Yiddish Theatre Forum
______________________________________________________
Contents of Vol. 02.001
12 March 2003
1) Letter from the Editor (Joel Berkowitz)
2) Letter to the Editor: Seeking information on Alexander Granach (Ilka
Fischer)
3) New Theatre-Related Projects at YIVO
a) Yiddish Shakespeare Manuscripts Digitized (Brad Sabin Hill)
b) Sholom Perlmutter Collection of Printed Yiddish Dramas Restored
and Catalogued On-line (Nikolai Borodulin and Brad Sabin Hill)
4) The Jewish Drama Collection at the St. Petersburg State Theatrical Lib
rary (Nina Warnke)
5) Two Bibliographic Projects on the Yiddish Theatre (Zachary Baker)
6) Future Issues of the _YTF_ (Joel Berkowitz)
1)----------------------------------------------------
Date: 10 March 2003
From: Joel Berkowitz
Subject: Letter from the Editor: Archival Resources on Yiddish Theatre
As this is the first issue of the _Yiddish Theatre Forum_ as an entity
independent of _The Mendele Review_, let me begin by outlining the
implications of this change. First, Leonard Prager has chosen to step aside as
co-editor of the _YTF_, though he will continue to be actively involve d in an
advisory capacity.
The _YTF_ is no longer a co-publication of _The Mendele Review_, but has a
relationship with _Mendele_ comparable to that of _TMR_: that is, it goes out
under _Mendele_'s auspices, and back issues from this point forward will be
housed on _Mendele_'s website in their own archive. Contributors should
address all correspondence directly to the Editor rather than to _Mendele_.
Astute readers may have noticed one other change: the spelling of _Yiddish
Theatre Forum_. The shift from "Theater" to "Theatre" comes neither out of the
Editor's anglophilia nor as the result of intense lobbying on the part of his
English wife and in-laws. "Theatre," unlike words like "center," "liter,"
"caliber," and so on, has retained a foothold in American English. "Theatre"
remains the more widely accepted spelling in academic writing, as opposed to
the more journalistic "theater." The new spelling is meant to reflect the
academic bent of the Forum; fortunately, in a web-based journal such changes
do not require ordering new stationery.
The current issue is devoted primarily to archival resources on Yiddish
theatre. Probably the most familiar of the collections below is the Perlmutter
Play Collection in the YIVO Archives; researchers can read below of YIVO's
progress toward computerizing this essential piece of its holdings, as we ll
as other developments at YIVO. Zachary Baker, formerly at YIVO and now at
Stanford University, straddles both coasts in his two submissions to the
current issue, on holdings at the Library of Congress and at Stanford itself.
Moving to materials housed outside the United States, Nina Warnke gives an
overview of the holdings of the Czarist censor's archive in St. Petersburg,
as well as some of the research implications raised by her work to date.
The entries below illustrate how fluid is the boundary between what we know
about the Yiddish theatre and how we know it. At times they not only describe
collections, but shed light on the process of cataloging, and demonstrate the
provisional character of much of our knowledge of the field. In a very real
sense, we often do not even know what our own plays were called!
More optimistically, all of these submissions show that great strides continue
to be made toward the professionalization of the field, an evolution being
effected by librarians, archivists, and academicians, and taking advantage of
human and technological tools to aid in the preservation and cataloging of
our precious resources.
2)----------------------------------------------------
Date: 18 February 2003
From: Ilka Fischer
Subject: Seeking information on Alexander Granach
For a biography of the actor Alexander Granach (born 1890 in Galicia) I am
interested in every hint concerning: his roles in plays or films, locations
he lived or people he met. My special interest focuses on the time of his
exile between 1933 until his death in 1945.
3)----------------------------------------------------
Date: 30 January 2003
From: Brad Sabin Hill and Nikolai Borodulin
Subject: New Theatre-Related Projects at YIVO
a) Yiddish Shakespeare Manuscripts Digitized
Twelve yiddish manuscript translations of Shakespeare's _The Merchant of
Venice_ are now available on CD-ROM for in-house use at the YIVO Library. Dr.
