish literature. This vocal strain was used at first to replace otherworldly with enlightened discourse, esoteric book culture with colloquial style, hackneyed phraseology with straight talk, and Hasidic speech with parody. Not until 1864 -66, however, did the new orality enter its second phase, when the Hebrew writer Shalom-Yankev Abramovitsh fashioned an autonomous Yiddish-speaking voice and manipulated the Jewish textual tradition at will. Sholem Aleichem and I. L. Peretz further developed the new orality by introducing gendered speech and professional argot, creating in turn a Yiddish of the common man, woman, and child and a Yiddish Sublime. In the next phase, two verbal artists, Eliezer Shteynbarg and Itzik Manger, perfected a single, minor speech genre that was performable, accessible, and sophisticated at the same time. Shteynbarg's Mesholim (Fables; and Manger's Khumesh-lider (Bible Poems; 1935) created a sovereign space for spoken Yiddish where all communication occurred in the mother tongue. Even while the oral-based writings of Sholem Aleichem and Peretz were enjoying extraordinary popularity in the major urban centers of North America, new dialects of spoken and written Yiddish came into being there: this new vocal strain ranged from Yiddish humor magazines to the Yiddish American polyphony of Jacob Glatstein's Yidishtaytshn (Yiddishmeanings; 1937).

This article describes some specific challenges of online Yiddish music research and provides an overview of websites for primary sources including commercial recordings, field recordings, and sheet music, as well as a small selection of related print sources.

“Sonim af tsulokhes”—“Enemies Be Damned”: Jewish Estrada (Musical Theater) in Leningrad during the Thaw Era.

* Abstract: After the Stalin’s death in 1953, the total ban on all public expressions of Jewish culture in the Soviet Union gradually began to end and Yiddish songs slowly returned to the Soviet stage. For many years, Yiddish concerts of small performing groups formed under the roof of different Soviet state agencies became the most significant, widespread, and accessible form of Jewish culture in the country. In spite of ideological pressure, hard censorship, and difficult material conditions, Soviet Jewish performing arts in the 1950s and 1960s represented an important cultural and social phenomenon. Combining the features of Jewish theatrical and music cultures of the past with the forms of the postwar Soviet cultural mainstream, it came to constitute the unique voice of “the Jews of Silence.” The author investigates the history of Jewish cultural revival in this period in one of its major centers—Leningrad—through the prism of the tragic biographies of three former GULAG prisoners who returned back home in the middle of the 1950s: the singer Mikhail Epelbaum (1894–1957), the actor Faivish Arones (1897–1982), and the composer Zalmen Freidenberg (1901–1972).

While the Klezmer revival has moved beyond recuperation into a generative mode that includes the writing of new songs as well as music, a parallel and arguably trickier terrain looks not simply to recuperate Yiddish theater but to create new Yiddish productions. One such effort reframes Yosl Rakover Speaks to God, a once famous fictional post-War story of a Hasidic resistance fighter in the Warsaw Ghetto. Tracing its history shows how the reception of one of the first Holocaust stories written in Yiddish changed unpredictably when it was taken to be testimony, translated into German and then widely translated without authorial attribution. By 1955, Emmanuel Levinas had written his essay “Aimer la Thora plus que Dieu,” opining that an obviously fictional story—“vrai comme seule la fiction peut l’être”—expounds a truly Jewish understanding of belief and justice shifting the ability of humans to be moral interlocutors with God in response to the Holocaust. Fifty years after Yosl Rakover Speaks to God was written, the story takes on a new life through performance in Yiddish. By shifting an attributed story back into Yiddish, Yiddish theater can avoid earlier controversy while using a Jewish language to discuss God’s relationship to the Jewish people in times of persecution. Earlier powerful performances in Yiddish pulled from a theater repertoire that employed a religious vocabulary to amplify storylines in addressing audiences that had some familiarity with traditional responses even as they participated in the modern turning away from religious life. The contemporary production of Yosl Rakover Speaks to God marks its participation in a project to insert those resources of Yiddish language and theater into theological debates that are centered on the Holocaust yet open up universal questions about ongoing human complicity in genocide. Here contested “rights” to question God and tradition animate a finely-honed language in which appeals to God are best formulated.

