975:), a play of intrigue. Tissot's account of what he saw gives an interesting picture of the theatres and audiences Goldfaden's troupe encountered outside of the big cities. "Berdichev," he begins, "has not one cafe, not one restaurant. Berdichev, which is a boring and sad city, nonetheless has a theatrical hall, a big building made of rough boards, where theatre troupes passing through now and then put on a play." Although there was a proper stage with a curtain, the cheap seats were bare benches, the more expensive ones were benches covered in red percale. Although there were many full beards, "there were no long caftans, no skullcaps." Some of the audience were quite poor, but these were assimilated Jews, basically secular. The audience also included Russian officers with their wives or girlfriends.
833:
birth: in general, writes
Bercovici, theory ran ahead of practice. Much of the Jewish community, Goldfaden included, were already familiar with contemporary theatre in other languages. The initial itinerary of Goldfaden's company – Iaşi, Botoşani, Galaţi, Brăila, Bucharest – could as easily have been the itinerary of a Romanian-language troupe. Yiddish theatre may have been seen from the outset as an expression of a Jewish national character, but the theatrical values of Goldfaden's company were in many ways those of a good Romanian theatre of the time. Also, Yiddish was a German dialect which became a well-known language even among non-Jews in
395:
2739:
475:, then a journalist, saw one of the Pomul Verde performances. He recorded in his review that the company had six players. (A 1905 typographical error would turn this into a much-cited sixteen, suggesting a grander beginning for Yiddish theatre.) He was impressed by the quality of the singing and acting, but found the pieces "without much dramatic interest. His generally positive comments would seem to deserve to be taken seriously: Eminescu was known generally as "virulently
1130:, memorised it all (including the songs), and took the whole package to Kalman Juvilier, who put on an unauthorised production in Iaşi. Such outright theft was possible because once Ion Ghica headed off on a diplomatic career, the National theatre, which was supposed to adjudicate issues like unauthorised performances of plays, was no longer paying much attention to Yiddish theatre. (Juvilier and Goldfaden finally reached an out-of-court settlement.)
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551:, their first actress. She was not yet out of her teens. After seeing her perform in their Galaţi premiere, her mother objected to her unmarried daughter cavorting on a stage. Goldstein – who, unlike Goldfaden and Grodner, was single – promptly married her and she remained with the troupe. (Besides being known as Sara Segal and Sofia Goldstein, she became best known as Sofia Karp, after a second marriage to actor
44:
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audience was used to seeking just "a good glass of Odobeşti and a song." Years later, he would paraphrase the typical
Yiddish theatregoer of the time as saying to him: "We don't go to the theatre to make our head swim with sad things. We have enough troubles at home... we go to the theatre to cheer ourselves up. We pay up a coin and hope to be distracted, we want to laugh from the heart."
465:); sources disagree. (Some reports suggest that Goldfaden himself was a poor singer, or even a non-singer and poor actor; according to Bercovici, these reports stem from Goldfaden's own self-disparaging remarks or from his countenance as an old man in New York, but contemporary reports show him to have been a decent, though not earth-shattering, actor and singer.)
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proposition. Librescu's wife remarked that
Yiddish-language journalism was just a way to starve and suggested that there would be a lot more of a market for Yiddish-language theatre. Librescu offered Goldfaden 100 francs for a public recital of his songs in the garden of Shimen Mark, Grădina Pomul Verde ("the Green Fruit-Tree Garden").
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Laugh heartily if I amuse you with my jokes, while I, watching you, feel my heart crying. Then, brothers, I'll give you a drama, a tragedy drawn from life, and you, too, shall cry – while my heart shall be glad." Nonetheless, his "war with the public" was based on understanding that public. He would also write, "I wrote
276:(1901–1906) says that "Goldfaden's Hebrew poetry ... possesses considerable merit, but it has been eclipsed by his Yiddish poetry, which, for strength of expression and for depth of true Jewish feeling, remains unrivalled". The first book of verse in Yiddish was published in 1866, and in 1867 he took a job teaching in
770:) in Romania, where the populace – Jews as much as Romanians – believe strongly in witches." Local superstitions and concerns always made good subject matter, and, as Bercovici remarks, however strong his inspirational and didactic intent, his historical pieces were always connected to contemporary concerns.
1029:), he briefly took on the job of director of Mogulescu's new "Rumanian Opera House"; they parted ways again after the failure of their first play, whose production values were apparently not up to New York standards. Goldfaden attempted (unsuccessfully) to found a theatre school, then headed in 1889 for
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However, it was not a propitious time to return to
Romania. Yiddish theatre had become a business there, with slickly written advertisements, coordinated performances in multiple cities using the same publicity materials, and cut-throat competition: on one occasion in 1895, a young man named Bernfeld
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as a commercially successful medium, it was
Goldfaden's higher aspirations for it that eventually earned him recognition as "the Yiddish Shakespeare." As a man broadly read in several languages, he was acutely aware that there was no Eastern European Jewish tradition of dramatic literature – that his
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Goldfaden was churning out a repertoire – new songs, new plays and translations of plays from
Romanian, French, and other languages (in the first two years, he wrote 22 plays, and would eventually write about 40) – and while he was not always able to retain the players in his company once they became
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This recruiting of cantors was not without controversy: Cantor Cuper (also known as Kupfer), the head cantor of the Great
Synagogue, considered it "impious" that cantors should perform in a secular setting, to crowds where both sexes mingled freely, keeping people up late so that they might not be on
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As the season for outdoor performances was coming to a close, Goldfaden tried and failed to rent an appropriate theatre in Iaşi. A theatre owner named
Reicher, presumably Jewish himself, told him that "a troupe of Jewish singers" would be "too dirty." Goldfaden, Grodner, and Goldstein headed first to
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Buoyed by his success in Lvov, he returned to
Bucharest in 1892, as director of the Jigniţa theatre. His new company again included Lazăr Zuckermann; other players were Marcu (Mordechai) Segalescu, and later Iacob Kalich, Carol Schramek, Malvina Treitler-Löbel and her father H. Goldenbers. Among his
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Kalman
Juvelier, an actor in Ber Ghimpel's company, credited Goldfaden with greatly strengthening the calibre of performance in Lviv during his brief time there, reporting that Goldfaden worked with every actor on understanding his or her character, so as to ensure that the play was more than just a
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now dominated Yiddish theatre in Romania, with about ten lesser companies competing as well. Mogulescu was a towering figure in Bucharest theatre at this point, lauded on a level comparable to the actors of the National theatre, performing at times in Romanian as well as Yiddish, drawing an audience
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was a valuable ally for Yiddish theatre in Bucharest. On several occasions he expressed his favourable view of the quality of the acting, and even more of the technical aspects of the Yiddish theatre. In 1881, he obtained for the National Theatre the costumes that had been used for a Yiddish pageant
1033:, rather low on funds. There he wrote some poetry, worked on a play that he didn't finish at that time, and put together a theatre company that never got to the point of putting on a play (because the cashier made off with all of their funds). In October 1889 he scraped together the money to get to
613:(Sigmund Mogulesko), who soon became a stage star. Orphaned by the time he reached his teen years, Mogulescu had already made his way in the world as a singer – not only as a soloist in the Great Synagogue of Bucharest but also as a performer in cafes, at parties, with a visiting French
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in 1876, Goldfaden was fortunate to be better known as a good poet — many of whose poems had been set to music and had become popular songs — than as a less-than-successful businessman. Nevertheless, when he sought funds from Isaac Librescu for another newspaper, Librescu was uninterested in that
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Goldfaden wrote that this attitude put him "pure and simply at war with the public." His stage was not to be merely "a masquerade"; he continued: "No, brothers. If I have arrived at having a stage, I want it to be a school for you. In youth you didn't have time to learn and cultivate yourself...