Dror Abend-David, an advanced researcher at Bilkent University in Ankara,
Turkey, oversaw the microfilming and digitizing of the dozen Yiddish
manuscripts of the play held in the YIVO Archives. They are among 18 known
translations (of which six were printed). A number of other translations were
probably done in Eastern Europe before the Holocaust or in the Soviet Union
before the liquidation of Yiddish culture in 1948. Abend-David described his
work on this pioneering project in a paper delivered in June 2002 at the
annual conference of the Association of Jewish Libraries in Denver, Colorado.
Interest in Yiddish translations of Shakespeare has flourished in recent
years. Abend-David's book, _'Scorned My Nation': A Comparison of Translations
of the Merchant of Venice into German, Hebrew, and Yiddish_, has just been
published by Peter Lang (New York, 2003). The book is based on his New York
University dissertation of 2001, which is held in the YIVO Library.
This past year the YIVO Library acquired the major study by Joel Berkowitz,
assistant professor of Modern Jewish Studies at SUNY Albany, entitled
_Shakespeare on the American Yiddish Stage_, published by the University of
Iowa Press. Professor Berkowitz's research at YIVO is acknowledged in his
book.
YIVO's theatre collections are a valuable resource for students of Yiddish
drama. The YIVO Archives hold the world's largest collection of Yiddish
manuscript translations of Shakespeare's plays, mostly from the early 20th
century. The digital reproduction of the Shakespeare manuscripts allows for
on-screen sharpening and enlarging of the various manuscript hands (scripts),
rapid flipping through manuscript pages and comparison of variant texts,
without harming the increasingly fragile paper of the originals. The
digitizing of the manuscripts was funded by the Lerner Foundation in Israel
and executed with the assistance of YIVO archivists.
Brad Sabin Hill
b) Sholom Perlmutter Collection of Printed Yiddish Dramas Restored and
Catalogued On-line
Researchers in Yiddish theatre will appreciate the breadth and accessibility
of the newly repaired and rehoused Perlmutter Collection of books on the
Yiddish theatre, now searchable on-line in the YIVO automated catalogue. The
260 plays, published beginning in the 1880's, run the gamut of dramatic
literature: Yiddish classics, historical drama, Yiddish _shund_ theatre,
operettas, and translations from German, Russian, English, American, Polish,
and Hebrew drama. Their origins span Eastern Europe and the United States,
including imprints from New York (82 plays), Warsaw (101), Vilna (20),
Przemysl (14), Cracow (12), Lvov (12), as well as Chicago, Los Angeles,
London, Kaunas, Odessa, Buenos Aires, Lodz and others. Many include
Perlmutter's hand-written notes, marking deleted passages and other diver
sions by directors from original texts.
Sholom Perlmutter (1884-1954), who bequeathed the collection to YIVO, was a
playwright, professional prompter in the Yiddish theatre, founder and
secretary of the League of Yiddish Playwrights, and founder of the Society of
Jewish Composers, Lyricists and Publishers. According to the collection's
trustee, Dr. Jacob Shatzky, the Perlmutter Collection, which includes a large
number of rare items dating from the early 1900s, is 'without doubt the
largest of its kind the world over.' The repair and rehousing of the
collection's books and pamphlets, completed by the YIVO Preservation
Department, was funded through a preservation grant from the Office of the
New York State Librarian.
Individual titles in the Perlmutter Collection of printed Yiddish dramas can
be searched in the YIVO Library's on-line catalogue, which is accessible via
the YIVO web-site, at www.yivo.org. The contents of this on-line catalogue
are also searchable in RLIN, the national automated library data-base.
Aside from the Perlmutter Collection of printed Yiddish dramas, Perlmutter's
enormous collection of some 1,300 Yiddish theatre _manuscripts_ is also held
at YIVO, preserved in the YIVO Archives. The entire Perlmutter archival
collection, which also includes Perlmutter's personal papers and other
materials on the Yiddish theatre, is described in the _Guide to the YIVO
Archives_, compiled by Fruma Mohrer and Marek Web (New York, 1998), # 832 2E A
detailed Yiddish-language inventory of the Perlmutter Theatre Collection is
available for consultation in the Reading Room of the YIVO Library.
