Under the effect of Dr.
Yosef Luria, A. began to write Yiddish in "Yud". Here he
also published his first dramatic piece in Yiddish, the
one-acter about the life of workers, "Dos eybike lied",
which was stated in Riga (Spivakovski and Sam Adler) on
28 August 1905, and was soon thereafter removed from the
permanent repertoire of the various amateur circles.
In 1892 there was staged in
Lodz's Polish theatre in Polish his four-act drama, "Pienyondze"
(later in Yiddish it was called "Dos vilner bel-habitl"),
the subject of which was built around the legend of the
tragic life the famous Vilna cantor R' Yoel Dovid
Levensyteyn. In 1903 the drama was published in Polish
in "Israelita", and in the Russian translation of
Yeyugeny Trapavsky which appears in a special book.
In Yiddish the play was
staged first in 1905, also later he entered into the
repertoire of the "Vilna Troupe", in book form first
published in 1908 with an impact to the well-known
Polish writer Stanislaw Fshibishevski, a close friend of
On 11 April 1905 A.'s Polish
translation and under his direction, there was staged in
a Polish theatre in Warsaw Sholem Aleichem's play "Tsezayt
Standing close to one side
of the Yiddish actors, and from the other times to the
Yiddish literary family in Warsaw, with I. L. Peretz at
its head, who strove to create a literary theatre, A.
interested several people of mean in the Yiddish
theatre, and on 19 May 1905 there opened in Warsaw the
Bagatela Theatre, where A. was listed on the posters as
director, but due to the internal conflicts (about
shund and literature), he soon withdrew from this
theatre, and in the same year A. participated in the
founding and opening of a new theatre -- the Muranow.
The first productions were Sholem Aleichem's "Tsezayt un
tseshprayt", and Peretz's "S'brent", with the theatre
there was created a special commission, in which I. L.
Peretz was part of, along with Sholem Aleichem and David
Frishman. The commission existed, however, for an
entirely short time.
Soon thereafter A.
transformed, with Dr. Rosenthal, the cabaret Jardin
D'Hiver in a Yiddish theatre, but when the troupe began
performing a shund repertoire, and A. [subsequently]
withdrew from the theatre, and in 1906 he began to stage
direct with the amateur group "Dramatic Arts" in Lodz.
In 1907 A. founded the first
Yiddish literary troupe (personnel: Esther Rukhl Kaminsa,
Miriam Trilling, L. Zhelazo, H. Vaysman, Jacob Libert,
Sonia Edelman, Herman Serotsky, L. Zaslavski, Avraham
Teitelbaum, Yermolina-Vaysman, Avraham Yitzhak
Kaminski), which went on a tour with Pinski's, Gordin's,
Libin's, Sholem Aleichem's, Arnstein's and translated
plays ("Heymat" by Sudermann, "Nora" by Ibsen), over
hmushb areas of Russia, and also in Peterburg,
performing for the first time in a large theatre, and
attracted to them the attention of the Jewish
intelligentsia, and from the artist circles in
At the end of 1908 A.
settled in Lodz as a regisseur of the "Dramatic Arts",
which until 1910 staged the repertoire of Yiddish and
In 1910-12 A. was associated
with Lodz's Polish theatre, where he stage directed
several plays, and also staged his play "Noemi". At the
same time he published in Reyzen's "Dos naye land", New
York, his one-acter "Shvester un bruder" and "Mayn vaybs
In 1912 A. went to Odessa
where he staged in Russian in the municipal theatre his
three-act drama "Koreleva sabat", which also later was
performed by other Russian troupes. Here he also wrote
an entire series of one-acters that were performed on
the Russian miniature stages and were published in the
monthly volumes of the journal "Teater i iskustvo".