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Cutthroat competition was nothing to what was to follow. The 1890s were a tough time for the Romanian economy, and a rising tide of anti-Semitism made it an even tougher time for the Jews. One quarter of the Jewish population emigrated, with intellectuals particularly likely to leave, and those
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Goldfaden was both a theoretician and a practitioner of theatre. That he was in no small measure a theoretician – for example, he was interested almost from the start in having set design seriously support the themes of his plays – relates to a key property of Yiddish theatre at the time of its
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to legally establish a "dramatic society" to handle administrative matters. From those papers, it is known that the troupe at the Jigniţa included Moris Teich, Michel Liechman (Glückman), Lazăr Zuckermann, Margareta Schwartz, Sofia Palandi, Aba Goldstein, and Clara Goldstein. We also know from
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Almost from the first, Yiddish theatre drew a level of theatre criticism comparable to any other European theatre of its time. For example, Bercovici cites a "brochure" by one G. Abramski, published in 1877, that described and gave critiques of all of Goldfaden's plays of that year. Abramski
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Lviv was not exactly a dramatist's dream. Leon Dreykurs described audiences bringing meals into the theatre, rustling paper, treating the theatre like a beer garden. He also quotes Jacob Schatzky: "All in all, the Galician milieu was not favourable to Yiddish theatre. The intellectuals were
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In Russia, Goldfaden and his troupe drew large audiences and were generally popular with progressive Jewish intellectuals, but slowly ran afoul of both the Czarist government and conservative elements in the Jewish community. Goldfaden was calling for change in the Jewish world:
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and in the adjoining Jewish areas in Romania, and when he left it was never to go to Palestine, but to cities such as New York, London or Paris. This might be understandable when the number of his potential Jewish spectators in Palestine in his time was very small.
1025:, with no notable success. In 1887 he went to New York (as did Mogulescu, independently). After extensive negotiations and great anticipation in the Yiddish-language press in New York ("Goldfaden in America," read the headline in the 11 January 1888 edition of the
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445:, the performance at Grădina Pomul Verde was only a bit more of a play than Grodner had participated in three years earlier. The songs were strung together with a bit of character and plot and a good bit of improvisation. The performance by Goldfaden, Grodner,
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called him "both a poet and a prophet", and noted that "there was more evidence of genuine sympathy with and admiration for the man and his work than is likely to be manifested at the funeral of any poet now writing in the English language in this country."
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company, and even in a church choir. Before his voice changed, he had sung with Zuckerman, Dinman, and Moses Wald in the "Israelite Chorus", performing at important ceremonies in the Jewish community. Mogulescu's audition for Goldfaden was a scene from
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A call like this might be a bit ambiguous, but it was unsettling to those who were on the side of the status quo. Yiddish theatre was banned in Russia starting September 14, 1883, as part of the anti-Jewish reaction following the assassination of Czar
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With a loan from Librescu, Goldfaden headed east with a group of 42 people, including performers, musicians, and their families. After the end of the Russo-Turkish War he and his troupe travelled extensively through Imperial Russia, notably to
900:. The timing was opportune: the end of the war meant that much of his best audience were now in Odessa rather than Bucharest; Rosenberg had already quit Goldfaden's troupe and was performing the Goldfadenian repertoire in Odessa.
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While Yiddish theatre continued successfully in various places, Goldfaden was not on the best terms at this time with Mogulescu. They had quarrelled (and settled) several times over rights to plays, and Mogulescu and his partner
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While one may argue over which performance "started" Yiddish theatre, by the end of that summer in Bucharest Yiddish theatre was an established fact. The influx of Jewish merchants and middlemen to the city at the start of the
609:(also known as Laiser Zuckerman; as a song-and-dance man, he would eventually follow Goldfaden to New York and have a long stage career), Moishe Zilberman (also known as Silberman), and Simhe Dinman, as well as the 18-year-old
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1153:, Horowitz, and Shumer kept writing, and occasionally managed to put on a play, it was not a good time for Yiddish theatre – or any theatre – in Romania, and would only become worse as the economy continued to decline.