Nikolai Borodulin and Brad Sabin Hill
4)----------------------------------------------------
Date: 9 February 2003
From: Nina Warnke
Subject: The Jewish Drama Collection at the St. Petersburg State Theatrical
Library
The St. Petersburg State Theatrical Library houses the surviving archives of
the Czarist censorship office, which includes all extant copies of plays
submitted to the censor in Russian, French, German, Yiddish, and other
languages. Although the collection of Yiddish censorship copies is one of the
smallest of the library92s collections, with its over 2,500 texts it
represents one of the largest repositories of Yiddish plays in the world. The
vast majority are handwritten manuscripts; only about 270 are printed texts.
Besides its size, this collection is particularly significant because contains
a considerable portion of the repertoire of a specific period (1895-1917) and
region (Imperial Russia).
The following description is based on extensive research at this collection.
As preparatory work for my study on Yiddish theatre and censorship in Imperial
Russia, I have begun to create a database of the library92s entire holdings
of Yiddish plays.
The collection spans the last 37 years of the Czarist Empire. The earliest
manuscript is a copy of _Uriel Acosta_, which was censored in 1880; the last
one is _Malkele soldat_, approved in April 1917, shortly before the
abolishment of the Czarist censorship office. However, this time frame is
somewhat misleading since there seem to be only four extant texts sent in
between 1880 and 1895. During this period many Yiddish plays were submitted
to the censorship office in Warsaw and are therefore not part of this
collection, but a significant number of plays were sent to St. Petersburg.
These seem to be lost. The period from 1895 through 1902 is represented by a
little ove r 100 manuscripts, which according to my initial estimate account
for about 15% of the total submission of plays. For the years 1903 to 1917 the
collection seems to be close to complete.
As is well known, the Czarist authorities (to be precise, the Department of
Police of the Ministry of Internal Affairs) banned Yiddish theatre in August
1883, forcing Yiddish troupes to submit plays in German and to play under the
guise of German companies. Although theatre lore asserts that the ban was
lifted in the wake of the revolution of 1905, this was not the case. In fact,
it seems that the Department of Police never lifted the ban. Nonetheless,
starting in the summer of 1907 the censorship office decided unilaterally to
allow submissions in Yiddish, creating a legally ambiguous situation. The
censorship copies provide vivid illustration of these changing policies. All
manuscripts submitted before the summer 1907 are in Latin characters, the
majority in regular German. During the years right before and after the 1905
revolution, the censor became somewhat more lenient in regards to language and
while all submissions still had to be in Latin characters, quite a few texts
were submitted (and permitted) with traces of Yiddish syntax and vocabulary.
Between 1907 and 1917, a significant number of plays were submitted in Hebrew
characters. (Just as works in Latin characters ranged from regular German to
daytshmerish to transcribed Yiddish, works in Hebrew characters could range
from regular Yiddish to transcribed German.) Even after 1907 many directors
continued to send in copies in Latin characters, probably because it was still
easier to get permission for performance from local authorities if one could
show an approved German text. In addition, I have located 17 printed works in
Hebrew, most of which are translations from Yiddish. (Russian or Polish
translations of Yiddish plays are kept in a different collection.)
We are all aware that Yiddish plays were often staged under multiple titles
and that authorship was not always acknowledged. In fact, many American
Yiddish plays were known under different titles in Eastern Europe. Thus
Lateiner's _Di grinhorns_ became known in Eastern Europe as _Mishke un
Moshke_ or as _Di eyropeyer in amerike_. Working with this collection makes
this confusion of titles and authors abundantly clear. Since company directors
often put their own names as authors or adapters on the title page 97- usually
without acknowledging the original author -97 and used various titles for the
same source, it becomes very difficult, if not impossible, to determine the
original author and/or play. For example, the _Dos yidishe kind_ published in
1911 as a play by Lateiner was, according to the _Leksikon fun yidishn
teater_, actually written by Shomer. I found a copy of _Das j?dische Kind _ by
Kaminski -97 which seems to be Shomer's play -97 and _Das j?dische Kind_,
ostensibly written by Gordin, but this is clearly a different play. But which
one of Gordin's 70-plus plays is it? Or maybe it isn't Gordin's at all;
because of his popularity he was often credited with plays he did not write.