In this book, the German history of The Merchant of Venice highlights the Central European detour that Shakespearean reception underwent in Hebrew and Yiddish. Such a detour, with its various discomforts, is used to penetrate a current historical and political historiography, rendering Shylock a character that remembers various languages and locations, as well as multiple alternatives for political self-definition. This complex Shakespearean character speaks in many voices and for various purposes and is the only character that can provide the missing link between two contradictory Jewish stereotypes-a persecuted and victimized underling and a merciless and violent plaintive, holding out his knife to draw blood. "Just as Biblical commentary interacts and intertwines with Biblical tales, so do translations and adaptations extend, complement, and critique Shakespeare's plays, as well as shape what those texts mean in other cultures. Dror Abend-David has applied this midrashic and Derridean principle to show how German, Hebrew, and Yiddish versions of The Merchant of Venice enlist Shakespeare's play into such nation-building projects as German nationalism, Zionism, and Yiddish culture as the expression of a deterritorialized people. 'Scorned My Nation' is an important contribution to studies of translation and adaptation, to Shakespeare studies, and to the histories of the three literary and theatrical traditions it explores."

Acquistabile in formato cartaceo o scaricabile in .pdf sul sito www.aAccademia.it

Il teatro yiddish è una fiorente anche se breve civiltà teatrale fiorita tra l’Otto e il Novecento, che ha accompagnato milioni di ebrei dell’Europa centrale e orientale nelle nuove dislocazioni in tutto il mondo. Era un popolo in fuga da persecuzioni e miseria, alla ricerca di benessere e felicità, un popolo cheì si chiedeva se e come fosse possibile conciliare tradizioni e valori millenari con la modernità. Il teatro yiddish si è sviluppato in dialogo con l’operetta, il melodramma e il teatro borghese del tempo, creando proprie forme del tutto originali, soprattutto il cosiddetto grottesco yiddish. Popolare e sperimentale, attraversato dalla musica e dal canto, soprattutto espressione di grandi attrici e attori che ispiravano i drammaturghi e si confrontavano spregiudicatamente con i grandi autori del passato, il teatro yiddish ha poi cessato di esistere soltanto in apparenza, perché – come qui si dimostra – ha irradiato con le proprie invenzioni recitative, drammaturgiche e registiche il teatro e il cinema di oggi nelle sue migliori espressioni sia popolari che d’avanguardia.

The article examines Eastern European Jewish immigrants' perceptions of African Americans in the early 20th century. It shows the effects of Old-World values, judgments, and behavioral patterns in determining much of the attitudes of that immigrant group toward Blacks.

Das XXV. Symposium für Jiddische Studien in Deutschland findet vom 5. bis 7. September 2022 in Düsseldorf statt. Wir würden uns selbstverständlich sehr darüber freuen, dieses besondere Ereignis in Präsenz mit Ihnen zu erleben. Wir sind uns jedoch der sich ständig verändernden Lage aufgrund der Corona-Pandemie bewusst und werden (zeitnah) eine Entscheidung treffen, die unser aller Wohl berücksichtigt.
Dieses jiddistische Forum wird jährlich im Wechsel von den Jiddistik-Lehrstühlen der
Universitäten Trier und Düsseldorf veranstaltet.
Wir laden Sie herzlich dazu ein Vortragsangebote, in Form einer kurzen Zusammenfassung, an die Symposiumsleitung einzusenden. Vorschläge für Sitzungen mit 2–4 Vorträgen müssen zusammen mit Abstracts für die einzelnen Vorträge eingereicht werden.
Die Vorträge können auf Jiddisch oder Deutsch gehalten werden.
Es steht Ihnen eine Redezeit von 20 Minuten zur Verfügung.
Zusammenfassungen können bis zum 1. Mai 2022 eingesendet werden ([email protected]).

“Freyd zol zayn!”—“Let There Be Joy!”, or The Roads of Sorrows of the Leningrad Jewish Estrada (Musical Theater).

