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their concerns and experiences. Ethnic stages were primarily designed to have immigrant-themed works for recently arrived immigrant audiences. Through the ethnic stage, immigrants maintained and expanded their cultural memory. Immigrant influence on
American society can be pinpointed to places like Swede Town (Chicago); Little Germany (New York); Little Italy (New York); and chinatown (San Francisco, New York, Los Angeles). Despite the overt, clear presence of immigrant communities all over America, the ethnic stage was hidden and closed-off from outsiders. Those not part of specific ethnic communities were not aware or interested in that community's theater. Ethnic theater was undermined by immigrants themselves. First generation immigrants preferred plays in their homeland language while second generation immigrants favored mainstream theater in the English-language. Despite this division, ethnic theater prospered in the face of continuous mass immigration, lasting several decades or a century. Immigrants and their descendants never completely lost interest in ethnic theater but with the advent of film, immigrants, like their American counterparts attended American Motion Pictures, providing them insight into their new home and assimilating them.
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Yiddish language and
Yiddish theater out America. English words made their way into Yiddish dialogue while American mainstream productions influenced Yiddish productions. Just like had occurred in German theaters, the younger generation of immigrants preferred English-language, americanized theater, shows and films. With time, the Yiddish theater's audience decreased, and Yiddish plays were placed on limited runs. Just as in theater in general, the Yiddish theater's demise would come with the spread of film and television. The domination of Hebrew also drove out Yiddish language and Yiddish theater. Hitler and Stalin were responsible for the waning of Yiddish culture. They destroyed old world sources and texts of Yiddish language and culture. Nonetheless, today there are Jewish organizations and centers that sponsor theater-related events. And many are still interested in making Yiddish theater accessible especially since Yiddish theater still resonates with American Jews because it carries memories of their ancestors and cultural traditions.
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offered by theaters was a critical factor in determining the type of audience. The first generation sought to watch traditional or classic repertory and the
Americanized second generation preferred popular farces. Because first generation and second generation sought to watch different things, Conried devised varied program at Irving Place where he included both high-end classics and popular farces in order to diversify and expand his audience. In theory, however, Conried had envisioned a theater solely dedicated to serious drama, connecting back to German roots. In his 1898 speech, celebrating his twenty-fifth anniversary of his theatrical career, Conried expresses that German theater should be “a reflection of the dramatic literature of the old fatherland, and in that way to be the first and most powerful pillar for the cultivation and maintenance of German culture in America”. Nonetheless, the German theater was constantly divided since first and second generation immigrants sought different repertories.
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everyday life in the city. Vaudevilles, on the other hand, served to interpret ethnic communities via ethnic caricatures through comedy. At times, ethnic communities protested their caricatures in the vaudeville but nonetheless were among the audience members of the vaudeville. Just like ethnic theater, the vaudeville offered a glimpse of immigrant life though, the vaudeville heavily stressed ethnic caricatures. Immigrants were drawn to the vaudeville primarily because these ethnic caricatures though unfavorable, bore a realistic resemblance to the immigrants and they would encounter on the streets and neighborhoods.
269:, both of which emphasized on the idyllic, village life, something that resonated strongly with immigrants. The Yiddish Art theater at Irving Place, like other Yiddish theaters, rejected popular, sentimental and melodramatic improvisations, and instead focused on quality by carefully rehearsing plays, ensemble, acting, and presentation. Yiddish theater was an entertainment of cultural exchange. Through the translations of classics, immigrants could learn about world literature; through the translation of popular American theater, immigrants could americanize.
225:
America's entrance into the war. After
America's involvement, German patriotism decreased because Germany had become America's enemy, and in 1918 the Irving Place Theater was driven to its demise as a German company. The collapse of the Irving Place theater like any other German theater was caused by various many factors: anti-German prejudice, German America's lack of interest in the German stage, and other competing forms of entertainment such as films, English-language theater, and the vaudeville.