However, _Der Feter Schmeril und die Mime Sprinze_ by Lateiner is indeed based
on Shomer's play _Dos yidishe kind_. Then there is also a play called _ Die
Muhme Sprinze_, adapted by Fishzon, but this does not seem to be related to
any of the above plays. Nor is it related to _Sprinze die Odessaer M?kler in_
which is Shomer's _Kokete damen_. And how can we know from the title al one
that _Heintige Kinder_ is the same play as _Ungehorchsame Kinder_ but that
_Undankbare Kinder_ is a different play 97- in fact, Gordin's _Der yidisher
kenig Lir_? Is your head spinning yet? So is mine.
On the other hand, this practice of putting the company director's name on
the title page can help us to a certain degree to reconstruct the repertoire
of individual companies. For example, there are over 100 texts with Avrom
Fishzon's name. Other names of company directors include Sam Adler, Julius
Adler, Yankev Spivakovsky, I. Gusik, Avrom Kaminski, Yitskhok Zandberg, Heshl
Eppelberg, Yehude-Leyb Boymvol, Solomon Genfer, Yankev Tsipkus, Dovid-Moy she
Sabsay, Sholem Tsuker, Nokhem Lipovski, Leyzer Rappel, Yoysef-Herman Korb ,
Aba Kompaneyets, and Meyer Mishurat.
During the early Soviet years the library created complete author and title
catalogues for the collection. However, several drawers were lost, rendering
both catalogues incomplete. During the past two years, Yulia Prestenskaya ,
the librarian responsible for the collection, has been working on completing
the author catalogue. Of course, the catalogue gives the author names as they
appear on the title pages; thus it has about 100 entries for Goldfaden while
I have identified almost twice as many Goldfaden plays. The ratio is much
better for Gordin, who was acknowledged as author in about 90% of the
submissions.
The vast majority of submissions are full-length plays (operettas, melodramas,
dramas, comedies, and farces); only about 8% are 1-acts. Other texts submitted
for performance and represented in the collection include compilations of
songs, couplets, monologues, or poetry. There is also a handful of so-called
93kino deklamatsyes9497texts spoken to accompany silent movies. Most o f the
texts bear the censor's marks: they usually include a dated stamp giving or
denying permission for performance. Plays that were permitted with cuts have
mark s of the censor's red pencil with which offensive words or passages were
crossed out.
The collection includes texts by all major Yiddish dramatists of the period.
The three best-represented ones are Goldfaden, Lateiner, and Gordin with -97
according to my estimates so far -97 some 200 submissions each. Based on the
numbers of submissions, Goldfaden's most popular plays were _Shulamis_, _Bar
Kokhba_, and _Di kishefmakherin_; Lateiner's were _Di nakhtvandlerin_ (or
_Sore Sheyndl_) and _Mishke un Moshke_, while Gordin's were _Khasye di
yesoyme_ and _Di gebrider Lurye_. Other well-known names include the foll
owing writers of the early repertoire: Nahum Meir Shaykevits (93Shomer94),
Moyshe Hurwitz, Yoysef-Yehuda Lerner, and Moyshe Richter; several playwrights
who worked in New York such as Leon Kobrin, Zalmen Libin, Isidor Zolotarevsky ,
and David Pinski, and those writers in the Russian Empire who began writing
plays after 1905 when hopes ran high that Yiddish theatre would be legalized:
Sholem Aleichem, Isaac Leib Peretz, Peretz Hirschbein, Sholem Asch, Ossip
Dymov, Hersh-Dovid Nomberg, and Mark Arnstein. Among the less known writers
are Mordkhe Rivesman, Yankev Vaksman, Berish Bekerman, Saul Hokhberg, and
Yitskhok Nozhik. There is also a manuscript translation by Max Weinreich of
Ben Ar ye's _Am sgole_ and an early play by Zalmen Zylbercweig, _Farmakhte
oygn oder a lebn on libe_.
