{"id":1880,"date":"2020-11-11T10:55:00","date_gmt":"2020-11-11T16:55:00","guid":{"rendered":"https:\/\/uwm.edu\/yiddish-stage\/?p=1880"},"modified":"2023-06-06T11:12:49","modified_gmt":"2023-06-06T16:12:49","slug":"ven-moysh-iz-geforn-maurice-schwartz-on-the-yiddish-theatre-in-argentina-in-1930-part-ii","status":"publish","type":"post","link":"https:\/\/uwm.edu\/yiddish-stage\/ven-moysh-iz-geforn-maurice-schwartz-on-the-yiddish-theatre-in-argentina-in-1930-part-ii\/","title":{"rendered":"Ven Moysh iz geforn: Maurice Schwartz on the Yiddish Theatre in Argentina in 1930 (Part II)"},"content":{"rendered":"\n

Part I<\/a>

The competition<\/strong>. Schwartz\u2019s Buenos Aires tour coincided with visits by the celebrated Russian bass Fedor Chaliapin (who was singing at the Teatro Col\u00f3n) and Aleksandr Tairov\u2019s Moscow Chamber Theatre (Moskovskii kamernyi teatr<\/em>, performing at the Teatro Ode\u00f3n).<\/p>\n\n\n\n

Chaliapin was visiting Buenos Aires after a twenty-two-year absence. He had been \u201cbanished\u201d from Argentina, Schwartz related, because he offended opera patrons by showing up half-naked on stage in the role of Mephistopheles. Now, for his ten performances in Mussorgsky\u2019s \u201cBoris Godunov,\u201d he was guaranteed the princely sum of $50,000 (equivalent to about $1 million in 2020). Schwartz claimed that Chaliapin\u2019s presence had a dampening effect on ticket sales at the Yiddish theatre, since Jews who might otherwise have attended some of his own performances \u201cpawned their clothes\u201d in order to purchase expensive tickets at the Teatro Col\u00f3n. Schwartz\u2019s \u201cgreen\u201d cousin, for one, thrilled at the opportunity to hear el ruso<\/em>. Schwartz, however, was unable to attend any of Chaliapin\u2019s performances.<\/p>\n\n\n\n

Schwartz did attend a few of the Tairov company\u2019s late afternoon (vermut<\/em>) performances and offered his thoughts on the\u00a0Kamernyi teatr<\/em>\u00a0briefly in his\u00a0Forverts<\/em>\u00a0travelogue and at greater length in a separate article in\u00a0Di prese<\/em>. Most Yiddish guest stars, like Schwartz in 1930, traveled to Buenos Aires on their own or accompanied only by a manager and\/or an acting partner.1<\/a><\/sup>\u00a0In contrast, Tairov\u2019s traveling company comprised fifty-two actors and stagehands, plus sets. This was an extraordinarily expensive tour and evidently the\u00a0Kamernyi teatr<\/em>\u00a0did not come close to covering its costs. \u201cTheir success would be much greater if F. I. Chaliapin himself weren\u2019t here,\u201d Schwartz claimed. The language barrier doubtless was an additional factor in holding down attendance at its spectacles; in Buenos Aires \u201cthe Spaniards and Italians make do with films,\u201d he wrote, and they weren\u2019t \u201cin a rush to pay three pesos (a little more than a dollar) to see modern Russian theatrical art.\u201d It was left up to the (much smaller) Jewish theatregoing public to cover the \u201cgigantic expenses to bring the troupe here.\u201d<\/p>\n\n\n\n

Schwartz saw three of the plays that the\u00a0Kamernyi teatr<\/em>\u00a0put on in Buenos Aires: Alexander Ostrovsky\u2019s\u00a0The Storm<\/em>, the nineteenth-century opera bouffe\u00a0Girofl\u00e9-Girofla\u00a0<\/em>(with music by Charles Lecocq), and Eugene O\u2019Neill\u2019s\u00a0Desire under the Elms<\/em>\u00a0(all of these were presented in Russian). He was impressed with this \u201cvery interesting troupe,\u201d its dedicated and versatile performers, and its modernist productions, which he considered to be along the lines of what might see in a studio for acting.2<\/a><\/sup>\u00a0Schwartz elaborated on these thoughts in his\u00a0Di prese\u00a0<\/em>article about Tairov\u2019s troupe, where he profiled the company\u2019s leading actors, its salary scales, working conditions, and governance as a cooperative enterprise. Comparisons with conditions in the North American Yiddish theatre were never far from his mind.3<\/a><\/sup><\/a><\/p>\n\n\n\n

