music. Here he also staged
his plays "Der ligner (The Liar)" and "Shibt tsion
(Return to Zion)".
In 1888 G. arrived in
America, and here he participated in his difficult
troupe, and also in other troupes, as a theatrical
director and actor.
In 1895 he founded the
"United Hebrew Actors Fund", but the formal founding
therefore came initially on 21 December 1899 when Joseph
Barondess, as the delegate of the Yiddish Workers
Movement, transformed the "fund" into the "Yiddish
In 1896 G. went to South
Africa and directed in Johannesburg his translation of
Zudermann's "Ere", under the name "Di naive zinderin".
Wanting to found a permanent Yiddish theatre in
Johannesburg, G. issued there a brochure in English
under the name "Vi lang vet der yid in galut zayn?"
G. returned to America and
staged in 1904 in St. Louis' exposition a biblical
opera, "Shlomo hamelkh (Solomon the King)", attempting
to found a special "biblical historical opera society",
which had even issued stock for five dollars.
In 1904 G. gave out two
large photographs that contained thirty-five images of
the first actresses, actors and dramatists. [The
photographs only had on them an English inscription:
"The first and second generation of the famous Yiddish
actors and authors of the Yiddish stage in Europe and
America since its founding".]
In 1906 G. founded in New
York a Yiddish theatrical school that existed for two
G. also wrote several plays
and songs, one of them, "Israel tsvisn di felker" with
his own music, and it was published .
G. also participated in the
film "Der shmelts-tog" by Israel Zangvil.
The last time G. was on the
stage was when he performed in December 1923 in B.
Wierbnik's drama "Lomir makhn a pshore (Let's Make a
Compromise)" in the Grand Theatre in New York.
In 1924 G. issued in English
and Yiddish a brochure under the name "Folks teater
untershtitsungs-fareyn", which propagated the idea of an
insurance society in the form of a subscription in a
theatre. "The project sought the possibility of founding
his own folksbine". Nothing became of the plan.
In 1925 G. set an electric
apparatus, which "must by fire, water, thunder and
lightning illustrate the movement of Elijah the Prophet,
as it is told in Tanakh".
G. had written by hand a
book of memoirs about activity on the Yiddish stage, a
drama "The Yiddish Daughter", an operetta "The Yiddish
Caruso", a play "Der khokhem", and a musical comedy
"Grand Street Tree".
For several years G., as
an emeritus of the union, has withdrawn from the stage.
B. Gorin -- "History
of Yiddish Theatre" -- Vol. I, pp. 198, 242; Vol.
II, p. 197.
News", New York, No. 4, 1925.
Zalmen Zylbercweig --
Iz dos yidishe teater gegrindet in berditshev, iasi
oder gor in konstantinopol, "Literarishe bleter",
L. Dushman --
Iz dos yidishe teater gegrindet gevorn in varshe? "Literarishe
bleter", Warsaw, 13, 1928.