194:(The Promise Behind the Hearth). Conried sought to expand and educate his audience through the institution of an outreach program in eastern universities, providing performances of the German classics and comedies to students from Yale, Harvard, Princeton, Cornell, and Columbia. Through this program, students were encouraged to regularly attend the Irving Place Theater. In 1901, sponsored by Yale's German Department, Conried's company performed Lessing's
585:(February 25, 1940) - "Outside the New Irving Place Theatre, at Fifteenth Street, the actors have posted a sign that reads: 'We are a young cooperative group, pro-labor to a man,' After giving 'Othello' for a week despite picket lines established by A.F. of L. theatrical unions, a group of youthful actors checked up on their box-office receipts yesterday and discovered that they had taken in $ 74"
245:; from the late 1910s to the early 1920s, Yiddish theater gradually moved northward, first to Second Avenue and then to Irving Place and East 16th Street, reflecting the beginning dispersion of the East European immigrant Jewish community. The Irving Place theater came under the management of Jewish actor, director, and producer
257:(trash) popular entertainment. For the immigrant community, Yiddish theater offered entertainment, an escape, and reminisces of immigrant life and home traditions. When the theater opened for the first time as the new Yiddish Art Theater on August 30, 1918, it did not find huge success. Zalmen Libibin's
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played different social functions. Ethnic stages such as
Yiddish and Italian theater sought to preserve cherished aspects of old-world culture. Through the celebration of shared values, ethnic theaters gave immigrants a sense of community and solidarity in the face of increasingly chaotic and diverse
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changed the theater's name to Irving Place
Theater. He worked as a director and manager, establishing the theater's success and financial stability until 1903. Though Conried aimed to primarily attract New York's German-speaking population, not all were regular theatre-goers, so he devised a program
252:
Yiddish
Theater began in Europe in the early 18th century and came to the United States with mass Eastern European immigration, thriving primarily in New York City from the late 19th to mid-20th century. The idea to establish a Yiddish theater came from the immigrant community who wanted to combat
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took over of Irving Place
Theater in 1913 as director of the company alongside two other manager-directors until 1918 when the company disbanded. Christian's vision similarly aligned with that of Conried's. They both sought to present great modern plays and the classics. Under Christians, for the
164:
Comparative Study on ethnic stages in the United States show ethnic stage activity spanning over a century and a half. Ethnic stages were created by and for immigrants themselves coming from Europe, Latin
America, and Asia. Ethnic stages resonated strongly with immigrants because it reflected on
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were undermined by their commitment to produce classic German drama and their desire to give in to mainstream
American demands by merely producing German versions of popular American theater. The German theater's audience was also torn by first and second generation Germans.The type of repertory
272:
After World War I, Yiddish theater in America began to show signs of a struggling show business. Restricted immigration and a demographic movement away from New York City's old neighborhoods affected the Yiddish theater's prosperity. Ever-increasing assimilation by immigrants continually pushed
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was presented in German. Both Christians and Conried desired to attract non-German speakers as their audience though at the core of their audience were German immigrants. Under Christians, the New York Times remarked on how the Irving Place Theater embodied German patriotism in the U.S. before
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with a frequent change of bill to expand his audience. Each week he presented three or more different plays ranging from classics to comedies, and his theater was acclaimed for having a varied repertory. Musical plays were also presented, especially those popular on German stages such as
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examines the German theater's demise in a study, conveying that the German theater's collapse in American culture had little to do with the animosities against German immigrants produced by World War I and more to do with German theater's assimilation into American culture.
37:
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actors, the "Merely Players", whose productions were picketed by the theatrical unions. During World War II it presented a steady program of mixed bills of Soviet propaganda and French films, as well as weekly folk dance sessions.
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in New Haven. In 1903, after being manager at the Irving Place for ten years, Conried took directorship of the Metropolitan Opera but would still continue as director of the Irving place until he fell ill and resigned in 1908.
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The vaudeville was also another competing form of entertainment eager to lure in immigrants as audience members. The vaudeville and the
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Clemente Giglio converted the theatre in 1939 into a cinema to present Italian films. In 1940 it was taken over by a group of non-
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in 1918, and he changed the name to the new Yiddish Art Theater. His new theater thrived until it is disbanded in 1950.
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did not meet audience and critic expectations. The new theater would find success with Peretz Hershbein's The
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in 1888 under the management of Gustav Amberg, as a home for German-language theatre.
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in New York City, and Yiddish companies had taken over many German theaters on the
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Gateway to the Promised Land: Ethnic Cultures on New York's Lower East Side
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430:"German Drama to Move; Irving Place Theatre Will Be Yiddish Playhouse"
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The Cambridge History of English and American Literature in 18 Volumes
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fame, was musical director of the theater during the 1920s and 1930s.
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419:". Internet Broadway Database. ibdb.com. Retrieved April 13, 2017.
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The Immigrant Scene: Ethnic Amusements in New York 1880-1920
68:. Built in 1888, it served as a German language theatre, a
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Music in German Immigrant Theater: New York City 1840-1940
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The Irish Way: Becoming American in the Multiethnic City
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The theater is the setting for the 2013 fictional play,
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Ward & Trent; et al., eds. (1907–1921). "23".