Two other Yiddish stars from New York were visiting Buenos Aires at precisely the same time as Schwartz:\u00a0Samuel Goldenberg<\/a>\u00a0and\u00a0Stella Adler<\/a>. They were performing at the Teatro Excelsior, yet their names and that theatre passed completely unmentioned in Schwartz\u2019s travelogues and in other articles penned by him during these months. This, notwithstanding the fact that Goldenberg had shared the stage with Schwartz at the Yiddish Art Theatre the previous autumn and Adler would be do so immediately upon her\u2014and Schwartz\u2019s\u2014return to New York. Schwartz made only the vaguest allusion to the presence of these actors or the existence of another Yiddish troupe in Buenos Aires, when he gently chided the city\u2019s Yiddish newspapers for their (in his view) overly indulgent treatment of\u00a0shund<\/em>\u00a0productions. Goldenberg and Adler were the only other actors mounting Yiddish plays\u2014mostly melodramas, in their case\u2014in Buenos Aires during that period. And, apart from Schwartz\u2019s productions, theirs were the only Yiddish plays being reviewed in the Yiddish and Spanish-Jewish press. Schwartz would have exempted his repertory from the\u00a0shund<\/em>\u00a0epithet, so it was left to the reader to infer that\u00a0shund<\/em>\u00a0plays were being put on by elsewhere in Buenos Aires.<\/p>\n\n\n

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Exterior of the Teatro Argentino, Buenos Aires. Source: Wikipedia, accessed January 29, 2020,\u00a0https:\/\/es.wikipedia.org\/wiki\/Teatro_Argentino_(Buenos_Aires)<\/a>.<\/figcaption><\/figure>\n<\/div>\n\n\n

Teatro Col\u00f3n<\/strong>. The grand opera house of Buenos Aires, the Teatro Col\u00f3n, is still the most famous theatre in the Argentine capital. Schwartz toured the house during its off-hours, proclaiming it almost as beautiful as the Garnier Opera House in Paris. He was especially impressed by the Col\u00f3n\u2019s red carpeting, its up-to-date electrical installations, and by the support that it received from the Argentine government \u2013 \u201cplus, the theatre also possesses\u00a0calefacci\u00f3n<\/em>\u00a0(steam)!\u201d The Met looked poor by comparison.4<\/a><\/sup><\/p>\n\n\n\n

Schwartz and the Yiddish Literati of Buenos Aires<\/strong><\/h2>\n\n\n\n

In his\u00a0Forverts<\/em>\u00a0reportage, Schwartz soft-pedaled the frictions prevailing between the Yiddish writers of Argentina\u2014especially the theatre critics for the two rival Yiddish dailies, Jacobo (Yankev) Botoshansky and L. Zhitnitzky, of\u00a0Di prese<\/em>, versus\u00a0Samuel Rollansky<\/a>\u00a0(Shmuel Rozhanski), at\u00a0Di idishe tsaytung<\/em>. The newspapers covered a post-performance reception that was hosted in Schwartz\u2019s honor by the H. D.\u00a0Nomberg<\/a>\u00a0Yiddish Writers\u2019 Association (June 29, 1930), with toasts, snacks, and speeches lasting practically till dawn.5<\/a><\/sup>\u00a0(As\u00a0Mollie Lewis Nouwen<\/a>\u00a0has observed, receptions such as this were characteristically male spaces in Buenos Aires.6<\/a><\/sup>) \u201cIt was my fate to become a \u2018peace ambassador\u2019 for a brief time,\u201d Schwartz wrote:<\/p>\n\n\n\n

The Yiddish writers of both Yiddish newspapers, the<\/em> Idishe tsaytung and<\/em> Di prese don\u2019t dislike one another, but they don\u2019t speak, especially the critics. That is, they don\u2019t intend to inflict any harm, God forbid, but just this: two newspapers, two different orientations.<\/em><\/p>\n\n\n\n

