{"id":159,"date":"2022-01-20T14:11:00","date_gmt":"2022-01-20T20:11:00","guid":{"rendered":"https:\/\/uwm.edu\/yiddish-stage\/?p=159"},"modified":"2023-06-16T09:40:08","modified_gmt":"2023-06-16T14:40:08","slug":"tea-arciszewska-remembering-the-modernist-playwright-on-her-sixtieth-yortsayt","status":"publish","type":"post","link":"https:\/\/uwm.edu\/yiddish-stage\/tea-arciszewska-remembering-the-modernist-playwright-on-her-sixtieth-yortsayt\/","title":{"rendered":"Tea Arciszewska: Remembering the Modernist Playwright on Her Sixtieth Yortsayt"},"content":{"rendered":"\n

SIXTY YEARS AGO\u00a0today, the Yiddish playwright, actress, theatre company founder, and salonni\u00e8re Tea Arciszewska (c. 1890 \u2013 1962) died in Paris. Although she is now almost completely forgotten, Arciszewska was a mesmerizing and unforgettable figure in the Warsaw Yiddish culture scene, on account of her many Yiddish theatre achievements and her participation in Yiddish literary circles, as well as for her life as a bohemian. As\u00a0Mark Turkow<\/a>\u00a0put it in 1954: \u201cShe deserves to have a whole book written about her; owing to her immense accomplishments in Yiddish cultural life in Poland, thanks to the assistance she rendered Jewish artists in Poland over the course of many decades, and\u2014why deny it?\u2014also due to the tempestuous, romantic life she led.\u201d1<\/a><\/sup>\u00a0Yet although Rafael Federman, in his memorial piece for Arciszewska in the\u00a0Forverts\u00a0<\/em>(Forward) for her first\u00a0yortsayt<\/em>\u00a0in 1963 opines: \u201cthe talented artistic personality [Arciszewska] does not deserve to be forgotten by the Yiddish culture world,\u201d2<\/a><\/sup>\u00a0Arciszewska is virtually unknown today. To the extent that she has been written about by the Digital Yiddish Theatre Project, it has primarily been for her work as an artist\u2019s model for Maurycy Minkowski, and this brief\u00a0mention<\/a>\u00a0is one of the few references to her contributions in English. My goal, in this piece and in my larger, ongoing project to translate her play\u00a0Miryeml<\/em>, is to restore Arciszewska to her rightful place in Yiddish theatre history.<\/p>\n\n\n

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Title page for the 1958 edition of Miryeml<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n

Arcizewska was born around 1890 to the Lipski family, illustrious Ger Hasidim, in a shtetl called\u00a0M\u0142awa<\/a>\u00a0in Congress Poland. Despite the pious family environment, she and her two older sisters each pursued a career in the arts: Sara Lipska became a painter and Liba a dancer. At age sixteen, Arciszewska met her first husband, the artist Szymon Kratka and, in the face of her family\u2019s disapproval, the young couple eloped to Palestine and spent several years there while Kratka attended the newly-created\u00a0Bezalel<\/a>\u00a0art academy.3<\/a><\/sup>\u00a0The Kratkas4<\/a><\/sup>\u00a0then moved to Warsaw, where they became part of\u00a0I. L. Peretz<\/a>\u2019s renowned literary circle. In his epic, seven-volume memoir of Jewish literary life in early twentieth-century Poland,\u00a0Y. Y. Trunk<\/a>\u00a0devotes two chapters to the couple, whom he regards as exotic on account of their travels\u2013and perhaps also due to Arciszewska\u2019s exceptional Hasidic pedigree. He describes the sensation created by Arcisewska (or Tocia, as he calls her)5<\/a><\/sup>:<\/p>\n\n\n\n

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Not many ladies or interesting women would visit Peretz. Yiddish literature was never considered respectable by the women from bourgeois and educated circles of Polish Jewish society. People still looked down on it and saw culture and beauty only in Polish writings. Nevertheless, there were exceptions\u2026Tocia seemed to eclipse [the other women in Peretz\u2019s literary circle]. Truly, in her person a Jewish muse had descended from the heavens.<\/p>\n<\/blockquote>\n\n\n\n