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New York's Yiddish Theater From the Bowery to Broadway
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took over management in 1893, and changed the name to
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showing 'burlesk' sign in contrast to 1938 'follies'
874:. New York: Columbia University Press. p. 154.
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578:"Show That Defies Unions Takes In $ 74 in a Week"
461:Striptease: the untold history of the girlie show
40:An undated photograph of the Irving Place Theatre
1136:Demolished buildings and structures in Manhattan
80:and a movie theatre. It was demolished in 1984.
220:first time in the U.S., George Bernard Shaw's
997:. Minneapolis: University of Minnesota Press.
8:
122:In 1918 the facility became the home of the
1116:Buildings and structures demolished in 1984
969:. Rochester: University of Rochester Press.
1131:1984 disestablishments in New York (state)
76:house, a union meeting hall, a legitimate
851:The A to Z of American Theater: Modernism
310:"Cinema Treasures - Irving Place Theatre"
1071:German-American culture in New York City
95:The facility was rebuilt, and opened as
1006:. New York: Cambridge University Press.
978:. New York: New York University Press.
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853:. Lanham: Scarecrow Press. p. 528.
849:James, Fisher; Hardison Londre (2008).
324:"Union Square Loses Its Old Residences"
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48:was located at the southwest corner of
934:"A Play's Love Woes Cut Close to Home"
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202:The Irving Place Theater like other
1091:Former cinemas in the United States
1004:Cambridge Guide to American Theatre
557:"The Screen: Ethiopian War in Film"
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1076:Cultural history of New York City
533:"The Best Plays of 1938 and 1939"
160:Ethnic theater and the immigrant
126:company under the management of
397:. November 14, 1912. p. 11
670:. New York: The Penguin Press.
107:. The first night of the play
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1106:Jews and Judaism in Manhattan
192:Das Versprechen hinter’m Herd
134:shows were offered alongside
1086:Former theatres in Manhattan
181:In 1893, Polish immigrant,
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1111:Theatres completed in 1888
666:Barrett, James R. (2012).
26:
1081:Music venues in Manhattan
267:The Blacksmith's Daughter
138:drama. Composer-arranger
1002:Wilmeth, Don B. (1996).
27:For the rock venue, see
993:Haenni, Sabine (2008).
467:Oxford University Press
457:Shteir, Rachel (2004).
386:"The Fool´s Game Acted"
237:was flourishing on the
97:Amberg's German Theatre
364:: G.P. Putnam’s Sons.
41:
1042:40.73472°N 73.98861°W
974:Maffi, Mario (1995).
965:Koegel, John (2009).
39:
531:Burns Mantle (ed.).
229:As a Yiddish theater
188:Kumarker und Picarde
105:Irving Place Theatre
46:Irving Place Theatre
1047:40.73472; -73.98861
1038: /
827:, pp. 127–128.
438:. February 14, 1918
417:Yiddish Art Theatre
360:. Vol. XVIII.
259:Man and his Shadow,
209:Peter Conolly-Smith
177:As a German theater
124:Yiddish Art Theater
1066:Burlesque theatres
1018:Undated photograph
939:The New York Times
435:The New York Times
394:The New York Times
332:The New York Times
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512:on March 14, 2016
480:978-0-19-512750-8
217:Rudolf Christians
196:Minna von Barheim
16:(Redirected from
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813:Koegel 2009
798:Koegel 2009
777:Haenni 2008
765:Haenni 2008
753:Haenni 2008
738:Koegel 2009
726:Koegel 2009
711:Koegel 2009
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684:Koegel 2009
643:Koegel 2009
631:Koegel 2009
610:Koegel 2009
598:Koegel 2009
537:Google Play
140:Harry Lubin
90:Irving Hall
54:15th Street
18:Irving Hall
1060:Categories
1033:73°59′19″W
837:Maffi 1995
825:Maffi 1995
291:References
277:In culture
109:Narrentanz
1030:40°44′5″N
542:March 16,
516:March 16,
506:apm Music
401:August 1,
284:The Nance
222:Pygmalion
132:burlesque
74:burlesque
62:Manhattan
52:and East
870:(2016).
486:June 14,
442:June 14,
362:New York
339:June 14,
233:By 1910
959:Sources
136:Yiddish
84:History
78:theatre
56:in the
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243:Bowery
215:Actor
153:Equity
389:(PDF)
327:(PDF)
296:Notes
255:shund
142:, of
115:) by
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948:2014
544:2016
518:2016
488:2009
475:ISBN
444:2009
403:2011
366:ISBN
341:2009
265:and
190:and
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