378:. The limits of the economic sense of this enterprise can be gauged from his inability to pay a registration fee of 3000 ducats. He tried unsuccessfully to operate the paper under a different name, but soon moved on to
239:, or Jewish Enlightenment, and his father, a watchmaker, arranged that he receive private lessons in German and Russian. As a child, he is said to have appreciated and imitated the performances of wedding jesters and
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Goldfaden wandered Europe as a poet and journalist. His plays continued to be performed in Europe and America, but rarely, if ever, did anyone send him royalties. His health deteriorated – a 1903 letter refers to
2630:("One hundred years of Yiddish/Jewish theatre in Romania"), 2nd Romanian-language edition, revised and augmented by Constantin Măciucă. Editura Integral (an imprint of Editurile Universala), Bucharest (1998).
880:) — a work that Goldfaden apparently wrote to accommodate a pretty, young actress who in the performance was too nervous to deliver her lines — that the only evidence of Goldfaden's authorship was his name.
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Date according to . Bercovici's dates have been boldfaced where dates are disputed; they may reasonably be seen as authoritative if no earlier date is given, since most are based on specific, cited theater
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1200:, even worse off than himself because he had found himself unable to write since coming to America in 1889. Shortly afterwards, he met a group of young people who had a Hebrew language association at the
797:; thus, a play by a German aristocrat and Russian spy became the first non-comic play performed professionally in Yiddish. After his initial burst of mostly vaudevilles and light comedies (although
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wrote of his works: "we find points in common with what we now call 'total theatre'. In many of his plays he alternates prose and verse, pantomime and dance, moments of acrobatics and some of
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Goldfaden left Romania in 1896; soon Juvilier's was the only active Yiddish theatre troupe in the country, and foreign troupes had almost entirely ceased coming to the country. Although
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As in Iași, Goldfaden arrived in Bucharest with his reputation already established. He and his players performed first in the early spring at the salon Lazăr Cafegiu on Calea Văcărești (
536:) in an indoor theatre ("with loges!" as Goldfaden wrote) was followed by days of rain so torrential that no one would come out to the theatre; they pawned some possessions and left for
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Although Goldfaden, by his own account, was familiar at this time with "practically all of Russian literature", and also had plenty of exposure to Polish theatre, and had even seen an
1212:), which they performed in March 1906, the first Hebrew-language play to be performed in America. Repeat performances in March 1907 and April 1908 drew successively larger crowds.
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1004:. Goldfaden and his troupe were left adrift in Saint Petersburg. They headed various directions, some to England, some to New York City, some to Poland, some to Romania.
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Nonetheless, Iacob Ber Ghimpel, who owned a Yiddish theatre there, was glad to have a figure of Goldfaden's stature. Goldfaden completed the play he'd started in Paris,
1298:); he served as a delegate from Paris to the World Zionist Congress in 1900. Still, he spent most of his life (and set slightly more than half of his plays) in the
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1233:—by now the owner of a prominent New York Yiddish theatre—optioned and ignored it, even accusing Goldfaden of being "senile", it premiered successfully at rival
868:), and praised its incorporation of strong female roles. He also criticized where he saw weaknesses, noting how unconvincingly a male actor played the mother in
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from Paris, authorising him to sell his remaining possessions in Romania, clothes and all. This gave him the money to head once more to New York in 1904.
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on Str. Negru Vodă that up until then had drawn only a neighbourhood crowd. He filled out his cast from the great pool of Jewish vocal talent: synagogue
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2718:), 9-15. There is much interesting material here, but Sandrow does retail a story about Goldfaden being a poor stage performer, which Bercovici debunks.
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resulted only in getting the paper suspended and landing himself a rather large fine. On March 31, 1905, he recited poetry at a benefit performance at
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This is the primary source for the article. Bercovici cites many sources. In particular, the account of the 1873 concert in Odessa is attributed to
660:, the highly cultured scion of a wealthy Russian Jewish family, both of whom actually joined Goldfaden's troupe, but soon left to found the first
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Even in the first couple of years of his company, Goldfaden did not shy away from serious themes: his rained-out vaudeville in Botoşani had been
920:," "a cavalier," "as difficult to approach as an emperor." He continued to turn out plays at a prolific pace, now mostly serious pieces such as
636:), starring Mogulescu as the almost painfully clueless and hapless young man (a role later famously played in New York and elsewhere by actress
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Goldfaden seems, in Bercovici's words, to have lost "his theatrical elan" in this period. He briefly put together a theatre company in 1886 in
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performance. However, in the circumstances, the designation of a single performance as "the first" may be nominal: Goldfaden's first actor,
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335:), which went through three editions in three years. At this time, he and Paulina were living mainly on his meagre teacher's salary of 18
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813:, also from 1880. Goldfaden himself suggested that this increasingly serious turn became possible because he had educated his audience.
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1237:'s People's theatre December 25, 1907, with music by H. Friedzel and lyrics by Mogulescu, who was by this time an international star.
430:(songs by Goldfaden, among others) that apparently included significant improvised material between songs, although no actual script.
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similar papers that when Grodner and Mogulescu walked out on Goldfaden to start their own company, it included (besides themselves)
251:, from which he emerged in 1866 as a teacher and a poet (with some experience in amateur theatre), but he never led a congregation.
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Bercovici, 1998, 89-90 attributes the account to Juvilier, although Sandrow, 2003, 12, tells this as being Leon Blank, not Juvilier
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Anca Mocanu, Avram Goldfaden şi teatrul ca identitate, Editura Fundaţia Culturală „Camil Petrescu” - revista „Teatrul Azi”, 2012
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known as Reb Moishe Bas. He had no formal artistic training, but he proved to be good at the job, and joined the troupe, as did
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Avenue, in the heart of the Jewish quarter), then, once the weather turned warm, at the Jignița garden, a pleasant tree-shaded
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intellectuals who remained were more interested in politics than in theatre: this was a period of social ferment, with Jewish
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theatre. Goldfaden's strong turn toward almost uniformly serious subject matter roughly coincided with bringing his troupe to
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helped him set some of his poems to music. In Odessa, Goldfaden renewed his acquaintance with fellow Yiddish-language writer
1937:
696:), and Yiddish theatre had become big theatre, with elaborate sets, duelling choruses, and extras to fill out crowd scenes.