Arciszewska was one of the few women in this social set, and a number of her contemporaries claim that the teenaged bohemian became a muse to Peretz, who was nearly four decades her senior. In his book,\u00a0Yitskhok Leybush Peretz un dos yidishe teater<\/em>\u00a0(Yitskhok Leybush Peretz and the Yiddish Theatre), theatre critic\u00a0Alexander Mukdoyni<\/a>\u00a0claims that she \u201cwas the personification of the Polish-Jewish woman in his dramas.\u201d6<\/a><\/sup>\u00a0Peretz recruited Arciszewska as an actress for his project to create a more artistic Yiddish theatre company, and gave her the stage name \u201cMiryem Izraels,\u201d which she used, starting in 1910, as she performed in plays such as Peretz\u2019s\u00a0S\u2019brent<\/a>\u00a0<\/em>(It\u2019s Burning). In 1925, she founded the renowned\u00a0kleynkunst<\/a><\/em>\u00a0Azazel theatre troupe, in collaboration with such talents as director\u00a0Dovid Herman<\/a>, the first director of S. An-sky\u2019s play,\u00a0Der dibuk<\/a><\/em>\u00a0(The Dybbuk), a great hit of the\u00a0Vilna Troupe<\/a>.<\/p>\n\n\n

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Szymon Kratka illustration of Peretz\u2019s Di goldene Keyt. <\/em>Coutesy of the Yiddish Book Center.<\/figcaption><\/figure>\n<\/div>\n\n\n

<\/p>\n\n\n

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Maurycy Minkowsky painting of Arciszewska as Esterka<\/figcaption><\/figure>\n<\/div>\n\n\n

Arciszewska\u2019s male contemporaries wrote intriguingly\u2014and often titillatingly or condescendingly\u2014about her participation in this artistic milieu. Her princely Hasidic background\u2013prominent Ger lineage on her father\u2019s side and Alexander pedigree on her mother\u2019s\u2013fascinated them. They generally stressed her relationship to Peretz. She is often referred to as the wife of her first husband, Szymon Kratka, and called merely by the nickname \u201cTocia\u201d (without a last name) or \u201cMadam Kratka\u201d (without a first name). They often emphasize her physical appearance (her refinement, her delicacy, a voice some judged as too weak for the stage) and discuss her highly individual style of dressing, which was regarded as both tasteful and aware of Jewish aesthetics, since she wore exotic or antique elements that added to the perception that\u2014as inspiration for Peretz and artist\u2019s model for Minkowski\u2014she was the embodiment of a kind of Jewish womanhood that was appealing for advocates of a Yiddish cultural renaissance. Unfortunately, I have not (yet) found any of her own writings from this period, or any accounts by female contemporaries.<\/p>\n\n\n\n

After surviving World War II, Arciszewska moved to Paris and finished her play\u00a0Miryeml<\/em>, which she had begun before the war and originally dedicated to a daughter who died in childhood. Although Arciszewska wrote other, shorter pieces that she published in the magazine\u00a0Far undzere kinder<\/a>\u00a0<\/em>(For Our Children) and in an almanac published by the Association of Yiddish Writers and Journalists in France, this play is unquestionably the work that defined her literary career. Even critics such as\u00a0Melech Ravitch<\/a>, who had previously maintained that she barely knew Yiddish, wrote glowingly of this play, which he claimed kept Peretz\u2019s legacy alive and (in contrast with an earlier draft from the 1920s) now had a \u201cflawless\u201d form.7<\/a><\/sup>\u00a0In 1954,\u00a0Miryeml<\/em>\u00a0received the Alexander Shapiro Prize for best Yiddish drama from the World Jewish Culture Congress.\u00a0Yankev Shatzky<\/a>, in his speech at the event, compared Arciszewska\u2019s artistry to the writing of modernist playwrights\u00a0Maurice Maeterlinck<\/a>, Peretz, and\u00a0Stanis\u0142aw Wyspia\u0144ski<\/a>. In 1958,\u00a0the play<\/a>\u00a0was published in book form in Canada by Melekh Grafshteyn, with an introduction comprised of three letters by American Yiddish modernist\u00a0Joseph Opatoshu<\/a>\u00a0(who came from the same town in Poland as Arciszewska and had passed away in 1954). N. Sverdlin raved about the play: \u201cAs soon as I received a copy of the book, I sat down to read it, read and could not tear myself away from the powerful drama of the destruction of Polish Jewry, which is portrayed with a dynamic tragedy and a poetic romanticism.\u201d8<\/a><\/sup>\u00a0Another edition<\/a>\u00a0was printed in Paris by Goldene pave in 1959, just one year after the Canadian edition.\u00a0Miryeml<\/em>\u00a0was honored by the gatekeepers of Yiddish literary taste. This recognition is particularly striking because so little attention has been paid to plays written by women in Yiddish. And yet,\u00a0Miryeml<\/em>\u00a0is virtually unknown today.<\/p>\n\n\n

