{"id":1861,"date":"2020-07-29T12:17:00","date_gmt":"2020-07-29T17:17:00","guid":{"rendered":"https:\/\/uwm.edu\/yiddish-stage\/?p=1861"},"modified":"2023-05-31T12:51:44","modified_gmt":"2023-05-31T17:51:44","slug":"how-two-nudniks-saved-history-from-the-fire","status":"publish","type":"post","link":"https:\/\/uwm.edu\/yiddish-stage\/how-two-nudniks-saved-history-from-the-fire\/","title":{"rendered":"How Two Nudniks Saved History from the Fire"},"content":{"rendered":"\n

THE STORY OF GOSET (The Moscow State Yiddish Theatre) begins in December 1920, when Aleksei Granovskii\u2019s<\/a> Yiddish Theatrical Studio moved from Petrograd to Moscow and there became the State Yiddish Chamber Theatre, later GOSET. The theatre\u2019s story ends in December 1949, almost two years after the assassination of its star, Solomon Mikhoels<\/a>. GOSET was closed by the Soviet authorities for \u201clack of audiences\u201d and \u201clack of productivity,\u201d and its archives were transferred to TsGALI (now RGALI<\/a>, the Russian State Archives for Literature and Art).<\/p>\n\n\n\n

In addition to this collection, there is the small but important archive held at the A. A. Bakhrushin State Theatrical Museum<\/a> in Moscow, which was the gift, in the 1970s, of the families of two former GOSET actors. The Bakhrushin collection includes treasures such as The Builder<\/em><\/a>, a 1919 play by Mikhoels that was long considered lost, and a letter from Marc Chagall to Aleksei Granovskii. Outside Russia is the Mikhoels collection at the Israel Goor Theatre Archives and Museum<\/a> at the Hebrew University in Jerusalem. It is much smaller than the GOSET holdings at RGALI, and not as rich in variety and chronological scope, but the history of this collection is itself a separate and fascinating story of how Mikhoels\u2019s daughters, Natalia and Nina, retrieved documents that were doomed to destruction in the USSR in the 1950s, and smuggled them to Israel in the 1970s.<\/p>\n\n\n\n

These collections outlived Mikhoels, GOSET itself, and many attempts by the communist regime to erase all material traces and memory of the Soviet Yiddish theatre. It is not surprising that before these archives became accessible to scholars in the 1990s, the lore surrounding them included references to a mysterious \u201cfire.\u201d The details vary\u2014in some versions of the legend, the fire is an accident, or a work of arson, or due to the secret burning of documents by the authorities. But it is more likely that this fire that threatens to erase Yiddish theatre history is a variation on the Yiddish literary trope noted by Dan Miron<\/a> in his Image of the Shtetl<\/em><\/a>. In many of Mendele\u2019s<\/a> stories, in Sholem Aleichem\u2019s<\/a>, and in the poetry of Chaim Nachman Bialik<\/a>, the fire recalls the destructions of the Temple, the residual memory of catastrophe, and the fragility of the Jewish people and Jewish history. For us, it cannot but echo the Holocaust and the never-distant threat of destruction.<\/p>\n\n\n\n

For a historian of Yiddish theatre, these archival collections have a real and almost mythic power. In my own case, they framed my work and life. I first went to the Bakhrushin Museum in 1992, as an undergraduate completing my practical archival work assignment. Later, I made my first and, perhaps, foremost, archival discovery\u2014a manuscript of The Builder<\/em>, a play written by Mikhoels and performed once in Petrograd in 1919, and long thought lost. I discovered it completely by accident, and was not looking for it. Perhaps it was looking for me.<\/p>\n\n\n\n

In 1936, Mikhoels wrote about his mystical link to Shakespeare\u2019s King Lear<\/em>, remembering how impressed he was by Lear when he read the play in the seventh grade. \u201cSince then I have been struck by that king,\u201d he wrote. In a similar fashion, I have been struck, since 1992, by Mikhoels. My work and life are connected to his by a strong, invisible bond. In 2017, I was working on the Mikhoels collection at the Goor Archives, trying to figure out a concept for his biography. Drawing on autobiographical pieces from Mikhoels\u2019s published and unpublished writings, the working title of my project was \u201cSolomon Mikhoels: Unwritten Autobiography.\u201d My method was productive, but I wasn\u2019t happy with the title. I changed my mind about it when I found a draft of an unknown poem by Mikhoels from the 1930s-1940s, entitled \u201cUnwritten Poem,\u201d at the Goor Archives. To me, it was a sign that my own title, \u201cUnwritten Autobiography,\u201d had Mikhoels\u2019s approval.<\/p>\n\n\n\n

