Yiddish theatre

Yiddish theatre consists of plays written and performed primarily by Jews in Yiddish, the language of the Eastern European Ashkenazaic Jewish community. The range of Yiddish theatre is broad: operetta, musical comedy, and satiric or nostalgic revues; melodrama; naturalist drama; expressionist and modernist plays. At its height, its geographical scope was comparably broad: from the late 19th century until just before World War II, professional Yiddish theatre could be found throughout the heavily Jewish areas of Eastern and East Central Europe, but also in Berlin, London, Paris, and, perhaps above all, New York City.

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." In London in the 1880s, playing in small theater clubs "on a stage the size of a cadaver" , 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 , Yiddish theatre nonetheless took on much of what was best in European theatrical tradition.

Related Topics:
1880s - Sabbath - Ram's horn - Uriel Acosta - Blaspheme

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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

Related Topics:
Schiller - Shakespeare - Socialist - Antisemitic - Classical mythological

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