Relevant bibliographies by topics / Yiddish Art Theatre

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Yiddish Art Theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Yiddish Art Theatre"

1

Underwood, Nick. "The Yiddish Art Theatre in Paris after the Holocaust, 1944–1950." Theatre Survey 61, no. 3 (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
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2

Berkowitz, Joel. "Yiddish Proletarian Theatre: The Art and Politics of the Artef, 1925-1940." Journal of Jewish Studies 50, no. 2 (1999): 346–48. http://dx.doi.org/10.18647/2231/jjs-1999.

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Underwood, Nick. "The Yiddish Art Theatre in Paris after the Holocaust, 1944–1950—CORRIGENDUM." Theatre Survey 61, no. 3 (2020): 443. http://dx.doi.org/10.1017/s0040557420000411.

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4

Horowitz, Brian, and Edna Nahshon. "Yiddish Proletarian Theatre: The Art and Politics of the Artef, 1925-1940." South Atlantic Review 65, no. 1 (2000): 185. http://dx.doi.org/10.2307/3201943.

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5

Caplan, Debra. "Nomadic Chutzpah: The Vilna Troupe's Transnational Yiddish Theatre Paradigm, 1915–1935." Theatre Survey 55, no. 3 (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 stab
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6

Dauber, Jeremy. "Yiddish Proletarian Theatre: The Art and Politics of the Artef, 1925-1940 (review)." American Jewish History 88, no. 2 (2000): 305–7. http://dx.doi.org/10.1353/ajh.2000.0028.

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Berkowitz, Joel. "The Tallis or the Cross? Reviving Goldfaden at the Yiddish Art Theatre, 1924-26." Journal of Jewish Studies 50, no. 1 (1999): 120–38. http://dx.doi.org/10.18647/2170/jjs-1999.

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8

Belkin, Ahuva. "Yiddish Proletarian Theatre: The Art and Politics of the Artef, 1925-1940 (review)." Comparative Drama 34, no. 2 (2000): 251–53. http://dx.doi.org/10.1353/cdr.2000.0033.

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Rovit, Rebecca. "Yiddish Proletarian Theatre: The Art and Politics of the Artef, 1925-1940, and: God, Man, and Devil: Yiddish Plays in Translation (review)." Theatre Journal 52, no. 3 (2000): 434–36. http://dx.doi.org/10.1353/tj.2000.0095.

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10

Wishnia, K. "Yiddish Proletarian Theatre: The Art and Politics of the Artef, 1925-1940. Edna Nahshon. Westport, CT: Greenwood, 1998. xvi + 260 pages. $72.50 cloth." MELUS: Multi-Ethnic Literature of the United States 26, no. 3 (2001): 230–32. http://dx.doi.org/10.2307/3185565.

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Dissertations / Theses on the topic "Yiddish Art Theatre"

1

Caplan, Debra Leah. "Staging Jewish Modernism: The Vilna Troupe and the Rise of a Transnational Yiddish Art Theater Movement." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10869.

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This is the first study of the avant-garde Yiddish art theater movement, which flourished across five continents during the interwar period. From Warsaw to San Francisco, Buenos Aires to Winnipeg, Mexico City to Paris, and Johannesburg to Melbourne, the Yiddish art theaters were acclaimed by critics and popular with Jewish and non-Jewish spectators alike. These theaters had a significant impact on renowned theater practitioners around the world, who credited the Yiddish art theaters with inspiring their own artistic practice. In tracing how a small group of Yiddish theater artists developed a
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2

D'ANGELO, CLAUDIA. "KONIG LIR/KOROL' LIR. IL RE LEAR YIDDISH E SOVIETICO." Doctoral thesis, Università degli Studi di Milano, 2015. http://hdl.handle.net/2434/323636.

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The aim of this work is to bring back to light a forgotten masterpiece of the Goset (the Moscow State Yiddish Theater), the King Lear produced in 1935, directed by Sergey Radlov. The great Solomon Mikhoels was assigned the role of Lear and Venjamin Zuskin was an extraordinary Fool. The actor’s interpretations are considered landmarks in the history of both yiddish and world theater. There are a few studies on this production, while the Goset and its King Lear should be between the pages of the Twentieth century theater. The Goset was a distinguished victim of the history of the century. Gordon
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Books on the topic "Yiddish Art Theatre"

1

Mlotek, Joseph, and Eleanor G. Mlotek. Pearls of Yiddish song: Favorite folk, art and theatre songs. Education Department of the Workmen's Circle, 1989.