Plays adapted or translated from foreign sources include _The Weavers_ by
Hauptmann, _Hunger_ by Yushkevitsh, _The Father_ by Strindberg, _Jean and
Madeleine_ by Mirbeau, _The Jews_ by Chirikov, _An Enemy of the People_ and
_Ghosts_ by Ibsen, and in printed editions _The New Ghetto_ and _Our K?th che_
by Theodor Herzl, _The Power of Darkness_ by Tolstoy, and some of Chekhov's
one-act plays. Furthermore, there are translations of plays by Sofie Biela,
Hermann Sudermann, and Sam Benelli among others.
5)--------------------------------------------------
Date: 15 February 2003
From: Zachary Baker
Subject:Two Bibliographic Projects on the Yiddish Theatre
(a) The Ezra Lahad collection at Stanford: A progress report. Vol. 05.015 (16
December 2001) of The Mendele Review contains Leonard Pra ger's extensive
description of the late Ezra Lahad's effort to document the repertoire of
printed Yiddish plays, as part of a review of Lahad's _Bibliography of Printed
Yiddish Plays_. Vol. 06.002 (28 February 2002 ) includes Leonard Prager's
follow-up notice concerning the index to Lahad' s bibliography. Finally, vol.
06.004 (13 April 2002) includes my announc ement concerning Stanford's
acquisition of Ezra Lahad's rich collection of Yidd ish theatralia in 1998.
These three articles provide the necessary backgro und for this update on the
cataloging and preservation of the Lahad collection.
The Lahad collection was brought to Stanford by my predecessor, Roger Koh n,
who was the Judaica/Hebraica curator at Stanford from 1991 to 1998. Du ring
those years Roger arranged for the acquisition of several impressive
libraries, as part of Stanford's concerted effort to bolster its Jewish
Studies holdings. As a result, Stanford now has very impressive holdin gs of
Yiddish materials. The Lahad collection comprised over 3,000 volumes ( 2,600
books and 500 periodical volumes -- most are in Yiddish, but some are in
Hebrew and other languages) at the time of its acquisition.
At the end of 2001 Stanford received a grant from the Lucius N. Littauer
Foundation, which enabled us -- at long last -- to begin processing and
cataloging the collection, and microfilming several hundred items that ar e
particularly fragile. The project is now about half completed. The Lahad
collection includes about 200 hundred editions that are not recorded in the
principal bibliographical databases, the RLG Union Catalog and OCLC World Cat.
In other words, Stanford is the only public repository where many of these
publications are to be found. Yiddish plays and poems that were publis hed as
chapbooks or brochures, are by their very nature likely to be rather scarce.
(Copies of some of these editions may also be held by YIVO, whose holdings
are not yet fully recorded in the RLG Union Catalog, and by the Jewish Nation
al and University Library, in Jerusalem.)
The project cataloger, Heidi Lerner, reports that she has found Lahad's
_Bibliography of Printed Yiddish Plays_ to be quite useful toward identif ying
certain works that pose problems of authorship or bibliographical description.
Those who are interested in following the progress of the cataloging project
from afar can identify the Lahad books in Stanford's o nline library catalog
(http://www-sul.stanford.edu/search/socii/). Click ben eath "Version Open to
All" and key in the words "Ezra Lahad Collection" on the search screen. Then
click on "Subject" and several hundred items will come up. Books that have
been assigned to the Department of Special Collect ions can be identified by
selecting "Special Collections and University Archiv es" from the pull-down
menu at the bottom of the page, and re-clicking "Subject."