528:, where they lived in a garret and Goldfaden continued to churn out songs and plays. An initial successful performance of
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426:, was already singing Goldfaden's songs (and others) in the salons of Iaşi. Also, in 1873, Grodner sang in a concert in
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Literature by and about Abraham Goldfaden in University Library JCS Frankfurt am Main: Digital Collections Judaica
841:), an important language of commerce; the fact that one of the first to write about Yiddish theatre was Romania's
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training ground for Yiddish theatre. By the end of the year, others were writing Yiddish plays as well, such as
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355:
2757:, The Camil Petrescu Cultural Foundation - „Teatrul Azi” magazine Publishing, Romanian theatre Gallery series
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Sources disagree about the dates (and even the names) of some of Goldfaden's plays. The titles here represent
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and one of his last plays was written in Hebrew; several of his plays were implicitly or explicitly Zionist (
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estimated that 75,000 people turned out for his funeral, joining the procession from the People's theatre on
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stars in their own right, he continued for many years to recruit first-rate talent, and his company became a
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for English theatre. He discussed what a Yiddish theatre ought to be, noted its many sources (ranging from
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on the invitation of Isaac Librescu (1850–1930), a young wealthy community activist interested in theatre.
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Date according to as a conservative date (that is, the play is known to have been written by this time).
2407:. Many of these may be on the mark, but some (such as the absurdly early 1877 for a serious work such as
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assimilated, but the masses were fanatically religious and they viewed Jewish 'comedians' with disdain."
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After that time, Goldfaden continued miscellaneous newspaper work, but the stage became his main focus.
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performance; either this or an indoor performance he and his fellow performers gave later that year in
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2682:(1901–1906). The article is not terribly well researched, but is useful for the names of books, etc.
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In November 2009, Goldfaden was the subject of postage stamps issued jointly by Israel and Romania.
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suggests that it may have had equally as much to do with the arrival in Romania, at the time of the
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languages and author of some 40 plays. Goldfaden is considered the father of modern Jewish theatre.
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2602:; the names are useful, but some of the dates are certainly incorrect. Retrieved January 11, 2005.
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1258:; in recent scholarship the number of mourners has been given as 30,000. In a follow-up article
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a year, supplemented by his giving private lessons and taking a job as a cashier in a hat shop.
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on the coronation of King Solomon, which had been timed in tribute to the actual coronation of
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Gott's vunder (performed by Marcus Eisenberg), which is the final song from Goldfaden's play
1053:("Rabbi Yoselman, or The Alsatian Decree"), in five acts and 23 scenes, based on the life of
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366:(which was well reputed, but was soon shut by the government). A year later, he moved on to
307:(whose daughter Paulina would become Goldfaden's wife) and published poems in the newspaper
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449:, and possibly as many as three other men went over well. The first performance was either
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2293:"75,000 At Poet's Burial – East Side Streets Thronged with Mourners for Abraham Goldfaden"
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speculated that the present day might be for Yiddish theatre a moment comparable to the
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247:"Abie the Jester." In 1857 he began studies at the government-run rabbinical school at
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In America, he again tried his hand at journalism, but a brief stint as editor of the
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years before that movement developed". In 1865 he published his first book of poetry,
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2568:— "East Side Honors Poet of its Masses; Cooper Union Throng Cheers Eliakum Zunser,"
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were reasonably sophisticated plays), Goldfaden would go on to write many serious
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young men into the army. Before the end of 1876, Goldfaden had already translated
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Instead of a simple recital, Goldfaden expanded the program into something of a
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858:
540:, which was to prove a bit more auspicious, with a successful three-week run.
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2612:, translated and with commentary by Lulla Rosenfeld, Knopf, New York, 1999,
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Avrom Goldfaden and the Modern Yiddish theatre: The Bard of Old Constantine
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and spitting up blood – and he was running out of money. In 1903, he wrote
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http://www.fnt.ro/2012/en/Program/Avram-Goldfaden-and-theatre-as-Identity/
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291:. He lived initially in his uncle's house, where a cousin who was a good
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2789:(New York) January 7, 2004: review of a 2003 performance of Goldfaden's
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Goldfaden wrote hundreds of songs and poems. Among his most famous are:
346:, intending to study medicine. This did not work out, and he headed for
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626:), which formed the basis later that year for Goldfaden's light comedy
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After the successful run in Galaţi came a less successful attempt in
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358:, where he again met up with Linetsky, now editor of a weekly paper,
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play performed in the United States. The Avram Goldfaden Festival of
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The Face of Survival: Jewish Life in Eastern Europe Past and Present
495:(a dialogue between "an infatuated philosopher" and "an enlightened
479:." Eminescu appears to have seen four of Goldfaden's early plays: a
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Goldfaden died in New York City in 1908. A contemporary account in
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590:. He also recruited two eminently respectable classically trained
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Free song lyrics in Yiddish and sheet music by Abraham Goldfaden
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Yiddish>English transliteration, though other variants exist.
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had greatly expanded the audience; among these new arrivals were
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1329:
1034:
809:-language plays on Jewish themes, perhaps the most famous being
347:
327:), included with some verses in a modestly successful 1869 book
233:), but his middle-class family was strongly associated with the
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People from the United Principalities of Moldavia and Wallachia
219:). His birth date is sometimes given as 12 July, following the
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Goldfaden's father wrote him to solicit the troupe to come to
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821:, of Russian Jews who had been exposed to more sophisticated
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what is generally credited as the world's first professional
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Avraham Levinson - article in Hebrew about Goldfaden on line
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In Galaţi they acquired their first serious set designer, a
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Goldfaden's first published poem was called "Progress"; his
1037:, where his reputation as a poet again came to his rescue.
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had honed its act and it was time to go to the capital,
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series of songs and effects, and was respected by all.
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when Goldfaden's company was there. He saw two plays –
398:
Avram Goldfaden's statue near the Iaşi National Theatre
2251:
2249:
1274:
Goldfaden had an on-again off-again relationship with
185:, Romania, is named after him and held in his honour.
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theatre troupe. He was also responsible for the first
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2131:
2129:
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Libretto for Abraham Goldfaden's historical operetta
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ending with its protagonists abandoning New York for
751:
While light comedy and satire might have established
2775:"Akeydes Yitskhok - Goldfaden's Masterpiece Revived"
1425:
The Infatuated Philosopher and the Enlightened Hasid
1069:) that gave a less-than-optimistic view of America.