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2

Traditions, Living. Klezkamp New York: The 27th annual Yiddish Folk Arts Program, Yiddish theater. Living Traditions Inc., 2011.

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3

Harshav, Benjamin. The Moscow Yiddish Theater: Art on stage in the time of revolution. Yale University Press, 2006.

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4

Harshav, Benjamin. The Moscow Yiddish Theater: Art on stage in the time of revolution. Yale University Press, 2007.

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5

Solomon, Alisa. Re-Dressing the Canon. Taylor & Francis Group Plc, 2004.

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6

Otte, Marline. Jewish identities in German popular entertainment, 1890-1933. Cambridge University Press, 2006.

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7

Bock, Jerry. A fidler oyfn dakh: Loyṭ Sholom-Aleykhems dertseylungen. Farlag Y.L.Perets, 2004.

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8

Maurice Schwartz e i teatri d'arte yiddish. Accademia University Press, 2018.

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9

Yiddish proletarian theatre: The art and politics of the Artef, 1925-1940. Greenwood Press, 1998.

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10

Sandrow, Nahma. Vagabond Stars: A World History of Yiddish Theater (Judaic Traditions in Literature, Music, and Art). Syracuse University Press, 1995.

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Book chapters on the topic "Yiddish Art Theatre"

1

Diner, Hasia. "ACT 1. Yiddish New York." In New York's Yiddish Theater, edited by Edna Nahshon. Columbia University Press, 2016. http://dx.doi.org/10.7312/nahs17670-003.

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2

Nahshon, Edna. "ACT 10. Borscht Belt Entertainment." In New York's Yiddish Theater, edited by Edna Nahshon. Columbia University Press, 2016. http://dx.doi.org/10.7312/nahs17670-016.

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3

Henry, Barbara. "ACT 3. Jacob Gordin: The Great Reformer." In New York's Yiddish Theater, edited by Edna Nahshon. Columbia University Press, 2016. http://dx.doi.org/10.7312/nahs17670-005.

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Nahshon, Edna. "ACT 6. Yiddish Political Theater: The Artef." In New York's Yiddish Theater, edited by Edna Nahshon. Columbia University Press, 2016. http://dx.doi.org/10.7312/nahs17670-011.

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5

Sandrow, Nahmha. "ACT 2. Popular Yiddish Theater: Music, Melodrama, and Operetta." In New York's Yiddish Theater, edited by Edna Nahshon. Columbia University Press, 2016. http://dx.doi.org/10.7312/nahs17670-004.

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Aronson, Arnold. "ACT 7. Yiddish Theater and the Transformation of American Design." In New York's Yiddish Theater, edited by Edna Nahshon. Columbia University Press, 2016. http://dx.doi.org/10.7312/nahs17670-012.

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Portnoy, Eddy. "ACT 8. Modicut: The Yiddish Puppet Theater of Yosl Cutler and Zuni Maud." In New York's Yiddish Theater, edited by Edna Nahshon. Columbia University Press, 2016. http://dx.doi.org/10.7312/nahs17670-013.

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8

"By Any Other Name and Maurice Schwartz’s Yiddish Art Theatre." In The Piscator Notebook. Routledge, 2012. http://dx.doi.org/10.4324/9780203128169-20.

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Peretz, Maya. "Jewish Theatre in Poland before the Second World War: Its Audiences and its Critics." In Polin: Studies in Polish Jewry Volume 13. Liverpool University Press, 2000. http://dx.doi.org/10.3828/liverpool/9781874774600.003.0029.

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This chapter explores reviews of the Jewish theatre before the Second World War. Reviews allow a glimpse into Polish–Jewish relations as indirectly reflected in the views of Polish drama critics. They can be more revealing than the sources in which emotions are more rigidly controlled. In particular, the chapter looks at the reviews reprinted in the 1992 single-issue volume of Pamiętnik Teatralny devoted to the Polish Yiddish theatre. The paucity of material in itself is an indication of the most striking characteristic of Polish–Jewish relations during the sixty or so years these reviews cover: a gulf that separated the two ethnic groups, and the scant interest in the Polish community in bridging the gap. Among Catholic Poles, the lack of information about Jewish culture was almost total. The Jewish critic Jakub Appenszlak grieved that Polish reviewers kept avoiding Jewish theatre even when truly great art could be seen there.
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"ACT 5. Maurice Schwartz and the Yiddish Art Theater Movement." In New York's Yiddish Theater, edited by Edna Nahshon. Columbia University Press, 2016. http://dx.doi.org/10.7312/nahs17670-010.

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