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Yiddish theatre - London | | Yiddish theatre - London: Encyclopedia II - Yiddish theatre - London | | Of the next era of Yiddish theatre, Adler wrote, "...if Yiddish theater was destined to go through its infancy in Russia, and in America grew to manhood and success, then London was its school." [Adler, 1999, 256] In London in the 1880s, playing in small theater clubs "on a stage the size of a cadaver" [Adler, 1999, 248], not daring to play on a Friday night or to light a fire on stage on a Saturday afternoon (both because of the Jewish Sabbath), forced to use a cardboard ram's horn when playing Uriel Acosta so as not to blaspheme [Adler, 1999, 257], Yiddish theatre nonetheless took on much of what ...
See also:Yiddish theatre, Yiddish theatre - Precursors and early influences, Yiddish theatre - The first rumblings, Yiddish theatre - The early years, Yiddish theatre - The Russian era, Yiddish theatre - London, Yiddish theatre - The heyday of Yiddish theater, Yiddish theatre - The effect of the Holocaust | | | Yiddish theatre, Yiddish theatre - London, Yiddish theatre - Precursors and early influences, Yiddish theatre - The Russian era, Yiddish theatre - The early years, Yiddish theatre - The effect of the Holocaust, Yiddish theatre - The first rumblings, Yiddish theatre - The heyday of Yiddish theater, Moscow State Jewish Theater, Solomon Mikhoels, Secular Jewish culture | | |
| | | Yiddish theatre: Encyclopedia II - Yiddish theatre - London
Yiddish theatre - London
Of the next era of Yiddish theatre, Adler wrote, "...if Yiddish theater was destined to go through its infancy in Russia, and in America grew to manhood and success, then London was its school." [Adler, 1999, 256] In London in the 1880s, playing in small theater clubs "on a stage the size of a cadaver" [Adler, 1999, 248], not daring to play on a Friday night or to light a fire on stage on a Saturday afternoon (both because of the Jewish Sabbath), forced to use a cardboard ram's horn when playing Uriel Acosta so as not to blaspheme [Adler, 1999, 257], Yiddish theatre nonetheless took on much of what was best in European theatrical tradition.
In this period, the plays of Schiller first entered the repertoire of Yiddish theater, beginning with The Robbers, the start of a vogue that would last a quarter of a century. Adler records that, like Shakespeare, Schiller was "revered" by the broad Jewish public, not just by intellectuals, admired for his "almost socialist view of society", although his plays were often radically adapted for the Yiddish stage, shortening them and dropping Christian, antisemitic, and classical mythological references [Adler, 1999, 276, 280-282]
Other related archives12th century, 14th century, 16th century, 1708, 1714, 1720, 1830s, 1854, 1873, 1876, 1878, 1880s, 1881, 1883, 1888, 18th century, 1903, 1905, 1908, 19th century, Abraham Goldfaden, Ahasuerus, Alexander II, Ancient Greek drama, Ashkenazaic, Ashkenazi, Austrian, Balta, Berdichev, Berl Broder, Berlin, Bertha Kalich, Bessie, Book of Esther, Boris, Boris Thomashefsky, Broadway, Broder singers, Brody, Bucharest, Canada, Carol I of Romania, Christian, Christmas, Dance of Death, David Pinski, East Central Europe, Eastern, Elizabethan, English, Europe, Ferrara, Galicia, Germany, Ghetto, God, Group Theatre, H. Leivick, Hamlet, Hans Sachs, Hasidic Jews, Haskalah, Hebrew, Hebrew-language, Herod the Great, Hersh Leib Sigheter, Holocaust, Iaşi, Ibsen, Imperial Russia, Ion Ghica, Irozii, Isaac, Israel, Israel Grodner, Israel Rosenberg, Israil Bercovici, Italian, Jacob Adler, Jacob Gordin, Jewish humor, Jews, Joseph, Joseph Lateiner, Karl Gutzkow, Keni Liptzin, Latin, Lee Strasberg, Leon Kobrin, Lincoln Steffens, London, Lublin, Lvov, Manhattan, Mantua, Meistersinger, Middle Ages, Minnesänger, Molly Picon, Montreal, Mordechai, Moscow State Jewish Theater, Moses, Moses Horowitz, N.M. Sheikevitch, New York City, Odessa, Orthodox, Osip Mikhailovich Lerner, Paris, Passion Plays, Purim, Quebec, Richard Wagner, Romania, Romanian, Romanian Orthodox, Rome, Russia, Russian, S. Ansky, Sabbath, Sara, Schiller, Secular Jewish culture, Sephardic Jews, September 14, Shakespeare, Shaw, Shmendrick, Sigmund Mogulesko, Solomon, Solomon Mikhoels, Sophia Karp, Spain, State Jewish Theater, Stella Adler, Sukkot, The Dybbuk, The Golem, The Living Corpse, The Merchant of Venice, The Yiddish King Lear, Tolstoy, Ukraine, Ukrainian, United States, Uriel Acosta, Velvel Zbarjer, Vienna, Vilna, Warsaw, Western Europe, World War I, World War II, Yiddish, Zhytomyr, antisemitic, autos da fe, blaspheme, cantors, classical mythological, clown, expressionist, lower east side, masks, masquerade, masquerades, melodrama, methods, modernist, musical comedy, naturalist, operas, operetta, operettas, pogroms, prima donna, psalms, rabbinical, ram's horn, revues, satiric, secular, sixteenth century, socialist, soubrette, synagogue, synagogues, troubadors, vaudeville, villain
 Adapted from the Wikipedia article "London", under the G.N U Free Docmentation License. Please also see http://en.wikipedia.org/wiki |
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