* Abstract: During the second half of the 1950s, the Soviet system gradually, as a part of the general de-Stalinization process, developed its new policy on “Jewish question.” As a result of it, the total ban on all public expressions of Jewish culture in the USSR was eliminated and Yiddish songs slowly returned to the Soviet stage. Yiddish concerts of small performing groups formed under the roof of different state agencies became an integral element of the country’s cultural life of the so called Thaw Era. Still the very conditions in which these groups existed—permanent wanderings, stage plays almost without decorations, censorship pressure, and hostile attitude of local officials—made the level of their work to be very distant from high-water marks of the golden age of Yiddish theater. The author investigates the history of Jewish cultural revival of the late 1950s and the 1960s in one of its major centers—Leningrad. Three documents from different archival collections that attached to the article testify the enormous efforts needed for Yiddish word and Jewish music to reach Soviet audiences in those years.

The success of the Vilner Trupe (Vilna Troupe) in interwar Poland lay not only in its maximalist, modernist, and Yiddishist pronouncements but also in its oft-conflicted practices. After all, the troupe traveled regularly to reach its audiences—the Yiddishspeaking masses and their main financial and artistic supporters. It never received state funding, unlike its Hebraist rival Habima in the Soviet Union. It changed staging styles with new directors: whereas some strove to Europeanize the Yiddish stage (which meant different things to different directors and playwrights), others sought to turn it into an avant-garde, highbrow theater with a “Jewish soul” (even as they made use of middlebrow Yiddish texts and Yiddish translations of European literature). Many thought of theater in terms of a “national institution,” in line with the Polish romantic tradition. In short, the troupe constantly found itself caught up in debates about the aesthetic and cultural-national character of a “better” Yiddish theater.

In his Yiddish autobiography “Fun Lublin biz Rige”, Riga: 1940, the actor Abraham Eines reported on his 30-year lasting career as an actor in Yiddish theatre companies in Eastern Europe and also on the period when he was an artist in the Yiddish theatre in Riga. The so called “Naier idisher teater” had been planned since 1913 and opened in 1927 on the initiative of Jakob Landau, Paul Minz and Lew Ginsberg.
This thesis is based on Eines’ autobiography and researches in Latvian, Lithuanian and Polish archives and libraries. The aim was to reconstruct the history of this specialized Yiddish theatre, which fortunately is kept until today in the art nouveau quarter of Riga.
The thesis deals with the history of this theatre, the plans which resulted in the construction of the building, people and organisations that were involved, its opening, playing schedules, companies and actors as well as the intercultural, economic and social environments and activities.
In January 1927, the “Naier idisher teater” opened under the main direction of M. Karpinowitsch and the art direction of Abraham Morewski. It was financially supported by membership fees from the “Jewish Theatre Company”. New artists were often engaged by the “Warsaw Association of Artists”.
In the following years, the art direction changed several times because of disagreements between the direction of the theatre and the company. Actors demanded more sophisticated plays and greater artistic licenses. The theatre had big economic problems. The repertoire of the theatre differed distinctly from that of the guest companies coming to Riga: the “Vilner Trupe”, staged Yiddish classics by Scholem Alejchem, Scholem Asch, Jacob Gordin, as well as by Oskar Wilde, Shakespeare and Moliere. Furthermore, Alexander Granovsky (GOSET) gave guest performances with his company of the Moscow theatre “Habima” in Riga. Besides “Habima” started its Europe tour in this Yiddish theatre Riga. Many artists were partly engaged for a long period in Riga`s “Naier idisher teater” and the theatre was well attended – on average 70 000 visitors per season. The theatre was equipped with 473 seats and 160 seats on balconies. It existed with different names until the occupation of Riga by the Germans. Today, the museum „Jews in Latvia“ (Muzejs Ebreji Latvijā) is located in the former theatre building.

This is a not revised edition of the thesis.