In 1914 A. traveled to
America, whre he staged his historical romantic drama "Der
letser moshiakh", and his three-act drama "A yidishe
In 1916, A. returned to
Russia, where he was director of a Russian theatre in
Vitebsk, worked with N. Zemach with the organizing of
the "Habimah", and also was he first regisseur. After
the October Revolution, A. tried to organize a Yiddish
State Theatre, but the attempt proved itself not to be
one, and at the end of 1919 A. returned to America,
where he staged his comedies, "A zun fun tsvey natsionen"
(11 March 1920, in the Irving Place Theatre, Schwartz
the director), "Far der khasene", and "Di khasidishe
In 1921 A. was regisseur in
a Yiddish art theatre (director -- Schnitzer). Here he
adapted and his "Vilner bel-habitl", wrote a musical
drama, "R' Berenu", a drama "Dos lied fun libe un toyt",
also a series of one-acters, stories, poems, etc., which
he published in "Tsukunft", and in the daily press.
In 1923 A. went to
Argentina, where he founded an amateur troupe with whom
he visited the important Jewish communities of South
In 1924 he visited Chili,
where he held presentations about Yiddish and Yiddish
arts. Then A. staged in Rio de Janeiro his drama about
Russian life "In roytn land".
In 1924 A. returned to
Poland, and tried again to be associated with Yiddish
theatre. He staged for the first time in Europe
Sackler's "Yizkor", and then he returned to the Polish
stage, staging later in his own translation and directed
Anski's "Dybbuk" and Leivick's "Golem". (5 January 1928
in Lublin's municipal theatre).
Initially at the end of 1928
he managed to stage in Yiddish under his direction and
dramatization Leivick's "Golem".
In 1929 A. in his own
translation and adaptation in Polish staged with the
Polish troupe in Lodz Jacob Gordin's "Mirele Efros",
then he toured with this troupe and later also with
other Polish troupes across Poland. This production
evoked a lively discussion about problems: Yiddish
theatre in Yiddish, or in other languages.
In 1928 A. issued through
the publishing house "Kultur-lige" in two volumes a part
of his one-acters.
Until today there was
published from A. the following theatre shtik:
"Di vilner bel-habittl", a
drama in four acts, Warsaw, Trs"kh, publisher "Ybnh",
[1908, 102 pp., 16°].
Mark Arnstein (Andzhey
Dramatic writings, I,
publishing house "Kultur-lige", Warsaw [included in a
new adaptation: 1) "Dos eybike lied", a scene of working
life in one act. (earlier in "Yud", Krakow, 1901, then
 in a separate edition in the publishing house of
B. Shimin, Warsaw, and later in an adaptated form in the
publishing house "Kunst un lebn", Moscow, 1918.); 2) "Ver
iz der ganev", a dramatic problem in one act (earlier in
"Fraynt-yubileum-beylage, 1912); 3) "Mayn vaybs meshugas",
a shpat in one act (earlier printed in Reyzen's "Dos
naye land", New York, 17, 18, 1911, later in a separate
edition [comedy] in the publishing house Max Yankovitch,
New York, and also in the publishing house "Kunst un
leben", Moscow, 1918); 4) "Shvester un bruder", a tragi-comedy
in one act (first in Reyzen's "Dos naye land", New York,
15, 16, 1901, then in a separate edition in the
publishing house "Kunstg un lebren", Moscow, 1918).
Mark Arnstein (Andzshei Mareḳ).
Dramatic writings, II,
publishing house "Kultur lige", Warsaw [including: 1)
"Di nekome" (published earlier as a drama in one act, in
the publishing house A. Gitlin, Warsaw, 1919. [M. A.
later published an editorial letter, that it was his own
adaptation]; 2) "Ven di bleter faln", a dramatic
nocturne in one act (at first published in New York's "Tsukunft",
1920); 3) "Der friling geyt!", a dramatic etude in one
act (at first published in New York's "Tsukunft", 1914)'
4) "Ven der tayvl lakht", a shpat in one act, (at first
published as a "comedy" in "Di tsayt", Los Angeles,
1922, and in "Groys un kleyn", Buenos Aires, 1923); 5)
"Dem zeydns mkhnh", a comedy in one act to perform for
Yiddish children (at first published in a children's
journal by the Sholem Aleichem Folks Shul, New York,
1921); 6) "Di mkhshfh", a children's play in one act.