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Advertisement in Haynt<\/em> for the Azazel theatre troupe, which says it is under the artistic direction of Tea Arciszewska, Henryk Berlewi, and Dovid Herman (February 2, 1926)<\/figcaption><\/figure>\n<\/div>\n\n\n

In my work editing\u00a0Plotting Yiddish Drama<\/a>, I have access to dozens of synopses of canonical and more obscure works of Yiddish drama. I have not yet encountered anything like\u00a0Miryeml<\/em>. Anthologies of Yiddish writing about the Holocaust rarely include dramatic works. Yet\u00a0Miryeml\u00a0<\/em>stands out even in comparison with other post-war Yiddish plays about the Holocaust,9<\/a><\/sup>\u00a0since\u00a0Miryeml<\/em>\u2019s topic and style of narration are unique.\u00a0Miryeml<\/em>\u00a0is a dramatic cycle in fifteen scenes about the Holocaust from the perspective of Polish Hasidic children, who make sense of their circumscribed reality through games and stories about rebbes. The play takes its name from the character Miryeml, an orphaned thirteen- or fourteen-year-old whose father was a\u00a0dayan<\/em>\u00a0(judge in a religious court). She suffers from a mental illness and often disturbs the other children with her morbid comments, which are frequently delivered in rhyme. By the end of the play, Miryeml becomes a prophet-like figure, who leads the children from Warsaw towards (she claims) Jerusalem.<\/p>\n\n\n\n

While most Yiddish play translations are from the heyday of Yiddish theatre from the late nineteenth to early twentieth centuries,\u00a0Miryeml<\/em>\u00a0is a post-war work that juxtaposes Jewish folklore with modernist motifs. It is also unusual for a text about the Holocaust, since it is a play that highlights the experience of a female adolescent with a mental illness. Another surprising feature is that it is very vague about who precisely is persecuting the children and why they need to hide in cellars for large portions of the play. Although it is not always obvious from the text how directly Arciszewska wanted to address the Holocaust, it is clear that Opatoshu viewed the play as a response to the\u00a0khurbn\u00a0<\/em>(the Yiddish word for Holocaust), since he wrote in a 1953 letter to Arciszewska: \u201cYou have written something powerful\u2026 I have not encountered such images and scenes in the dozens of books which have already been written about the Holocaust.\u201d10<\/a><\/sup>\u00a0With regards to its modernism, topic, and critical acclaim,\u00a0Miryeml<\/em>\u00a0challenges our expectations of Yiddish dramas and Yiddish women\u2019s writing.<\/p>\n\n\n\n

In February 1962, the\u00a0Forverts<\/em>\u00a0published an obituary of Arciszewska by Paris correspondent\u00a0L\u00e9on Leneman<\/a>. In addition to recounting her life and praising her play\u00a0Miryeml<\/em>, the obituary also sharply criticized the involvement of the communist Kaganovsky Committee, which insisted (as a condition for fulfilling Arciszewska\u2019s wish to be buried next to her last partner, the writer\u00a0Efraim Kaganovsky<\/a>) that their representative Dr. Sloves (presumably playwright\u00a0Henri Chaim Sloves<\/a>) deliver a eulogy.11<\/a><\/sup>\u00a0The fact that her funeral seems, in certain respects, to have become a Yiddishist Cold War battleground simply serves to highlight the extent to which Arciszewska was so well connected with Yiddish cultural figures and Jewish organizations throughout her life. The obituary also includes the final stanza of her last, mournful poem, \u201cDi zilberne laykhters\u201d (The Silver Candlesticks), which she had publishedin 1961.<\/p>\n\n\n\n

In honor of the life and\u00a0yortsayt\u00a0<\/em>of this neglected dramatic writer, who to my knowledge has no archive, I conclude with my translation of her final verse here12<\/a><\/sup>:<\/p>\n\n\n\n

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\n

,\u05d8\u05d9\u05d9\u05e2\u05e8\u05e2 \u05dc\u05d9\u05d9\u05db\u05d8\u05e2\u05e8\u05e1 \u05e4\u05d5\u05df \u05de\u05d9\u05d9\u05df \u05d0\u05b7\u05dc\u05d8\u05e2\u05e8 \u05d4\u05d9\u05d9\u05dd<\/p>\n\n\n\n

\u05f0\u05e2\u05df \u05d0\u05d9\u05e8 \u05f0\u05d0\u05b8\u05dc\u05d8<\/p>\n\n\n\n