Here, there is no Caf\u00e9 Royal<\/a> as in New York, to calm the nerves and smooth out the feathers that get ruffled on the Yiddish writers\u2019 shoulders. They encounter one another only in the theatre boxes. They watch the performance and then go their own ways, either to a caf\u00e9 or homeward. They can\u2019t even exchange opinions as to the why and the wherefore.<\/em><\/p>\n\n\n\n

They get offended\u2014not really offended, God forbid, but still, there\u2019s animosity, or as Sholem Aleichem put it, [they\u2019re]<\/em> tsuhampert [quarrelsome]\u2026.<\/em><\/p>\n\n\n\n

So, the Nomberg Association organized a reception for me, a very heartfelt one. The celebration was very lovely. Of all the banquets that I\u2019ve endured to date, the local celebration was the most festive one\u2026.<\/em><\/p>\n\n\n\n

All of the<\/em>\u00a0tsuhamperte\u00a0came to this celebration, and peace reigned along all of the fronts\u20267<\/a><\/sup><\/em><\/p>\n\n\n\n

Nevertheless, the animosities between the rival papers\u2019 critics were profound, bitter, and enduring. The reception was merely a momentary cease-fire in an ongoing \u201cwar.\u201d<\/p>\n\n\n\n

The Provinces and Mois\u00e9s Ville<\/strong><\/h2>\n\n\n\n

While the vast majority of Argentina\u2019s Jews resided in Buenos Aires, there were sizable communities in the country\u2019s smaller cities and in the agricultural colonies that had been established by Baron Maurice de Hirsch and the Jewish Colonization Association<\/a> (JCA). After completing their engagements in Buenos Aires most Yiddish guest stars toured cities and agricultural colonies outside of the Argentine capital, and Schwartz was no exception. He performed in the cities of Santa F\u00e9, Rosario, and C\u00f3rdoba, and in the Mois\u00e9s Ville colony. Schwartz devoted two installments of his Forverts<\/em> travelogue to his tour of the provinces, where he discussed only the first and last of these localities. In these articles he concentrated mainly on social and economic conditions and described some of the colorful characters that he encountered along the way. He supplemented the Forverts<\/em> series with two more articles for Der shpigl<\/em>.<\/p>\n\n\n\n

\u201cThe Yiddish theatre in Argentina is a hotel with a large office [providing] transit visas\u201d for the overseas stars, Rollansky once observed. The impresarios offered ship passage and suitable accommodations, along with a percentage of the box-office take.8<\/a><\/sup>\u00a0Maurice Schwartz was a beneficiary of this \u201chospitality\u201d: while the other members of his traveling troupe made the overnight train journey to Santa F\u00e9 in the overcrowded second-class carriages, he traveled in the comparative comfort and privacy of a first-class compartment.<\/p>\n\n\n

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Exterior of the Teatro San Mart\u00edn (formerly: Teatro Nuevo), Buenos Aires. Source:\u00a0Teatros de Buenos Aires del Siglo XVII al XXI,\u00a0<\/em>accessed January 29, 2020,\u00a0http:\/\/teatrosdebuenosairesdelsigloxviialxxi.blogspot.com\/2016\/10\/1908-teatro-nuevo-corrientes-1936-del.html<\/a>.<\/figcaption><\/figure>\n<\/div>\n\n\n

The second-class carriage was suitable for transporting chickens, not people, Schwartz complained. It contained upright seats for forty passengers, but in reality, between seventy and eighty passengers crammed into the car carrying the troupe\u2019s twenty members. There the actors were joined by gauchos, \u201ca couple of Gypsies,\u201d and Jewish and Ukrainian immigrants. Thick smoke\u2014a blend of Russian\u00a0makhorka<\/em>\u00a0and Argentine tobacco\u2014pervaded the car. \u201cThe\u00a0tuml<\/em>\u00a0is like a steam bath Erev Shabbos.\u201d Although the railroads were owned by English concerns, \u201ceven the better carriages are far-far from our third class on the Erie Line,\u201d Schwartz remarked.9<\/a><\/sup><\/p>\n\n\n\n

