to Vinnitsa, where he
nourished himself as a teacher and performed in evenings
with programs of "day topics". Due to the outbreak of
the World war, he remained in Vinnitsa, and he performed
(until 1917) in various "evenings" with the members of
the "Literarishe kunst gezelshaft (Literary Art
Society)" (that later called itself "Unzer vinkl"), as
well as plays from the Gordin repertoire (in a
part of the productions, where there was also
participation by actor Jacob Libert).
On 25 December 1918 he
performed in the Vinnitsa municipal theatre "Ktrilevke,"
in three acts with a prologue, per Sholem Aleichem, from
B. Chemerinski", and on 2 June 1919 there was staged
Ch.'s "Shlim shlim-mazel, a comedy in three acts, per
Sholem Aleichem, by B. Chemerinski."
As a vice director of the
Hebrew gymnasium in Vinnitsa, Ch. directed the student
productions and also arranged one "evening," together
with David Vardi.
1919 -- Ch. entered into the
Moscow Hebrew theatre "Habima", with which he later
became one of the prominent actors and managers of the
theatre, with whom he went on a tour with in 1926 across
America, and after the troupe was divided was the main
director of that part of "Habima" that settled in Eretz
In the "Habima", Ch. staged
(together with Abbie Friedlander) H. Leivick's "Khblim
(Chains)", "Amkh (The Big Winner)" by I. D. Berkowitz,
per Sholem Aleichem and his own dramatization of Kh. N.
Bialik's "Der kurtser fraytog."
Ch. has published more
articles, generally about theatre, and about the "Habima"
especially, including a series of memoirs in "Yevreyskaya
-- Dos harts fun der "habima", "Dos yidishe
folk", N. Y., 21 January 1927.
Morris Meyer -- A
realer zin tsu a tiefen simbol, "Di tsayt",
London, 7 January 1931.