\u05d2\u05e2\u05e7\u05d0\u05b8\u05e0\u05d8 \u05d6\u05e2\u05d4\u05e2\u05df \u05d0\u05d5\u05df \u05d4\u05e2\u05e8\u05e2\u05df\u2026 \u05d0\u05d9\u05e8 \u05d6\u05e2\u05d4\u05d8<\/p>\n\n\n\n

,\u05e0\u05d9\u05e9\u05d8 \u05dc\u05d9\u05d9\u05db\u05d8\u05e2\u05e8\u05e1<\/p>\n\n\n\n

\u05f0\u05d9 \u05e2\u05e1 \u05dc\u05e2\u05e9\u05d8 \u05d6\u05d9\u05da \u05d0\u05d5\u05d9\u05e1 \u05de\u05d9\u05d9\u05df \u05dc\u05e2\u05d1\u05e2\u05df\u2026 \u05d0\u05d5\u05df<\/p>\n\n\n\n

\u2013\u05f0\u05d9\u05d9\u05e1\u05d8 \u05e0\u05d9\u05e9\u05d8<\/p>\n\n\n\n

,\u05d0\u05b7\u05d6 \u05d1\u05d0\u05b7\u05dc\u05d3 \u05f0\u05e2\u05d8 \u05d0\u05d9\u05e8 \u05e9\u05d8\u05e2\u05d4\u05df \u05dc\u05e2\u05d1\u05e2\u05df \u05de\u05d9\u05e8<\/p>\n\n\n\n

\u05d0\u05d5\u05df \u05d3\u05d9 \u05dc\u05d9\u05db\u05d8<\/p>\n\n\n\n

\u05f0\u05e2\u05dc\u05e2\u05df \u05d8\u05e8\u05d9\u05e4\u05e2\u05df \u05e9\u05d8\u05d9\u05dc\u2026 \u05de\u05d9\u05d8 \u05e4\u05d0\u05b7\u05e8\u05d2\u05dc\u05d9\u05f0\u05e2\u05e8\u05be<\/p>\n\n\n\n

\u2026\u05d8\u05e2 \u05d8\u05e8\u05e2\u05e8\u05e2\u05df<\/p>\n\n\n\n

\u05e9\u05d8\u05d9\u05dc\u05e2\u05e8 \u05d0\u05d5\u05df \u05e9\u05d8\u05d9\u05dc\u05e2\u05e8\u2026 \u05d1\u05d9\u05d6 \u05d0\u05d9\u05d9\u05d1\u05d9\u05d2 \u05e9\u05d8\u05d9\u05dc<\/p>\n\n\n\n

\u2026\u05f0\u05e2\u05d8 \u05e9\u05d5\u05d9\u05df \u05f0\u05e2\u05e8\u05e2\u05df<\/p>\n<\/div>\n\n\n\n