"Hshir hntskhi", khziun
mkhii hihudim bmerkhh ekht, trgum yehoshue kntrubits,
hutsah mh "hshpfh", Jerusalem Trs"z [1903, 16 pp., 16°].
"Hshir hntskhi", mkhzh
bmerkhh akht, trgum pesakh kpln, hutsat "habimah",
Bialystok Tre"g, 1913 [19 pp., 16°].
"Dos eybike lied", Peterburg, 1915.
Cvando las Hojas caen. Nocturno
dramtico, 1923, "Mundo Izraelito", Buenos Aires.
La Lagrima de Dios. Cuento para
adultos, 1923. "Vida Neustra", Buenos Aires.
Cvando el diablo rie. Boceto dramtico,
1923. "Israel", Buenos Aires.
The Eternal Song, One-Act
Plays from the Yiddish, 1923. Stewart Kidd Publishers,
Cincinnati, U. S. A.
Zalmen Reyzen --
"Lexicon of Yiddish Literature", Vol. I, pp.
B. Gorin --
"History of Yiddish Theatre", Vol. II, "List of
B. Gorin --
"History of Yiddish Theatre", Vol. II, p. 214.
M. Y -- L. --
Mark arnshtayn in varshe, "Yidish bine", Warsaw,
Mark Arnstein --
Vi azoy ikh bin gekumen tsu der bine, "Teat.
tsayt", Warsaw, 4, 6, 1928.
Mark Arnstein --
Shpilstn a "tsadik" -- shpil ikh "khasidim",
"Teat. tsayt", Warsaw, 8, 1929.
Weichert -- Unzere menus tsu mark arnstein, "Literarishe
bleter", Warsaw, 28, 1928.
Mark Arnstein --
Ir zent gerekht, khver veichertn, "Literarishe
bleter", Warsaw, 31, 1928.
sholem-aleichem-bukh", New York, 1926, pp.
-- Mak arnshtayn, "Teat. tsayt", Warsaw, 6,
Zylbercweig -- Mark arnstayns epizoden fun
yudishen teater, "Lubliner togblat", 27 July
Geshikhte fun di
yidishe teatern in varshe, "Teat. tsayt",
Warsaw, 1, 2, 5, 7, 1928.
Moshe Blecher --
Mark arnstayn oyffirung fun leiviks "golem" oyf
yidish, "Teat. tsayt", 11-12, 1929.
-- Mark arnshtayn, "Unzer ekspres", Warsaw, 22
-- "Teater un drame", Warsaw, I, pp. 71-76.
B. Y. Goldstein
-- "Der vilner balebestel", "Der tog", N. Y., 12
L. Kesner -- "Vilner
bel hbit'l" in iving plays, "Idishes tageblat",
N. Y., 12 October 1923.
Zitsendig in teater, "Frayhayt", N. Y., 12
Yoel Slonim -- "Der
letster moshikh" fun mark arnshtayn, "Di varhayt",
N. Y., 11 February 1914.
Joel Entin --
Mark arenshtayn's "a idishe tokhter" in lobel
teater, "Di varhayt", N. Y, 20 January 1914.
Jonas Turkow --
Yidish teater in yidish, "Literarishe bleter",
Warsaw, 33, 1929.
Mark Arnstein --
Vi ikh ze dos... "Literarishe bleter", Warsaw,
Jonas Turkow --
Di "kemfer" far yidisher kultur, "Literarishe
bleter", Warsaw, 36, 1929.
Mark Arnstein --
Klore dvurim, "Literarishe bleter", Warsaw, 39,
A. Grafman -- A
ridl zamd, "Literarishe bleter", 49, 1929.