195:
who woke up the lethargic Romanian Jewish culture".
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Culture Front - Representing Jews in Eastern Europe
121:
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27:
Russian-born Jewish poet and playwright (1840–1908)
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1528:The Capricious Bride or Pauper-son and Hunger-man
2919:19th-century translators from the Russian Empire
2648:Archiv far der geşihte dun idişn teater un drame
146:; 24 July 1840 – 9 January 1908), also known as
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2340:"Burial of a Yiddish Poet" (January 12, 1908).
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1524:Di Kaprizneh Kaleh, oder Kaptsnzon un Hungerman
418:is generally counted as the first professional
171:United Principalities of Moldavia and Wallachia
1859:The Tenth Commandment, or Thou Shalt Not Covet
1421:Der Farlibter Maskil un der Oifgeklerter Hosid
1126:attended multiple performances of Goldfaden's
1104:The Tenth Commandment, or Thou Shalt Not Covet
940:, the last being a rather dark operetta about
605:Among the cantors in his casts that year were
493:Der farlibter maskil un der oyfgeklerter hosid
158:poet, playwright, stage director and actor in
967:, first premiered in Botoşani, and the later
374:, where he edited the Yiddish-language daily
8:
1204:Zion Club, and wrote a Hebrew-language play
1018:that went well beyond the Jewish community.
471:Later that summer, the famous Romanian poet
243:to the degree that he acquired the nickname
2894:Yiddish-language dramatists and playwrights
2884:American people of Ukrainian-Jewish descent
2727:YIVO Encyclopedia of Jews in Eastern Europe
2628:O sută de ani de teatru evreiesc în România
2194:
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2164:YIVO Encyclopedia of Jews in Eastern Europe
227:. He attended a Jewish religious school (a
2824:http://ulrich-greve.eu/free/goldfaden.html
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1927:The Fifth Commandment, or Honor Thy Father
1278:. Some of his earliest poetry was Zionist
1183:Meylits Yoysher (The Messenger of Justice)
922:Doctor Almasada, oder Die Yiden in Palermo
42:
31:
2689:, University of Pennsylvania Press, 2008.
2650:, Vilna-New York, 1930, vol. I, pag. 225.
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1881:Doktor Almasada, oder Di Yiden in Palermo
1057:. At this time he also wrote an operetta
948:following the 1881 assassination of Czar
2721:Wolitz, Seth L. (August 9, 2010). "
2685:Benjamin Nathans, Gabriella Safran (ed),
2158:Wolitz, Seth L. (August 9, 2010). "
1465:Di Intrigeh oder Dvosye di pliotkemahern
1061:and a semi-autobiographical play called
1051:Rabi Yoselman, oder Die Gzerot fun Alsas
393:
2755:Avram Goldfaden and theatre as Identity
2107:
1933:Rabi Yoselman, oder Di Gzerot fun Alsas
1885:Doctor Almasada, or The Jews of Palermo
1758:The Struggle of Culture with Fanaticism
1405:Fishel the Carter and His Servant Sider
1401:Fishl der balegole un zayn knecht Sider
927:Doctor Almasada, or The Jews of Palermo
916:later described him at this time as "a
513:Fishel the Carter and His Servant Sider
509:Fishl der balegole un zayn knecht Sider
1938:Rabbi Yoselman, or The Alsatian Decree
1750:Not Me, Not You, Not Cock-a-Doodle-Doo
1229:. After Goldfaden's former bit player
1190:New Yorker Yiddishe Ilustrirte Zaitung
1027:New Yorker Yiddishe Ilustrirte Zaitung
959:named Victor Tissot happened to be in
311:. He also wrote his first two plays,
2696:. Vallentine Mitchell, London, 1992,
1754:Neither This, Nor That, nor Kukerikoo
1445:The Grandmother and the Granddaughter
1215:He also wrote the spoken portions of
376:Dos Bukoviner Israelitishe Folksblatt
299:, whom he knew from Zhytomyr and met
260:obituary described it as "a plea for
7:
2644:for further publication information.
2323:. Cambridge University Press, 1995.
1196:to raise a pension for Yiddish poet
1098:notable plays from this period were
785:working the streets of that town to
629:Shmendrik, oder Die Komishe Chaseneh
223:calendar in use at that time in the
2740:Works by or about Abraham Goldfaden
2672:Jacobs, Joseph and Wiernik, Peter,
2317:Sandrow, Nahma. "Goldfadn, Avrom".
2065:("Sabbath, Festival, and New Moon")
1499:Shmendrik, oder Di komishe Chaseneh
1457:, Yiddish translation of a play by
994:And believe no more in foolishness.
139:
2674:Goldfaden, Abraham B. Hayyim Lippe
2600:Partial list of plays by Goldfaden
2405:Partial list of plays by Goldfaden
2063:"Shabes, Yontev, un Rosh Khoydesh"
1085:This Romanian-language poster for
25:
2864:Emigrants from the Russian Empire
2854:People from Volhynian Governorate
2819:Institute for Jewish Research, NY
1855:Dos Zenteh Gebot, oder Lo Tachmod
1504:Schmendrik or The Comical Wedding
1469:The Intrigue or Dvoisie Intrigued
1353:) wr. 1869 (possibly the same as
1100:Dos zenteh Gebot, oder Lo tachmod
781:), playing with the theme of the
2657:, archived 18 Feb 2006 from the
1923:Dos Finfteh Gebot, oder Kibed Ov
634:Shmendrik or The Comical Wedding
2869:Immigrants to the United States
2591:—, "Burial of a Yiddish Poet,"
2584:—, "75,000 at Poet's Funeral,"
908:(also in Ukraine), Moscow, and
203:, and even of spiritualism..."
2595:, January 12, 1908, p. 8.
2588:, January 11, 1908, p. 1.
2581:, January 10, 1908, p. 7.
342:In 1875, Goldfaden headed for
1:
2849:People from Starokostiantyniv
2669:, no. 44, Winter 2004, 10–19.