In 2018, my friend and colleague, GOSET historian Jeff Veidlinger<\/a>, referred me to the Blavatnik Archive Foundation (BAF)<\/a> in New York, who hired me to catalogue their Moscow State Yiddish Theatre (MSYT) collection<\/a>. It was a completely new experience for me as a historian and archivist. I had no physical contact with the documents and photographs, since all the materials were digitized, and instead I worked from home with the high-quality scanned images. Prior to my engagement by the BAF, I was not familiar with the story\u2014real or legendary\u2014behind this collection. When I learned it, I was surprised by the absence of the fire trope.<\/p>\n\n\n\n

The BAF collection had been the family archive of\u00a0Iustina Minkova<\/a>\u00a0(1895-1979) and\u00a0Solomon Zil\u2019berblat<\/a>\u00a0(1897-1977), Yiddish actors and members of the GOSET troupe since 1919.<\/p>\n\n\n

\n
\"\"
Iustina Minkova and Solomon Zil\u2019berblat, 1970s. Courtesy of Alex Russakovsky.<\/figcaption><\/figure>\n<\/div>\n\n\n

According to GOSET star Veniamin Zuskin\u2019s<\/a> daughter, Alla Zuskina-Perelman<\/a>, who personally knew many of the troupe members, Minkova and Zil\u2019berblat were notorious \u201cnudniks.\u201d What made them \u201cnudniks\u201d was their obsession with order, minute details, and collecting. \u201cPapa would write a short note to Zalmen [Zil\u2019berblat] and Zalmen would keep it forever instead of throwing it away after reading it,\u201d Alla said. Minkova and Zil\u2019berblat saved and \u201ckept forever\u201d many other \u201cinsignificant things,\u201d such as newspaper clippings, administrative correspondence, store receipts, and railroad tickets. The couple turned out to be natural archival collectors. Solomon Zil\u2019berblat might have even seen his collecting as a mission for future historians of Yiddish theatre, for in addition to collecting, Zil\u2019berblat helped Zalmen Zylberzweig<\/a> with his Leksikon fun yidishn teater<\/em><\/a>(Encyclopedia of the Yiddish Theatre) project in the 1930s. After Minkova and Zil\u2019berblat passed away in the 1970s, their collection was preserved in private hands and later transferred to the BAF in its entirety.<\/p>\n\n\n\n

The collection consists of 581 items, including 147 photographs, two drawings, and 432 documents and books in Russian, Yiddish, Ukrainian, Hebrew, German, and French. It contains documents from the 1900s to the 1970s; most are from GOSET\u2019s golden years, the 1920s-1930s. The documentary part of the MSYT collection (432 items) includes the theatre group\u2019s internal memos and letters, draft playbills, scripts annotated by actors, administrative correspondence, minutes of the local actors\u2019 union meetings, various bills, press coverage (clippings from and full issues of newspapers and magazines) of performances, show posters. The graphic part of the MSYT collection consists of two drawings and 147 photographs. There are headshots of GOSET actors, portraits in makeup and costume on and offstage, pictures of the troupe members on tour and on vacation, photographs of set designs of GOSET performances by leading Soviet Jewish artists, and family photographs of Minkova and Zil\u2019berblat. The collection is fully digitized, catalogued, and accessible online<\/a>.<\/p>\n\n\n\n

The MSYT collection materials form an important and unique mosaic that recreates a kaleidoscope of stories from the fascinating world of Soviet Yiddish theatre. One such story is of GOSET\u2019s little-known German connection. The unique and extensive selection of press coverage of the 1928 GOSET tour in Europe\u2014dozens of newspaper clippings meticulously collected and preserved by Zil\u2019berblat\u2014includes a review by none other than\u00a0Walter Benjamin<\/a>\u00a0(like Zil\u2019berblat, also a natural-born collector). Benjamin published a review in\u00a0Die Literarische Welt<\/em>\u00a0of the GOSET performance of Goldfaden\u2019s\u00a0Di kishefmakherin\u00a0<\/em>(The Witch<\/em>) in Berlin, as well as a long interview with Aleksei Granovskii, whom Benjamin apparently knew from his 1927 visit to Moscow.<\/p>\n\n\n

\n
\"\"
Review of the performance of\u00a0Di kishefmakherin<\/em>\u00a0in\u00a0Die Literarische Welt<\/em>\u00a0by Walter Benjamin, Berlin, April 27, 1928, MSYT_00356, BAF.<\/figcaption><\/figure>\n<\/div>\n\n\n