<\/a><\/p>\n\n\n\n

He claimed that he had preferred to join the troupe in second class but instead elected to suppress his \u201csentiments of humanity\u201d and remain in his compartment. Schwartz spent a restless night, lulled to a fitful sleep by the rocking of the train, tormented by strange dreams about the impresario and members of the traveling troupe. (In one of his nightmares, he imagined a Gypsy sucking the blood of one of the troupe\u2019s actors.) Upon awakening, he found that the other actors had slept just fine; unlike Schwartz, they were acclimated to the discomforts of second-class train travel in Argentina.<\/p>\n\n\n\n

The city of Santa F\u00e9 numbered 500 Jewish families among its 60,000 inhabitants, Schwartz reported. He was inspired by the young people whom he encountered, and by the evidence of an active Yiddish cultural life there, with books being imported from all over and lectures held in a large hall erected by the Jewish community. Schwartz\u2019s company put on two productions in that auditorium: Shabetai Zvi<\/em> and God of Vengeance<\/em>. \u201cEveryone came,\u201d he recounted, but news of a woman\u2019s death caused some families to leave the sal\u00f3n<\/em> early. \u201cA pity, such a young woman,\u201d the troupe\u2019s impresario lamented. \u201cSo much income lost.\u201d<\/p>\n\n\n\n

Most of Santa F\u00e9\u2019s Jews were engaged in retail and peddling, Schwartz reported. The city possessed a large port, with 8,000 unionized workers, to whom the local Jewish peddlers \u201csell clothes, bread, and even graves on the installment plan.\u201d Funerals were a big business with the local Italians, and Schwartz met a Jewish \u201cimpresario\u201d of the Italian funeral trade who provided his customers with caskets, white horses, and orchestras in elaborate uniforms.<\/p>\n\n\n\n

Accommodations in Santa F\u00e9 resembled a Berdichev inn, Schwartz recounted, regaling his readers with amusing anecdotes about the hotel\u2019s owner and its resident bootblack and cobbler. The bootblack was grateful to receive the patronage of the impoverished Yiddish actors of Argentina who visited Santa F\u00e9: \u201cHow could it possibly be that actors come to \u2018Santa Shmey\u2019 with their shoes intact?\u201d The North American stars who accompanied the troupes were not such welcome customers, the shoemaker complained, because \u201cAmericans wear shoes that are intact.\u201d That is a paradoxical indication, he contended, that there is a hole in their\u00a0hearts<\/em>. \u201cThat\u2019s why I\u2019m a sworn enemy of Americans \u2013 who asked you to come here?!\u201d10<\/a><\/sup><\/a><\/p>\n\n\n\n

Schwartz reserved his only negative comments about an Argentine locality in an article intended solely for local consumption. Rosario was a \u201ctheatrically dead city\u201d where the crowd\u2019s indifference to\u00a0Shabetai Zvi<\/em>\u00a0sapped the actors\u2019 energies. Silence reigned in the hall as the curtain was raised and silence reigned again as it was lowered.11<\/a><\/sup>\u00a0Nor was this public apathy limited to just that single performance; the troupe encountered a similar coldness at its productions of\u00a0God of Vengeance<\/em>\u00a0and\u00a0Jud S\u00fcss<\/em>\u00a0in Rosario. Schwartz \u201cwas informed that it\u2019s the same at the Spanish theatre\u201d in that city, but this came as scant consolation. His spirits revived only somewhat at the banquet that was held in his honor at the Ateneo. \u201cThe guests smiled, did their best to create the appropriate atmosphere for an encounter with the director of a Yiddish art theatre.\u201d But the\u00a0asado<\/em>\u00a0(barbecue) at the banquet \u201creminded me of the Spanish Inquisition, where flesh was also roasted\u2014Jewish flesh.\u201d12<\/a><\/sup><\/a><\/p>\n\n\n\n

By contrast, when Schwartz arrived in C\u00f3rdoba, the sun began to shine \u2013 literally and figuratively. He spent three memorable days in that city. The audience was young and cheerful \u2013 \u201cthis is not C\u00f3rdoba, Spain.\u201d Every moment was filled with pleasure, he recalled. The audience was enthusiastic, as in New York during the heyday of the Yiddish theatre. \u201cEven the gentiles on stage who changed the decorations were dear gentiles.\u201d13<\/a><\/sup><\/a><\/p>\n\n\n\n