After its arrival on campus, as the Lahad collection was being sorted, tw o
boxes of ephemera and unpublished materials were set aside and these are
currently being processed for eventual incorporation into the Stanford
Libraries' Manuscript Division. For the Yiddish theatre researcher probably
the most important finds in this portion of the collection are the many plays
that Ezra Lahad clipped from different Yiddish magazines. These are being
kept together (in some cases they are being photocopied because the originals
are in poor condition) with the other manuscripts and ephemera. Most of these
items are reflected in Lahad's Bibliography -- which serves as practicall y
the only tool for identifying printed Yiddish plays that were not issued as
separate publications. (Indexes to the Yiddish journals in which these plays
were published are almost nonexistent.) The unpublished materials also include
a handful of extraordinarily rare theatrical programs from the early years of
the Soviet Yiddish stage.
This is still very much a work in progress.
(b) The Lawrence Marwick Collection of Yiddish Play Scripts at the Library of
Congress. Many of the Yiddish plays that were performed over the years --
perhaps t he majority of them -- were never published at all. One of the
principal research desiderata for the field, therefore, is the identification
of repositories where collections of Yiddish play scripts are held. Off the
top of my head, the chief U.S. libraries for unpublished Yiddish plays are
YIVO (especially the Sholem Perlmutter and Maurice Schwartz collections), the
New York Public Library (the Boris Thomashefsky collection), Harvard (the
Joseph Buloff and Luba Kadison collection), and the Library of Congress (the
Law rence Marwick collection). The Hebrew Actors Union archive is another very
important resource, and one hopes that it will become publicly accessible in
the not too distant future. In addition, the American Jewish Historical
Society has an outstanding collection of Yiddish theatre posters. Overseas,
one hears of tantalizing finds in such unexpected (or not?) places as the
Russian censor's archive in St. Petersburg (see Nina Warnke's article above).
Doubtless other important archives will be heard from sooner or later.
More years ago than I care to recall, Michael Grunberger invited me to compile
an annotated bibliography of the Yiddish play scripts in the Lawrence Mar wick
collection. The late "L" Marwick (as he was known), who was one of Michael's
predecessors as head of the Hebraic Section at the Library of Congress, had
discovered that a cache of Yiddish scripts was on deposit in the U.S.
Copyright Office and he arranged for the scripts to be transferred to the
Hebraic Section. Library staff compiled a list of the scripts, based on
entries in the Copyright Office's printed registry and card files, and I was
then enlisted to flesh out the entries by tracking down information relating
to productions, casts, and the like. (To this end, Zalmen Zylbercweig's
_Leksikon fun yidishn teater_ was absolutely indispensable.)
It was not possible for me to examine all 1,200 scripts in person, since I was
not living in or near Washington, DC. Fortunately, with the support of Claire
Marwick (L Marwick's widow), I was able to hire a retired librarian in
Washington, Bonnie Sohn, who possessed impeccable Yiddish theatrical
connections -- as the sister of the Yiddish character actor (aren't they all?)
Zvee Scooler. Bonnie jotted down the pertinent bibliographical information on
cards, which she sent to me, and I pulled together the information and
prepared a bibliographical database, using the Yiddish-friendly Nota Bene 4.0
program. Here is a sample entry (with the Yiddish title stripped out, since it
would appear as gibberish in my e-mail program):
KALMANOWITZ, Harry [Geburth kontrol, oder, Rassen zelbstmord] 3D Birth
control, or, Race suicide: [!] [drama in 4 acts, by Harry Kalmanowitz]. 1 vol.
[83 p.] (hectograph of manuscript) D 44397 (C) July 18, 1916; Sigmund
Weintraub, New York. Produced: July 21, 1916, National Roof Garden (director:
Sigmund We intraub; music: Louis Friedsell; lyrics: Louis Gilrod). Sources:
Zylbercweig 4: 3693. Original title, Umshtenden, is lined out. Alternate
English cover title: Race suicide.
The discerning reader will note that the spellings in the script -- warts and
all -- are faithfully transcribed, with no attempt made (punkt farkert!) to
"normalize" them. This is a matter of bibliographical principle to which I
religiously adhere.
