Intermountain Jewish news., 1926-09-30
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PRIDE Of THE JEWS
COMES TO BROADWAY
By SuLAMITH lSH-KlSHoR

BY SuLAMITH -KlSHOR
The Habima Theatre Of Mos
COW is undoubtedly the foremost
expression of the highest ideals
in Jewish art. Though this ad-
junct to the Moscow Art Thea
tire has worked solely in the med
ium Of Hebrew. it has amazed
laymen and critics. entirely ig-
norant of the ancient language,
by its power and imagery.
II should be splendid news for
the Jews of America that the
| Habima is coming to Broadway
this season for the first time, im-
ported by S. Hurok, the veteran
musical impressario who was one
Of the first to popularize con-
certs by leading opera stars in
this country. In this article,
Miss Ish-kishor gives the history
Of the Habima. showing the vicis-
itudes through which Il passed
and the final great triumphs it
achieved.
In the heat of the first revolutnon
airy tempests in 1905, the Moscow
Theatre HabimA was born. Its first
performance took place on tiny
stage, before an audience of about q
hundred people, in little private
house on one of the narrow cross
streets of Moscow. Today it is known
in all the capitols of Europe AS n
theatre whose performances are like
q devotional prayer, whose artists art
like priests, whose repertoire Is as its
Bible, whose music is hymn and
ritual, whose atmosphere is as that
Of tie pulpit.
ZEMACH DREAMS
In 1905 N. L. Zcmach conceived the
idea of theatre in Hebrew. He
gathered about him a group Of giftet:
young actors and actresses. One OF
them was school teacher, Anna
Rovina. In her Zemach sensed great
latent genius; around her he built his
troupe.
WANDERERS
Like wandering mintrels, the littlq
troupe moved through Lithuania, Po.
land, and Austria Hungary. perform.
ing one-act plays in Hebrew. Al
though still amateurs, they took the
cities of Kovno, Minsk, Vienna, War.
saw and other capitols by storm; 70,
the young actors were fred with 9
tremendous belief in their mission
and their acting was so expressive
that it fully compensated for the fac,
that they played in language un.
/ known to critics or audiences.
ENTER STANlSLAySKY
| Six years later Tsarist persecution
became so severe that Habima was
forced into an underground existence
But the idea which was the soul OF
Habima still famed intensely in
Zemach. Constantin Stanislavsk,
heard of Habimas struggles to exist
he sent for Zemach and asked for q
summary of Habima's past activities
This meeting decided Habima's future
for Stanislavsky took them under his
protection. Habima gained the sup
port and enthusiasm of Russia's
greatest men. The wandering Ha.
bima" changed to regular and per
manent theatre, under the guidance
Of 4tanislavsky, whose greatest asso,
| ciate. Eugene Nachtangov, became
their director.
ANNA ROyINA
Anna Rovina, the former schoo
teacher. proved to be very fame OF
genius. Her beauty and her power
of Interpretation were equal to ths
most exacting roles, and in spite OF
her youth she became one of the
great stars of Habima and of ths
Russian stage in general Thus two
cultures, two world sentiments, me;
and fused in Habima.
Another OF Stanislavskys gifted
associates, Me,chdelov, directed Ha.
bima in the successful staging OF
THE Wandering jew" to which Ha.
bima devoted whole year of propa,
ration. But when. under Vachtangov
"The Dybbuk" was presented. il
created furorc even in Russia
where the pueople are accustomed to
the highest in art.
Anna Rovina, as Leah" the 'pos.
scssed," set a standard which has
never been remotely equallcd by the
later presentations of other theatres s.
Habima alone, being in Hebrew, con.
veys the soul of this fascinating leg
end of love surviving beyond death
"Thc Dance Of the BeggarS" in tho
second act was greeted as "mastcr-
piece of theatrical art"
PERSECUTION
IIabima had fancicd itself safe from
persecution in the new Russia after
In17 R,t tho Snvictu decided that