And finally, there was Mois\u00e9s Ville, the first and \u201cmost important Jewish colony in Argentina\u201d (as the Forverts <\/em>headline put it), dating back to 1889. Even before Schwartz traveled to Mois\u00e9s Ville, he sensed the powerful hold that the colonies had on the country\u2019s urban Jewish imagination. In one of his popular songs, the Argentine Yiddish entertainer Jevel Katz extolled Mois\u00e9s Ville (\u201cMozesvil,\u201d in Yiddish) as \u201ca<\/em> yidishe medine, a shtolts far Argentine<\/em>\u201d (a Jewish state, the pride of Argentina). Schwartz\u2019s dispatch from the colony was very much in that vein.<\/p>\n\n\n\n

When the visiting actors arrived at the train station (several miles away from the settlement) they were greeted by representatives of various committees, including the president of the Kadima cultural center, a Dr. Malamut. They were escorted to the colony by one of the oldest colonists, a Se\u00f1or Langer, who informed them that he had had the honor of greeting the Yiddish writers Peretz Hirschbeyn<\/a> and Hersh Dovid Nomberg<\/a>, during their visits to Mois\u00e9s Ville some years earlier. Theatre performances took place in Kadima\u2019s building, which impressed Schwartz as both beautiful and modern, with a good stage and seats for 600 to 800 spectators.<\/p>\n\n\n\n

Although the ostensible purpose of Schwartz\u2019s visit to Mois\u00e9s Ville was to perform there\u2014and his troupe did put on Shabetai Zvi<\/em> within hours of arriving\u2014he devoted most of his journalistic attentions to descriptions of the colony\u2019s physical plan and its economic prospects. He spent a total of four days in Mois\u00e9s Ville, which afforded him the time to meet many of its residents and absorb the colony\u2019s ambience.<\/p>\n\n\n\n

There was no hotel in Mois\u00e9s Ville, so Schwartz was put up in a bedroom in the courtyard adjoining a coffee house. The locals were very hospitable and thwarted a guest\u2019s boredom by showing him around the colony in their cars. On one such tour, Schwartz was introduced to some of the earliest colonists, their children, and grandchildren. Yiddish was the colony\u2019s lingua franca, except in addressing an Argentine gentile (pundik<\/em>, in local Yiddish usage); the maids, servants, and the policeman all spoke Yiddish.<\/p>\n\n\n\n

In the\u00a0Forverts<\/em>, Schwartz observed that there were two drama societies in the colony\u2014the Mois\u00e9s Ville Drama Society and the Goldfaden Society\u2014each of which put on \u201cdramas and comedies by the best playwrights.\u201d14<\/a><\/sup>\u00a0The two organizations were evidently ideological rivals. He elaborated upon this elsewhere, expressing his disapproval of the rivalry between drama groups in such a small settlement and advocating their merger into a single, unified organization. \u201cClass politics must not interfere in a drama society,\u201d Schwartz scolded. \u201cTheatre dare not have any\u00a0Weltpolitik<\/em>; one polemic should rule: Pure theatre; fairness to every playwright, on the left and on the right, the nationalist [i.e., Zionist] and the opposition. The actor must be neutral.\u201d These were the principles according to which Schwartz guided the Yiddish Art Theatre; however, the New York Yiddish theatre scene was not exempt from political rifts along these very same lines.<\/p>\n\n\n\n

Schwartz rhapsodized about cultural life in the settlement: Not only were the Jewish colonists helping to feed the nation and the world, \u201cbut they haven\u2019t forgotten that they are a People of the Book and [also] built auditoriums and libraries.\u201d \u201cI have seen Mois\u00e9s Ville and for that alone my trip to South America was worthwhile,\u201d Schwartz concluded. \u201cIt\u2019s been a long time since I heard little children speaking a clear, healthy Yiddish as in Mois\u00e9s Ville\u2014not pretentiously, as the boast goes, but simply; they speak a natural Yiddish.\u201d This was just one of the localities in Argentina where Schwartz visited community libraries offering reading material from throughout the Yiddish-speaking diaspora. Some of those organizations were also repositories of Yiddish play scripts.15<\/a><\/sup><\/p>\n\n\n