The most prolific playwrights represented in the Marwick collection bear such
nearly forgotten names as Max Gabel, Harry Kalmanowitz (as in the above
example), William Siegel, and Isidore Solotorefsky. The collection may
therefore be described as a treasure trove of what an earlier generation would
have disparaged as "shund." These were the workaday dramas, comedies, and
operettas written by journeymen authors -- the bread and butter of the Yiddish
stage. The plays in the Marwick collection represent only those that the
authors or producers deigned (for whatever reason) to deposit on copyright;
many, many more of their unpublished works were performed but never
copyrighted.
There are also numerous plays in the Marwick collection by such "respectable"
authors as Jacob Gordin, Peretz Hirschbein, Leon Kobrin, and David Pinski,
but their output is dwarfed by the likes of Gabel and Kalmanowitz. In
addition, there are plays by total unknowns, likely never performed but
nevertheles s deposited by their authors on copyright and now granted
bibliographical immortality by the Library of Congress.
The Marwick collection contains scripts dating from 1909 through 1950. Before
July 1, 1909, there was no legal deposit requirement for copyrighted plays;
all that authors needed to do was submit a form and accompany it with the
play's title page. Thus, many of the most important and popular works written
for the Yiddish stage are missing from this collection and must be sought
elsewhere.
During the last two years Michael Grunberger and I have been working with a
desktop- publishing specialist, who has reformatted the bibliography to
post-DOS standards and prepared its indexes. We have also identified a number
of photographs and posters, for inclusion in the completed book. The hope is
that it will be published by the Library of Congress, as a companion piece to
the late Irene Heskes's volume, _Yiddish American Popular Songs, 1895 to 1950
: A Catalog based on the Lawrence Marwick Roster of Copyright Entries_
(Washington, DC: Library of Congress, 19').
Meanwhile, as a forshpayz, 77 of the 1,200 plays in the Marwick Collection
have been digitized and they may be read on the Library of Congress' A merican
Memory website (http://lcweb2.loc.gov/ammem/vshtml/vsyid.html). [See also
Leonard Prager's discussion of this website, and an analysis of one of its
plays, in Vol. 06.008 _TMR_ and Vol. 01.001 _YTF_, 31 August 2002. -- Ed. ]
Zachary Baker
Stanford University Libraries
6)----------------------------------------------------
Date: 11 March 2003
From: Joel Berkowitz
Subject: Future Issues of the _Yiddish Theatre Forum_
The next several issues of the _YTF_ will contain, in serialized form, Leonard
Prager's index to an important collection of Yiddish playscripts. The _YTF_
invites librarians, archivists, and researchers to contribute to the
discussion of library and archival resources by submitting descriptions of
general holdings, specific collections, or new projects relating to any a
spect of Yiddish theatre, drama, and performance. The _Forum_'s readers would
undoubtedly like to be kept abreast of new developments in well-known
libraries and archives, and to be made aware of less familiar collections 2E
_______________________________________________________________
End of _Yiddish Theatre Forum_ 02.001
_Yiddish Theatre Forum_
Joel Berkowitz, Editor
Honorary Board
Raphael Goldwasser, Shifra Lerer, Bernard Mendelovich, Joseph Schein
Advisory Council
Leo
nard Prager, Senior Advisor
Dror Abend-David, Jean Baumgarten, Helen Beer, Paola Bertolone, Mendy
Cahan, Jeremy Dauber, Jerold Frakes, Ben Furnish, Itsik Gottesman,
Avraham Greenbaum, Nina Hein, Barbara Henry, Dov-Ber Kerler, John Klier,
David Mazower, Laura Mincer, Edna Nahshon, Yitskhok Niborski, Leonard
Prager, Alyssa Quint, Ron Robboy, Nahma Sandrow, Vassili Schedrin,
Joseph Schein, Jutta Strauss, Jeffrey Veidlinger, Nina Warnke, Seth
Wolitz, Moshe Yassur
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