2610:A Life on the Stage: A Memoir
2577:—, "Noted Jewish Bard Dead,"
2299:. January 11, 1908. p. 1
2264:Bercovici, 1998, 88,, 91, 248
455:Grandmother and Granddaughter
287:A year later, he moved on to
2813:Abraham Goldfaden Collection
2574:, March 31, 1905, p. 7.
2216:Adler, 1999, 86 (commentary)
1764:Der Heker un der Bleher-yung
1729:Der Ligner, oder Todres Bloz
1534:presumably the same play as
1435:Father-in-Law and Son-in-Law
1089:offers an alternative title
505:Father-in-law and Son-in-Law
2899:Hebrew-language playwrights
2243:Adler, 1999, 262 commentary
872:, or remarking of the play
2945:
2904:Yiddish theatre performers
2320:Cambridge Guide to Theatre
1768:The Butcher and the Tinker
1734:The Liar, or, Todres, Blow
644:time for morning prayers.
499:"), another musical revue
169:In 1876 he founded in the
2411:) are obviously mistaken.
1997:The Catastrophe in Brăila
1846:The Daughter of Jerusalem
1324:(1883), published in 1917
896:, which was then part of
705:Romanian National Theatre
41:
2914:20th-century translators
2859:Ukrainian Ashkenazi Jews
2123:Bercovici, 1998, 237-238
2087:List of Jewish Romanians
2053:"Royzhinkes mit mandlen"
2007:The Messenger of Justice
1993:Di Katastrofe fun Brayla
1540:The Capricious Bridemaid
1441:Di Bobeh mit dem Eynikel
989:From your sleep, wake up
699:Goldfaden was helped by
2929:Jewish Ukrainian actors
2166:. Retrieved 2017-03-03.
1969:Yiddish translation of
1745:Ni-be-ni-me-ni-cucurigu
1536:Di kaprizneh Kaleh-Moyd
1488:Hotye-mir un Zaytye-mir
1015:Moishe "Maurice" Finkel
519:Searching for a theatre
305:Eliahu Mordechai Werbel
2889:Translators to Yiddish
2353:Berkovitz, 2004, 15-16
2182:" (January 10, 1908).
2180:Noted Jewish Bard Dead
2069:"Tsu Dayn Geburtstag!"
1917:The Sacrifice of Isaac
1698:Fir Portselayene Teler
1682:The Two Scatter-Brains
1415:The World and Paradise
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489:The World and Paradise
399:
297:Yitzkhok Yoel Linetzky
211:Goldfaden was born in
2642:article on the author
2234:Adler, 1999, 114, 116
2071:("To Your Birthday!")
1951:Judith and Holofernes
1785:The Witch of Botoşani
1738:Todres the Trombonist
1702:Four Porcelain Plates
1319:
1180:
1114:and a translation of
1112:Judith and Holofernes
1087:The Tenth Commandment
1084:
686:The Tyrannical Banker
682:Der tiranisher bankir
397:
215:(Russia; present day
2114:Bercovici, 1998, 118
2093:Notes and references
1815:Di tsvey Kuni-lemels
1722:Deaf, Dumb and Blind
1718:Toib, Shtum un Blind
1518:Shoemaker and Tailor
1431:Der Shver mitn eydem
1395:The Bundle of Sticks
1365:Polyeh, the Drunkard
944:, written after the
694:Prostitute and Thief
501:Der shver mitn eidem
463:The Bundle of sticks
274:Jewish Encyclopaedia
140:אַבֿרהם גאָלדפֿאַדען
2679:Jewish Encyclopedia
2255:Bercovici, 1998, 88
2225:Adler, 1999, 60, 68
2198:Bercovici, 1998, 58
2137:Berkowitz, 2004, 12
2057:Raisins and Almonds
1961:The Messianic Era?!
1832:The Winter of Death
1594:The Purchased Sleep
1590:Der Gekoyfter Shlof
1514:Shuster un Shnayder
1459:August von Kotzebue
1252:Washington Cemetery
1219:, loosely based on
942:Bar Kokhba's revolt
795:August von Kotzebue
703:, then head of the
688:), or Grodner with
451:Di bobe mitn einikl
2798:"The Sacrifice of
2764:2015-12-24 at the
2593:The New York Times
2586:The New York Times
2579:The New York Times
2571:The New York Times
2423:Date according to
2403:Date according to
2342:The New York Times
2297:The New York Times
2184:The New York Times
2019:) 1906, in Hebrew
1987:Sodom and Gomorrah
1957:Mashiach Tzeiten?!
1821:The Two Kuni-Lemls
1351:The Two Neighbours
1326:
1300:Pale of Settlement
1292:Mashiach Tzeiten?!