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Interior of the Teatro San Mart\u00edn (formerly: Teatro Nuevo), Buenos Aires. The seats are possibly arrayed for a circus performance. Source:\u00a0Teatros de Buenos Aires del Siglo XVII al XXI<\/em>; accessed January 29, 2020,\u00a0http:\/\/teatrosdebuenosairesdelsigloxviialxxi.blogspot.com\/2016\/10\/1908-teatro-nuevo-corrientes-1936-del.html<\/a>.<\/figcaption><\/figure>\n<\/div>\n\n\n

Schwartz Reflects on His Tour\u2019s Accomplishments<\/strong><\/p>\n\n\n\n

As Schwartz\u2019s stay came to an end, he offered some reflections about what, for him, was the fulfillment of a dream. Beforehand, he had felt some trepidation at the prospect of leading a troupe of \u201cstrangers,\u201d after having spent so many years in New York, working with a familiar pool of actors and performing in front of audiences that had become jaded by his repertory and productions. He had grown \u201ctired already of performing each season in a new theatre in a new neighborhood [in New York], by being bothered to sing into records in order to pay the enormous rent for theatres.\u201d16<\/a><\/sup>\u00a0In Buenos Aires, he encountered a new and enthusiastic audience, and new critics as well: Jewish, Spanish, and German. The theatres were mobbed as in the days of \u201cKessler-Adler-Mogulesko\u201d\u2014when $700 a week wasn\u2019t required for \u2018artistic satisfaction\u2019.\u201d<\/p>\n\n\n\n

He accurately foresaw that Buenos Aires would occupy a very important position in the Yiddish theatre world, but also expressed the view that the ranks of performers there required better and more serious acting talent. As well, its newspapers needed to offer stronger criticism of the melodramas and operettas that were being put on. His own performances \u201cconfirmed the fact\u201d that there was an audience in Buenos Aires for the \u201cbetter,\u201d more literary plays. Finally, his experience in Buenos Aires persuaded him that he ought to travel around and teach his repertory to actors everywhere, and not just in New York City. That would vindicate his twelve years of work with the Yiddish Art Theatre.17<\/a><\/sup><\/a><\/p>\n\n\n\n

In practice, Schwartz\u00a0did<\/em>\u00a0travel more during the following three decades, including numerous trips to South America\u2014and Buenos Aires became one of the last redoubts of the \u201cbetter\u201d Yiddish repertory. This was true both in terms of the other guest actors that traveled there (especially Jacob Ben-Ami, Joseph Buloff, and Luba Kadison) and with respect to local developments\u2014in particular, the independent, leftist\u00a0Teatro IFT<\/a>\u00a0(Idisher folks-teater<\/a><\/em>), which flourished from the mid-1930s into the mid-1950s, when it shifted to performing in Spanish.18<\/a><\/sup><\/p>\n\n\n\n