\n

Dear candlesticks from my long-ago home,<\/p>\n\n\n\n

if you wanted<\/p>\n\n\n\n

You could see and hear\u2026 You don\u2019t<\/p>\n\n\n\n

see candlesticks,<\/p>\n\n\n\n

How my life is blown out\u2026 and<\/p>\n\n\n\n

don\u2019t know\u2013<\/p>\n\n\n\n

That soon you\u2019ll stand by me,<\/p>\n\n\n\n

and the light<\/p>\n\n\n\n

Will drip quietly\u2026 with congeal-<\/p>\n\n\n\n

ed tears\u2026<\/p>\n\n\n\n

Quieter and quieter\u2026 until it has become<\/p>\n\n\n\n

eternal quiet\u2026<\/p>\n<\/div>\n<\/div>\n\n\n\n

Notes<\/h2>\n\n\n\n
    \n
  1. Mark Turkov,\u00a0Di letste fun a groysn dor: geshikhtlekhe epizodn un perzenelkhe zikhroynes vegn yidishe mishpokhes in Poyln<\/em>\u00a0(Buenos Aires: Tsentral-farband fun poylishe yidn in Argentine, 1954), 286.<\/li>\n\n\n\n
  2. Rafoel Federman, \u201cMiryem Izrael \u2013 Tea Arciszewska,\u201d\u00a0Forverts,\u00a0<\/em>February 22, 1963, 10.<\/li>\n\n\n\n
  3. In Yiddish theatre circles, Kratka is best known for designing the tombstone of celebrated actress Ester-Rokhl Kaminska.<\/li>\n\n\n\n
  4. The name Arciszewska comes from her second marriage. I use this name because it was the name used for her published work.<\/li>\n\n\n\n
  5. Yehiel Yeshaia Trunk,\u00a0Poyln: zikhroynes un bilder<\/em>, vol. 5:\u00a0Perets\u00a0<\/em>(New York: Farlag \u201cunzer tsayt,\u201d 1949), 58\u20139.<\/li>\n\n\n\n
  6. Quoted in: Zalmen Zylbercweig,\u00a0Leksikon fun yidishn teater<\/em>, vol. 6 (Mexico City: Elisheva, 1969), 4884.<\/li>\n\n\n\n
  7. Quoted in Zylbercweig,\u00a0Leksikon fun yidishn teater<\/em>, 4888.<\/li>\n\n\n\n
  8. Quoted in Zylbercweig,\u00a0Leksikon fun yidishn teater<\/em>, 4888.<\/li>\n\n\n\n
  9. For instance, Chava Rosenfarb\u2019s\u00a0Der foygl fun geto<\/em>\u00a0(The Bird of the Ghetto) or the dramatic adaptation of Zvi Kolitz\u2019s\u00a0Yosl Rakover redt tsu got<\/em>\u00a0(Yosl Rakover speaks to God).<\/li>\n\n\n\n
  10. Quoted in Zylbercweig,\u00a0Leksikon fun yidishn teater<\/em>, 4887.<\/li>\n\n\n\n
  11. L. Leneman, \u201cA merkvirdike froy iz geshtorbn in Pariz,\u201d\u00a0Forverts<\/em>\u00a0(February 5, 1962): 2.<\/li>\n\n\n\n
  12. Leneman, \u201cA merkvirdike froy iz geshtorbn in Pariz,\u201d 2.<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

    Sixty years ago thoday, the Yiddish playwright, actress, theatre company founder, and salonni\u00e8re Tea Arciszewska (c. 1890 \u2013 1962) died in Paris. <\/p>\n","protected":false},"author":32,"featured_media":160,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","uwm_wg_additional_authors":[]},"categories":[47,32,17],"tags":[],"class_list":["post-159","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-1918-1945","category-literature","category-writers"],"yoast_head":"\nTea Arciszewska: Remembering the Modernist Playwright on Her Sixtieth Yortsayt - Digital Yiddish Theatre Project<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uwm.edu\/yiddish-stage\/tea-arciszewska-remembering-the-modernist-playwright-on-her-sixtieth-yortsayt\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tea Arciszewska: Remembering the Modernist Playwright on Her Sixtieth Yortsayt\" \/>\n<meta property=\"og:description\" content=\"Sixty years ago thoday, the Yiddish playwright, actress, theatre company founder, and salonni\u00e8re Tea Arciszewska (c. 1890 \u2013 1962) died in Paris.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/uwm.edu\/yiddish-stage\/tea-arciszewska-remembering-the-modernist-playwright-on-her-sixtieth-yortsayt\/\" \/>\n<meta property=\"og:site_name\" content=\"Digital Yiddish Theatre Project\" \/>\n<meta property=\"article:published_time\" content=\"2022-01-20T20:11:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-06-16T14:40:08+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2022\/01\/Arciszewska.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"554\" \/>\n\t<meta property=\"og:image:height\" content=\"811\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"streich@uwm.edu\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"streich@uwm.edu\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"9 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/tea-arciszewska-remembering-the-modernist-playwright-on-her-sixtieth-yortsayt\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/tea-arciszewska-remembering-the-modernist-playwright-on-her-sixtieth-yortsayt\\\/\"},\"author\":{\"name\":\"streich@uwm.edu\",\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/#\\\/schema\\\/person\\\/acb308ee9146d2d003cc0dfb2a5f08f9\"},\"headline\":\"Tea Arciszewska: Remembering the Modernist Playwright on Her Sixtieth Yortsayt\",\"datePublished\":\"2022-01-20T20:11:00+00:00\",\"dateModified\":\"2023-06-16T14:40:08+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/tea-arciszewska-remembering-the-modernist-playwright-on-her-sixtieth-yortsayt\\\/\"},\"wordCount\":1903,\"image\":{\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/tea-arciszewska-remembering-the-modernist-playwright-on-her-sixtieth-yortsayt\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/wp-content\\\/uploads\\\/sites\\\/562\\\/2022\\\/01\\\/Arciszewska.jpg\",\"articleSection\":[\"1918-1945\",\"Literature\",\"Writers\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/tea-arciszewska-remembering-the-modernist-playwright-on-her-sixtieth-yortsayt\\\/\",\"url\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/tea-arciszewska-remembering-the-modernist-playwright-on-her-sixtieth-yortsayt\\\/\",\"name\":\"Tea Arciszewska: Remembering the Modernist Playwright on Her Sixtieth Yortsayt - 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