Avant-Garde Art and Yiddish Theater in Poland

July 19 2018

In the period between the two world wars, a number of Jewish avant-garde artists—most notably Marc Chagall—designed sets for the still-thriving Yiddish theater in Europe. Alyssa Quint describes the work of some of the most prominent. (For pictures, follow the link below.)

Before creating sets for the Yiddish theater, Zygmunt Balk (1873-1941) worked at the Lwów (now Lviv) Opera House, created set designs for productions of Richard Wagner (among others), and ranked among Poland’s most important 20th-century painters. [The artist] Yosef Shlivniak (born in 1899) collaborated with the actor Zygmunt Turkow on his Yiddish-language staging of Stefan Zweig’s adaptation of Ben Jonson’s Volpone. [Another], Dina Matus, a member of the artistic-literary group Young Yiddish, conceived the Jewish folk motifs and ambience of the pioneering avant-garde director Michał Weichert’s play Trupe Tanentsap (“The Tanentsap Troupe”). . . .

Born in 1891 in Lyuvitsh (Łowicz), Poland, to ḥasidic parents, Władysław Zew (a/k/a Chaim Volf) Wajntraub was drawn to sketching and painting from a young age. Polish artists and art critics recognized Wajntraub’s raw talent, and Poland’s Society for the Encouragement of Fine Arts supported his studies in France. In Paris, he met the Russian artist and set designer Leon Bakst (1866-1924) whose influence is responsible for Wajntraub’s decisive commitment to the decorative arts and theater design.

In his book, The Murdered Jewish Artists of Poland, Joseph Sandel writes of Wajntraub:“He was a fantasist, an expressionist with mystic overtones.” Wajntraub worked closely with the modernist poet Moyshe Broderzon (1890-1956) and designed the set for his legendary opera Dovid un Basheva and I.L. Peretz’s Baynakht oyfn altn mark (“Nighttime in the Old Marketplace”). Wajntraub also worked with Weichert who directed a production of Shabse Tsvi (“Sabbatai Tsvi”) in Riga, where newspapers gave equal column space to both director and set designer.

Except for Matus, every one of these artists died during World War II.

Read more at Yiddish Stage

More about: Arts & Culture, I.L. Peretz, Jewish art, Polish Jewry, Yiddish theater

The Deal with Hamas Involves Painful, but Perhaps Necessary Concessions

Jan. 17 2025

Even if the agreement with Hamas to secure the release of some, and possibly all, of the remaining hostages—and the bodies of those no longer alive—is a prudent decision for Israel, it comes at a very high price: potentially leaving Hamas in control of Gaza and the release of vast numbers of Palestinian prisoners, many with blood on their hands. Nadav Shragai reminds us of the history of such agreements:

We cannot forget that the terrorists released in the Jibril deal during the summer of 1985 became the backbone of the first intifada, resulting in the murder of 165 Israelis. Approximately half of the terrorists released following the Oslo Accords joined Palestinian terror groups, with many participating in the second intifada that claimed 1,178 Israeli lives. Those freed in [exchange for Gilad Shalit in 2011] constructed Gaza, the world’s largest terror city, and brought about the October 7 massacre. We must ask ourselves: where will those released in the 2025 hostage deal lead us?

Taking these painful concessions into account Michael Oren argues that they might nonetheless be necessary:

From day one—October 7, 2023—Israel’s twin goals in Gaza were fundamentally irreconcilable. Israel could not, as its leaders pledged, simultaneously destroy Hamas and secure all of the hostages’ release. The terrorists who regarded the hostages as the key to their survival would hardly give them up for less than an Israeli commitment to end—and therefore lose—the war. Israelis, for their part, were torn between those who felt that they could not send their children to the army so long as hostages remained in captivity and those who held that, if Hamas wins, Israel will not have an army at all.

While 33 hostages will be released in the first stage, dozens—alive and dead—will remain in Gaza, prolonging their families’ suffering. The relatives of those killed by the Palestinian terrorists now going free will also be shattered. So, too, will the Israelis who still see soldiers dying in Gaza almost daily while Hamas rocket fire continues. What were all of Israel’s sacrifices for, they will ask. . . .

Perhaps this outcome was unavoidable from the beginning. Perhaps the deal is the only way of reconciling Israel’s mutually exclusive goals of annihilating Hamas and repatriating the hostages. Perhaps, despite Israel’s subsequent military triumph, this is the price for the failures of October 7.

Read more at Free Press

More about: Gaza War 2023, Hamas, Israeli Security