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Notes<\/h2>\n\n\n\n
    \n
  1. In 1933, Schwartz would return to Buenos Aires, together with half a dozen actors plus supporting crew from the Yiddish Art Theatre. During that tour the company staged its greatest hit,\u00a0Yoshe Kalb,<\/em>\u00a0adapted from the novel by Israel Joshua Singer.<\/li>\n\n\n\n
  2. Maurice Schwartz, \u201cOyf di gasen un in di teaters fun Buenos Ayres,\u201d\u00a0Forverts<\/em>, August 28, 1930. Unfortunately, Schwartz missed the Tairov company\u2019s production\u2014one of the earliest, outside of Germany\u2014of\u00a0The Threepenny Opera<\/em>, by Bertolt Brecht and Kurt Weill.<\/li>\n\n\n\n
  3. \u201cMoris Shvarts vegn Tairovs trupe: fun a briv tsum \u2018Forverts\u2019,\u201d\u00a0Di prese<\/em>, October 3, 1930. I have been unable to locate this article in the\u00a0Forverts<\/em>, in a survey (via the Historical Jewish Press Project \/ JPress) of issues of that newspaper from the months of August and September 1930.<\/li>\n\n\n\n
  4. Maurice Schwartz, \u201cMoris Shvarts bashraybt zayne letste forshtelungen in Buenos Ayres,\u201d\u00a0Forverts<\/em>, September 4, 1930.<\/li>\n\n\n\n
  5. \u201cDer hartsiker kaboles ponem fun \u2018Nomberg shrayber fareyn\u2019 far Moris Shvarts,\u201d\u00a0Di prese<\/em>, July 1, 1930.<\/li>\n\n\n\n
  6. Molly Lewis Nouwen,\u00a0Oy, My Buenos Aires: Jewish Immigrants and the Creation of Argentine National Identity<\/em>\u00a0(Albuquerque: University of New Mexico Press, 2013), 99\u2013101.<\/li>\n\n\n\n
  7. Maurice Schwartz, \u201cStsenes un bilder fun idishen leben in Buenos Ayres,\u201d\u00a0Forverts<\/em>, August 2, 1930.<\/li>\n\n\n\n
  8. Samuel Rollansky [Shmuel Rozhanski], \u201cDos idishe gedrukte vort un teater in Argentine,\u201d in\u00a0Yoyvl-bukh: sakh-haklen fun 50 yohr idish leben in Argentine; lekoved \u201cDi Idishe tsaytung\u201d tsu ihr 25-yohrigen yubileum (Cincuenta a\u00f1os de vida jud\u00eda en la Argentina: homenaje a \u201cEl Diario Israelita\u201d en su vigesimoquinto aniversario)\u00a0<\/em>(Buenos Aires: 1940), 412, 415. Rollansky\u2019s essay was subsequently published as a monograph, under the title\u00a0Dos yidishe gedrukte vort un teater in Argentine<\/em>\u00a0(Buenos Aires: 1941).<\/li>\n\n\n\n
  9. The Erie Railroad\u00a0was not considered one of the premier passenger lines during the heyday of American train travel.<\/li>\n\n\n\n
  10. Maurice Schwartz, \u201cMoris Shvarts shildert stsenes un bilder in di shtetlach fun Argentine,\u201d\u00a0Forverts<\/em>, September 27, 1930.<\/li>\n\n\n\n
  11. This was not the first time that Schwartz had encountered an audience that didn\u2019t applaud, but at least in the other cities where this had occurred\u2014such as St. Paul, Minnesota\u2014\u201cthe entire audience, to the last person, waited for the actors at the entrance to the stage.\u201d Not so in Rosario, however.<\/li>\n\n\n\n
  12. Maurice Schwartz, \u201cAyndrukn fun idishn lebn in Argentine,\u201d\u00a0Der shpigl<\/em>, October 16, 1930.<\/li>\n\n\n\n
  13. Maurice Schwartz, \u201cAyndrukn fun idishn lebn in Argentine,\u201d\u00a0Der shpigl<\/em>, October 23, 1930.<\/li>\n\n\n\n
  14. Maurice Schwartz, \u201cMozesvil, di vikhtigste idishe kolonye in Argentine,\u201d\u00a0Forverts<\/em>, October 11, 1930.<\/li>\n\n\n\n
  15. Maurice Schwartz, \u201cAyndrukn fun idishn lebn in Argentine,\u201d\u00a0Der shpigl<\/em>, October 23, 1930. In August 2019, during a cursory examination of a box of play scripts in the Fundaci\u00f3n IWO\u2019s archives in Buenos Aires, I came across a fair number containing ownership stamps indicating that they had once belonged to cultural organizations in Argentine Jewish agricultural colonies.<\/li>\n\n\n\n
  16. During his visit, Yiddish newspapers in Buenos Aires carried advertisements for Schwartz\u2019s recording of the humorous monologue \u201cA Drunken Cantor\u201d (\u201cA khazn a shiker<\/em>\u201d).<\/li>\n\n\n\n
  17. Maurice Schwartz, \u201cMoris Shvarts bashraybt zayne letste forshtelungen in Buenos Ayres,\u201d\u00a0Forverts<\/em>, September 4, 1930.<\/li>\n\n\n\n
  18. For background on the\u00a0Idisher folks-teater\u2014<\/em>Teatro IFT, see Karina Wainschenker,\u00a0Antecedentes, surgimiento y desarrollo del teatro IFT<\/em>\u00a0(Buenos Aires: VII jornadas de J\u00f3venes Investigadores, Instituto de Investigaciones Gino Germani, Facultad de Ciencias Sociales, Universidad de Buenos Aires, 2013) accessible online at\u00a0https:\/\/www.aacademica.org\/000-076\/338<\/a>; Paula Ansaldo, \u201cEl teatro como escuela para adultos: un recorrido por la historia del IFT en su tr\u00e1nsito del \u00eddish al espa\u00f1ol,\u201d in\u00a0Teatro \u00eddish argentine<\/em>, eds. Susana Skura and Silvia Glocer,(Argentiner yidish-teater)<\/em>\u00a0(Buenos Aires: Editorial de la Facultad de Filosof\u00eda y Letras, Universidad de Buenos Aires, 2016), 143\u2013160. Accessible online at\u00a0http:\/\/publicaciones.filo.uba.ar\/sites\/publicaciones.filo.uba.ar\/files\/Teatro%20%C3%ADdish%20argentino%20%281930-1950%29_interactivo_0.pdf<\/a>.<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