Preface to His Yiddish Bible Translation Aleksandra Geller Auseinandersetzung über die jiddische Orthographie in der Kulturzeitschrift Literarishe bleter Asya Vaisman " A is for the Almighty " : Transmitting Values through Contemporary Hasidic Children ' s Literature Transliteration des Hebräischen Hebrew Transliteration Danksagung Acknowledgements Autoren und Herausgeber Authors and Editors 9 Vorwort zwischen Außenseitertum und Konversion. Nathan Cohen (Bar-Ilan-Universität) gibt einen Überblick über Kriminalliteratur in jiddischer Übersetzung vor dem Ersten Weltkrieg. Älteres Jiddisch Die Ältere Jiddistik hatte von Beginn an einen festen Platz im Programm des Symposiums und ist im vorliegenden Band sowohl mit literaturwissenschaftlichen als auch philologischen Arbeiten vertreten. Erika Timm (Universität Trier) untersucht einen als Gegengeschichte zu Ritualmordlegenden entstandenen Erzähltyp sefardischen Ursprungs, der schon früh auch auf Jiddisch überliefert ist. Wulf-Otto Dreessen (Universität Stuttgart) rekonstruiert die Anfänge des Shmuel-bukhs im Umfeld der deutschen Heldenepik. Diana Matut (Martin-Luther-Universität Halle-Wittenberg) ediert ein frühneuzeitliches jiddisches Lied, das die Sicht der westlichen auf die östlichen Aschkenasim illustriert. Simon Neuberg (Universität Trier) kontrastiert die Sprache der Tsenerene und des Meylits yoysher, der beiden viel gelesenen Werke des Yankev ben Yitskhok Ashkenazi aus dem 17. Jahrhundert. Sprachwissenschaft Die sprachwissenschaftliche Sektion enthält Arbeiten zu diachronischen wie synchronischen Fragestellungen, die stets auch die kulturgeschichtliche Dimension des Sprachgebrauchs fassbar werden lassen. Roland Gruschka (Hochschule für Jüdische Studien Heidelberg) untersucht eine Postkarte eines der Gründerväter der Stadt Petach Tikwa aus dem Jahre 1902 und legt deren historische und sprachgeschichtliche Zusammenhänge frei. Ewa Geller (Universität Warschau) widmet sich der weitgehend unbekannten Jiddischen Grammatik des Schöpfers der › Universalsprache ‹ Esperanto, Ludwik Zamenhof. Jürg Fleischer und Lea Schäfer (Philipps-Universität Marburg) analysieren den Kasusgebrauch nach Präpositionen in westjiddischen Quellen des 19. Jahrhunderts und stellen eine Tendenz zum einheitlichen Objektkasus fest. Alexander Beider (Paris) geht der Etymologie und Geschichte ostjiddischer Ortsnamen nach. Moshe Taube (Hebräische Universität Jerusalem) beschreibt spezifijische Konstruktionen mit dem Relativpronomen vos, die in Grammatiken bisher nicht verzeichnet wurden. Stefffen Krogh (Universität Aarhus) sucht nach den dialektalen Wurzeln des heute bei den Satmarer Chassidim gesprochenen Jiddisch. Adam has gone before daybreak into the wild wood alone. Adam says, " the wood is wild and every ' wild ' is beautiful. " Lawrence Rosenwald : On Itzik Manger's " Khave un der eplboym " 19 But she is afraid of the wood, she prefers the apple tree. And if she doesn ' t go to him, he comes to her in dream. He rustles and bends over her. She hears the word "bashert. " 4 Forget what " he, " the great " he, " 5 what he forbade you. And Eve breaks offf an apple and feels strangely light, she circles lovingly around the tree, like a great butterfly. And " he " who forbade the tree, he himself says, " it ' s beautiful, " and holds the great sunset back for a moment. That is the dream every night, but what is the truth ? And Eve feels how the tree weeps down into her hair. " Don ' t cry, lovely appletree, you rustle and sing in me and you are stronger than the word that is warning me about you. " And Eve takes hold of the apple tree with both hands around, and over the top of the apple tree tremble the pious stars … 4 Meaning " fated "-but one can speak of one ' s beloved as being " bashert, " as we might say, " you were the only one for me. " 5 " Der groyser ' der ', " the great " der ". " Der " is the masculine form of the Yiddish defijinite article. So one might say, " the great he-guy. " 8 Gen 3 : 20. Richard Fein suggests that an additional efffect of muter is to make Eve ' s motherhood universal rather than tribal (personal communication). 9 E.g., Roskies (1995 : 258) : " No need to tread lightly across the biblical story : [ Manger ] and his father and mother were the biblical story. No need to reimagine the ancient Near Eastern setting : eastern Galicia was the biblical setting. No need to study Scripture and midrashic commentary because Yiddish language and folklore were the sacred texts. " There is much truth in what Roskies writes, but some of what Manger accomplishes in the present poem is getting lost. 10 Manger 1984 : 3 (my translation). 19 The efffect is oddly similar to that of the poem ' s great and monumental counterpart, Thomas Mann ' s Joseph and His Brothers, the fijinal volume of which appeared in 1943-Mann was working on it in 1941-and which, on a far grander scale, balances these same two essential literary qualities of clarity and mystery.