1260:The New York Times
1243:The New York Times
1235:Boris Thomashefsky
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1008:The prophet adrift
803:The Two Kuni-Lemls
741:Carol I of Romania
400:
364:Der Alter Yisrulik
317:The Two Neighbours
257:The New York Times
2653:Berkowitz, Joel,
2624:Bercovici, Israil
2282:Sandrow, 2003, 14
2013:David ba-Milchama
1678:Di Tsvey fardulte
1651:Breindele Cossack
1455:The Desolate Isle
1411:Di Velt a Gan-Edn
1371:Anonimeh Komedyeh
1206:David ba-Milchama
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1138:in Iaşi starting
984:Wake up my people
946:pogroms in Russia
819:Russo-Turkish War
714:Jacob Spivakovsky
658:Jacob Spivakovsky
650:Russo-Turkish War
611:Zigmund Mogulescu
562:, but by now the
507:), and a comedy,
485:Di velt a gan-edn
321:Die Murneh Sosfeh
313:Die Tzwei Sheines
282:Crimean Peninsula
266:Tzitzim u-Ferahim
245:Avromele Badkhen,
213:Starokonstantinov
132:Abraham Goldfaden
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122:Years active
69:Starokostiantyniv
48:Abraham Goldfaden
36:Abraham Goldfaden
16:(Redirected from
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2794:Akeydes Yitskhok
2786:The Jewish Press
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1782:, also known as
1775:Di Kishefmakhern
1584:The Two Deaf Men
1566:Di Shtumeh Kaleh
1550:Yontl the Tailor
1482:A Glass of Water
1375:Anonymous Comedy
1347:Di Tzvey Sheynes
1210:David in the War
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654:Israel Rosenberg
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600:Annetta Schwartz
447:Sokher Goldstein
435:African American
333:The Jewish Woman
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2409:Rabi Yoselman
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2195:
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2149:Sandrow, 2003
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2108:
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2088:
2085:
2083:
2080:
2079:
2075:
2070:
2067:
2064:
2061:
2058:
2054:
2051:
2049:("The Angel")
2048:
2045:
2044:
2043:
2037:
2032:
2028:
2024:
2021:
2018:
2014:
2011:
2008:
2004:
2001:
1998:
1994:
1991:
1988:
1984:
1981:
1978:
1977:
1972:
1968:
1966:
1962:
1958:
1955:
1952:
1949:
1946:
1943:
1941:) 1877, 1892
1940:
1939:
1934:
1931:
1928:
1924:
1921:
1918:
1914:
1911:
1909:, 1883, 1885
1908:
1907:
1903:
1901:) 1880, 1883
1900:
1899:
1894:
1890:
1886:
1882:
1879:
1876:
1875:
1870:
1869:Der Sambatyen
1867:
1864:
1860:
1856:
1853:
1851:
1848:) wr. 1880,
1847:
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1816:
1813:
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1780:The Sorceress
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1636:Di Mumeh Sose
1634:
1631:
1628:
1625:
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1611:
1608:
1605:
1604:The Neighbors
1601:
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1387:) 1876, 1877
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1376:
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1366:
1362:
1361:Polyeh Shikor
1359:
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1199:
1195:
1191:
1184:
1169:New York City
1168:
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1067:Messiah Times
1064:
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850:
848:
844:
843:national poet
840:
836:
830:
828:
824:
820:
816:
815:Nahma Sandrow
812:
808:
804:
800:
796:
792:
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776:
771:
769:
768:
763:
757:
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746:
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737:
733:
731:
730:Rosa Friedman
727:
723:
719:
715:
711:
706:
702:
697:
695:
691:
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683:
679:
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669:
667:
663:
659:
655:
651:
645:
641:
639:
635:
631:
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625:
621:
620:Vlăduţu Mamei
616:
612:
608:
603:
601:
597:
593:
589:
585:
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444:
441:, performing
440:
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279:
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263:
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250:
246:
242:
241:Brody singers
238:
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226:
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206:
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103:
99:
95:
94:New York City
86:
82:
78:
75:(present-day
74:
70:
56:
52:
45:
40:
33:
30:
19:
2797:
2793:
2784:
2779:the original
2726:
2709:
2693:
2686:
2677:
2666:
2647:
2639:
2627:
2609:
2606:Adler, Jacob
2592:
2585:
2578:
2569:
2534:productions.
2408:
2349:
2341:
2336:
2318:
2313:
2301:. Retrieved
2296:
2287:
2278:
2269:
2260:
2239:
2230:
2221:
2212:
2203:
2183:
2163:
2154:
2119:
2110:
2068:
2062:
2052:
2047:"Der Malekh"
2046:
2041:
2030:
2026:
2022:
2016:
2012:
2006:
2002:
1996:
1992:
1986:
1983:Sdom Veamora
1982:
1974:
1964:
1960:
1956:
1950:
1944:
1936:
1932:
1926:
1922:
1916:
1912:
1904:
1896:
1892:
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1814:
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1757:
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1749:
1743:
1737:
1733:
1727:
1721:
1717:
1711:
1707:
1701:
1697:
1691:
1688:Di Shvebeleh
1687:
1681:
1677:
1672:The Old Maid
1671:
1668:Di Alte Moyd
1667:
1662:The Purveyor
1661:
1657:
1649:
1645:
1639:
1635:
1629:
1623:
1619:
1613:
1609:
1603:
1599:
1593:
1589:
1583:
1579:
1573:
1569:
1565:
1559:
1556:Vos tut men?
1555:
1549:
1545:
1539:
1535:
1531:
1527:
1523:
1517:
1513:
1507:
1503:
1497:
1491:
1487:
1481:
1478:A Gloz Vaser
1477:
1472:
1468:
1464:
1454:
1448:
1444:
1440:
1434:
1430:
1424:
1420:
1414:
1410:
1404:
1400:
1394:
1390:
1385:The Recruits
1384:
1380:
1374:
1370:
1364:
1360:
1354:
1350:
1346:
1340:
1336:
1327:
1321:
1291:
1283:
1279:
1273:
1265:
1259:
1241:
1239:
1224:
1221:George Eliot
1216:
1214:
1209:
1205:
1194:Cooper Union
1189:
1187:
1182:
1155:
1148:
1144:The Awakener
1143:
1139:
1132:
1127:
1124:
1119:
1111:
1107:
1103:
1099:
1096:
1090:
1086:
1071:
1066:
1062:
1058:
1050:
1048:
1044:
1026:
1020:
1011:
1002:Alexander II
998:
993:
988:
983:
977:
972:
968:
964:
954:
950:Alexander II
935:
931:
925:
921:
917:
902:
887:
877:
873:
869:
851:
839:Transylvania
831:
810:
802:
798:
790:
779:The Recruits
778:
774:
772:
765:
761:
758:
750:
734:
698:
693:
689:
685:
681:
673:
670:
646:
642:
633:
627:
623:
619:
604:
592:prima donnas
577:
557:
545:housepainter
542:
534:The Recruits
533:
529:
522:
512:
508:
504:
500:
492:
488:
484:
470:
467:
462:
458:
454:
450:
439:Ira Aldridge
432:
409:
404:Iaşi (Jassy)
402:Arriving in
401:
375:
370:in Habsburg
363:
359:
348:Lvov/Lemberg
341:
332:
328:
324:
320:
316:
312:
308:
286:
273:
265:
255:
253:
244:
234:
228:
210:
200:
187:
168:
147:
143:
131:
130:
89:(1908-01-09)
66:24 July 1840
29:
2844:1908 deaths
2839:1840 births
2667:Pakn Treger
1976:Gypsy Baron
1640:Aunty Susie
1381:Di Rekruten
1231:Jacob Adler
1120:Gypsy Baron
969:Di Shvebleh
965:Di Rekruten
914:Jacob Adler
859:Purim plays
783:press gangs
775:Di Rekruten
638:Molly Picon
584:beer garden
530:Di Rekruten
477:antisemitic
443:Shakespeare
437:tragedian,
309:Kol-Mevaser
221:"Old Style"
2833:Categories
2563:References
2103:References
1906:Bar Kokhba
1712:The Mirror
1708:Der Shpigl
1600:Di Sheynes
1355:Di Sheynes
1343:) wr. 1869
1341:Aunt Susie
1322:Bar Kochba
1136:socialists
1059:Rothschild
937:Bar Kokhba
918:bon vivant
664:troupe in
624:Mama's Boy
596:Margaretta
549:Sara Segal
412:vaudeville
368:Chernivtsi
329:Die Yidene
325:Aunt Susie
278:Simferopol
207:Early life
62:1840-07-24
1874:Sambation
1842:Shulamith
1838:Shulamith
1620:Der Katar
1492:Leftovers
1471:) 1876,
1296:Palestine
1288:Jerusalem
1284:Shulamith
1202:Dr. Herzl
1140:Der Veker
1077:Bucharest
961:Berdichev
957:Frenchman
932:Shulamith
870:Shmendrik
866:pantomime
811:Shulamith
799:Shmendrik
787:conscript
767:The Witch
736:Ion Ghica
718:P. Şapira
701:Ion Ghica
580:Văcărești
574:Bucharest
568:Bucharest
201:jonglerie
125:1876–1908
2791:operetta
2762:Archived
2659:original
2640:See the
2076:See also
1963:) 1891
1256:Brooklyn
1151:Lateiner
835:Moldavia
674:de facto
615:operetta
553:Max Karp
526:Botoşani
416:Botoşani
384:Moldavia
372:Bukovina
352:Habsburg
249:Zhytomyr
236:Haskalah
150:, was a
113:operetta
2909:Hazzans
2815:at the
2742:at the
2676:in the
2033:, 1908
2023:Ben Ami
1929:), 1892
1919:), 1891
1865:, 1887
1796:Soufflé
1792:, 1887
1692:Matches
1664:), 1877
1654:), 1877
1624:Catarrh
1576:, 1887
1510:, 1879
1286:set in
1276:Zionism
1270:Zionism
1217:Ben Ami
973:Matches
906:Kharkov
894:Ukraine
807:Yiddish
588:cantors
564:company
481:satiric
360:Isrulik
356:Galicia
354:-ruled
293:pianist
280:on the
272:); The
262:Zionism
217:Ukraine
160:Yiddish
152:Russian
142:; born
136:Yiddish
77:Ukraine
2700:
2634:
2616:
2327:
2303:10 May
2009:) 1897
1999:) 1895
1989:) 1895
1953:, 1892
1947:, 1892
1877:) 1882
1834:) 1881
1824:) 1880
1811:) 1878
1770:) 1878
1760:) 1878
1740:) 1878
1736:) (or
1724:) 1878
1714:) 1877
1704:) 1877
1694:) 1877
1684:) 1877
1674:) 1877
1642:) 1877
1632:, 1877
1626:) 1877
1616:) 1877
1606:) 1877
1596:) 1877
1586:) 1877
1562:) 1877
1552:) 1877
1542:) 1887
1520:) 1877
1494:) 1877
1484:) 1877
1461:, 1876
1451:, 1879
1437:) 1876
1427:) 1876
1417:) 1876
1407:) 1876
1397:) 1876
1377:) 1876
1367:) 1871
1248:Bowery
1159:asthma
1110:, and
1023:Warsaw
934:, and
890:Odessa
884:Russia
863:circus
827:Odessa
728:, and
560:Brăila
538:Galaţi
428:Odessa
344:Munich
337:rubles
319:) and
289:Odessa
270:Hebrew
230:cheder
164:Hebrew
156:Jewish
154:-born
2800:Isaac
2710:Zamir
2098:Notes
1312:Plays
1307:Works
1031:Paris
837:(and
680:with
497:Hasid
457:) or
303:poet
101:Genre
2817:YIVO
2698:ISBN
2632:ISBN
2614:ISBN
2325:ISBN
2305:2016
2031:1907
1979:1894
1965:1893
1863:1882
1850:1881
1800:1878
1790:1878
1574:1877
1532:1877
1508:1877
1473:1877
1449:1876
1357:1877
1330:YIVO
1041:Lviv
1035:Lvov
801:and
656:and
598:and
390:Iaşi
380:Iaşi
268:(in
183:Iaşi
162:and
84:Died
54:Born
2725:."
2716:PDF
2665:),
2663:PDF
2598:—,
2162:."
1973:'s
1844:or
1752:or
1506:)
1254:in
1250:to
1223:'s
1146:).
1118:'s
1106:),
930:),
892:in
861:to
793:by
640:).
555:.)
515:).
491:),
382:in
362:or
350:in
2835::
2804:).
2783:.
2638:.
2626:,
2608:,
2539:^
2428:^
2416:^
2358:^
2295:.
2248:^
2191:^
2171:^
2142:^
2128:^
2029:)
1895:,
1891:,
1861:)
1798:,
1788:)
1572:)
1530:)
1447:)
1290:,
1122:.
955:A
952:.
912:.
845:,
829:.
743:.
732:.
724:,
720:,
716:,
712:,
668:.
602:.
570:.
284:.
138::
71:,
2802:"
2796:(
2729:.
2714:(
2704:.
2661:(
2620:.
2344:.
2307:.
2186:.
2178:"
2059:)
2055:(
2025:(
2015:(
2005:(
1995:(
1985:(
1959:(
1935:(
1925:(
1915:(
1883:(
1871:(
1857:(
1840:(
1830:(
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1778:(
1766:(
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622:(
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331:(
323:(
315:(
134:(
79:)
64:)
60:(
20:)
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