    Part II of Maurice Schwartz\u2019s travels to Argentina in 1930.<\/p>\n","protected":false},"author":32,"featured_media":1877,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","uwm_wg_additional_authors":[]},"categories":[47,11,16,34,35,26,17],"tags":[],"class_list":["post-1880","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-1918-1945","category-actors","category-impersarios","category-performance-practices","category-places-of-performances","category-south-america","category-writers"],"yoast_head":"\nVen Moysh iz geforn: Maurice Schwartz on the Yiddish Theatre in Argentina in 1930 (Part II) - 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\/ven-moysh-iz-geforn-maurice-schwartz-on-the-yiddish-theatre-in-argentina-in-1930-part-ii\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ven Moysh iz geforn: Maurice Schwartz on the Yiddish Theatre in Argentina in 1930 (Part II)\" \/>\n<meta property=\"og:description\" content=\"Part II of Maurice Schwartz\u2019s travels to Argentina in 1930.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/uwm.edu\/yiddish-stage\/ven-moysh-iz-geforn-maurice-schwartz-on-the-yiddish-theatre-in-argentina-in-1930-part-ii\/\" \/>\n<meta property=\"og:site_name\" content=\"Digital Yiddish Theatre Project\" \/>\n<meta property=\"article:published_time\" content=\"2020-11-11T16:55:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-06-06T16:12:49+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/06\/BakerSchFigure1.webp\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"924\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/webp\" \/>\n<meta name=\"author\" content=\"Jeremy A Streich\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jeremy A Streich\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"19 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/ven-moysh-iz-geforn-maurice-schwartz-on-the-yiddish-theatre-in-argentina-in-1930-part-ii\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/ven-moysh-iz-geforn-maurice-schwartz-on-the-yiddish-theatre-in-argentina-in-1930-part-ii\\\/\"},\"author\":{\"name\":\"Jeremy A Streich\",\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/#\\\/schema\\\/person\\\/acb308ee9146d2d003cc0dfb2a5f08f9\"},\"headline\":\"Ven Moysh iz geforn: Maurice Schwartz on the Yiddish Theatre in Argentina in 1930 (Part II)\",\"datePublished\":\"2020-11-11T16:55:00+00:00\",\"dateModified\":\"2023-06-06T16:12:49+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/ven-moysh-iz-geforn-maurice-schwartz-on-the-yiddish-theatre-in-argentina-in-1930-part-ii\\\/\"},\"wordCount\":3764,\"image\":{\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/ven-moysh-iz-geforn-maurice-schwartz-on-the-yiddish-theatre-in-argentina-in-1930-part-ii\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/wp-content\\\/uploads\\\/sites\\\/562\\\/2023\\\/06\\\/BakerSchFigure1.webp\",\"articleSection\":[\"1918-1945\",\"Actors\",\"Impresarios\",\"Performance Practices\",\"Places of Performances\",\"South America\",\"Writers\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/ven-moysh-iz-geforn-maurice-schwartz-on-the-yiddish-theatre-in-argentina-in-1930-part-ii\\\/\",\"url\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/ven-moysh-iz-geforn-maurice-schwartz-on-the-yiddish-theatre-in-argentina-in-1930-part-ii\\\/\",\"name\":\"Ven Moysh iz geforn: Maurice Schwartz on the Yiddish Theatre in Argentina in 1930 (Part II) - 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