A study and translation (Yiddish-English-Spanish) of the song "A tragedye fun a pagarey" by the 1930s Buenos Aires Yiddish singer and comedian Jevel Katz. February, 2020.
This article is available in the Latin American Jewish Studies (LAJSA) website: http://www.lajsa.org/resources/publications/

During the mid-1920s Bucharest became home to the Vilna Troupe, an ensemble formed in Vilnius in 1915 and famed for its ground-breaking Yiddish-language productions that toured all over the world. Its collaborations with the Romanian artist M. H. Maxy are the subject of this essay, which demonstrates the experimental nature of several productions that took place in Bucharest during this period. New research material from sources on both sides of the Atlantic makes it possible to reconstruct the outputs of this richly innovative partnership to a much greater extent than before, demonstrating that the vitality of avant-garde theatre in Bucharest has been heretofore underestimated by scholars, its existence obscured by the ephemerality of the performative and by its unwieldy transnational trajectory. An earlier version of this essay won the Graduate Student Essay Prize offered in 2018 by the Society for Romanian Studies.

Precisely because of its radical instability as a theatrical signifier, playwrights have seized on the prop as a tool for destabilizing the conventional symbolism previously embodied by the now ambiguous object. Although they cannot legislate the prop's impact, playwrights can seek to orchestrate the prop's movement through concrete stage space and linear stage time. They can also shape the audience's reception of the prop through dialogue and stage directions. . . . This is especially the case during periods of semiotic crisis, when the meaning of the object the prop represents is (quite literally) up for grabs.—Andrew Sofer, The Stage Life of Props

Bilingual catalogue of books issued by the Dov Sadan Publishing Project of the Hebrew University. The catalogue contains information about books dealing with Yiddish cultural history of the Jewish people in modern times, issued and sponsored by the Dov Sadan Publishing Project. Edited by Szonja Ráhel Komoróczy and Yechiel Szeintuch.

saggio pubblicato su AA VV, Actoris Studium Album # 2. Eredità di Stanislavskij e attori del secolo grottesco, Edizioni dell'Orso, Alessandria 2012, pp. 279-311) Per ripercorrere la vita artistica di Ida Kaminska (Odessa 1899-New York 1980) 1 è necessario seguire le sue peregrinazioni nel mondo, all'instancabile ricerca di un pubblico, e di un futuro, per il teatro yiddish. Per dovere di sintesi ci limitiamo a parlare della sola Ida, anche se la sua vicenda artistica e umana può essere pienamente compresa solo tracciando una biografia comunitaria, che comprenda anche le storie di coloro con cui ha lavorato e degli ebrei (e non) ai quali ha dedicato il progetto di tutta una vita. È la storia di una missione e del suo parziale fallimento. Una missione che prende le mosse dall'Europa orientale e si conclude in America. Una missione nobile e dalla forte impronta etica che, tuttavia, finì per soffocare le potenzialità espressive di Kaminska se, ed è l'ipotesi che qui si propone, la qualità ibrida e dialogica (potremmo chiamarla grottesca) della grande arte attoriale yiddish si perse proprio in colei che, a un certo punto della storia, ne divenne la paladina in Europa. Non si smarrì nell'incontro tra la lingua yiddish e i drammi realistici che Kaminska prediligeva, ma perse la propria vitalitàe quindi la propria necessitàperché divenne conservazione nostalgica di una tradizione; e, per di più, in assenza del pubblico che quella tradizione aveva creato.