Another piece of the mosaic concerns Mikhoels himself. My colleague\u00a0Harriet Murav<\/a>, working at the GOSET archives in Moscow, noticed copious lines on the reverse side of the director\u2019s script of\u00a0David Bergelson\u2019s\u00a0Mides-hadin (Judgment)<\/em><\/a>, an adaptation of his novel of the same title, rehearsed and staged by GOSET in 1933. Harriet shared an image of these lines with me. It was obviously Mikhoels\u2019s handwriting in Russian, and the lines read \u201czhena, Zhenia, zhizn\u2019\u201d (wife, Zhenia, life) written over and over. Harriet asked if these lines made any sense. They did.<\/p>\n\n\n

\n
\"\"
Evgeniia Levitas and Solomon Mikhoels (center) at GOSET troupe\u2019s picnic in Abkhazia, 1931, MSYT_00036, BAF.<\/figcaption><\/figure>\n<\/div>\n\n\n

In 1931, Mikhoels fell in love with\u00a0Evgeniia (Zhenia) Levitas<\/a>, a GOSET actress who had joined the troupe in 1924. In her\u00a0memoirs<\/a>, Mikhoels\u2019s daughter Natalia blamed Zhenia for stealing her father\u2019s heart and destroying their family. Natalia also believed that it was their affair that ultimately caused the death of her mother, Mikhoels\u2019s wife Sara Kantor Vovsi. Sara was in poor health, and died of kidney failure on August 4, 1932. A few months later, on December 29, 1932 a sudden stroke took the life of Zhenia Levitas. Mikhoels was broken. He spent three months, from January to March, 1933, at Zhenia\u2019s apartment, in silence, motionless, immersed in thought. He was even seen jotting things on pieces of paper, which was very unusual for him as, he said, he \u201ctrusted only the live, spoken word.\u201d In the summer of 1933, when he was able to resume his work, during rehearsals of\u00a0Mides-hadin<\/em>\u00a0at GOSET, Mikhoels\u2019s mind wandered as he wrote over and over on the reverse side of the script: \u201cZhena, Zhenia, zhizn\u2019\u201d\u2014\u201cwife, Zhenia, life.\u201d Unlike other GOSET archives, the MSYT collection at BAF has a unique photograph of the two lovers\u2014Mikhoels and Levitas\u2014taken in 1931. These stories, as well as those yet to be written on the materials of the MSYT collection, will allow the many voices of the past to be heard again, and the many forgotten lives to be remembered.<\/p>\n","protected":false},"excerpt":{"rendered":"

The Moscow State Yiddish Theatre archives are available digitally!<\/p>\n","protected":false},"author":32,"featured_media":1865,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","uwm_wg_additional_authors":[]},"categories":[47,20,38,17],"tags":[],"class_list":["post-1861","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-1918-1945","category-eastern-europe","category-research-methods","category-writers"],"yoast_head":"\nHow Two Nudniks Saved History from the Fire - 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\/how-two-nudniks-saved-history-from-the-fire\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How Two Nudniks Saved History from the Fire\" \/>\n<meta property=\"og:description\" content=\"The Moscow State Yiddish Theatre archives are available digitally!\" \/>\n<meta property=\"og:url\" content=\"https:\/\/uwm.edu\/yiddish-stage\/how-two-nudniks-saved-history-from-the-fire\/\" \/>\n<meta property=\"og:site_name\" content=\"Digital Yiddish Theatre Project\" \/>\n<meta property=\"article:published_time\" content=\"2020-07-29T17:17:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-05-31T17:51:44+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/05\/1-minkova-mikhoels.webp\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"408\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/webp\" \/>\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=\"8 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/how-two-nudniks-saved-history-from-the-fire\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/how-two-nudniks-saved-history-from-the-fire\/\"},\"author\":{\"name\":\"streich@uwm.edu\",\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/#\/schema\/person\/acb308ee9146d2d003cc0dfb2a5f08f9\"},\"headline\":\"How Two Nudniks Saved History from the Fire\",\"datePublished\":\"2020-07-29T17:17:00+00:00\",\"dateModified\":\"2023-05-31T17:51:44+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/how-two-nudniks-saved-history-from-the-fire\/\"},\"wordCount\":1625,\"image\":{\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/how-two-nudniks-saved-history-from-the-fire\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/05\/1-minkova-mikhoels.webp\",\"articleSection\":[\"1918-1945\",\"Eastern Europe\",\"Research Methods\",\"Writers\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/uwm.edu\/yiddish-stage\/how-two-nudniks-saved-history-from-the-fire\/\",\"url\":\"https:\/\/uwm.edu\/yiddish-stage\/how-two-nudniks-saved-history-from-the-fire\/\",\"name\":\"How Two Nudniks Saved History from the Fire - 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