the bad business
of the Russian troupe, entered into a compromise, that T.'s Yiddish troupe could perform four times a week.
T. had then was especially
successful in Shomer's play "Der treyfniak" and in "Katorzhnik,
oder, Der yeshiva-bukher", later in Goldfaden's "Bar
kochba" ("Papus") and "Ahasuerus",
which Goldfaden staged alone in Warsaw. In 1885 T.
Goldfaden traveled to Lodz, where they had a great
success, then they performed again until 1887 in Warsaw,
where Adler came to guest-star. However soon afterwards
it became forbidden to perform in Warsaw and T. toured
for a short time across the Polish and Russian province,
until he came again back to Warsaw, where he obtained a
license to perform under the pseudonym of
"Yiddish-German Theatre" with conditions. Then three
nights of the week he made preparations geyn farn
Russian ?itn-kreyts, but
evenings the first production came on a forbiddance from
the general, and T. had to go away to perform in
Gimpel's troupe in Lemberg.
In 1891 in Warsaw there was
published: "Hatsmakhs kremil", from various
Twenty-five Yiddish folksongs that were sung in
Goldfaden'sYiddish theatre gekleyeben together
from Abraham Isaac Tantsman. Published by Moshe Mordecai
Tsukerman" [88 pp., 16°]. The book contained twenty-five
couplets and songs, of which only a small part wre
Goldfaden's. The book began with an introduction
(written in Odessa in 1832) by tsuzamenkleyber,
who declared the motif and went away from publishing his
In 1889 there came to Lemberg the manager Mandelkern,
and T. was taken with his wife to America, where he
debuted on 7 February 1890 in Rudolf Marks' "Di tsvey
shvester, oder, Engel un teyfel" in the Hengens Theatre.
Also here he soon acquired a name (reputation) from the
theatre public. Due to theatre politics, T. schlepped
off to Chicago, and they did not let him back into New
York's legitimate theatre. T. then went to act for the
first time in Yiddish theatre in California, and this
evoked with his rich production of "Shulamis" a great
interest, also in the English press and with the
non-Yiddish theatre attendees. From there, T. toured
across the greater cities of the province, performing in
the Yiddish vaudeville houses of New York. After a
family tragedy, he passed away on 13 November 1906 in
T. had composed the plays, "Shimsen
hagiber (Samson, the Hero)" (staged by Kessler),
"Captain Dreyfus" (staged by Max Rosenthal), and many
one-acters, adapted many plays, and left the
non-produced operetta "Abigail di shaynhayt fun khbrun".
T. printed several songs in
New York's "Yidishes tageblat", and other newspapers,
and when he had performed in Chicago, he printed
articles in the Sunday edition of the "Yiddish Courier".
In New York also there was
published a brochure with T.'s couplet "Naye komishe
kupletin und theater lider, original ferfrast fun artist
A. Tantsman. Published by Jacob Drukerman".
T. left four children: three
daughters and one son, Joseph, a Yiddish actor and
Sh. E. from
his brother Pinchas Tantsman.
B. Gorin --
"History of Yiddish Theatre", Vol. I, p. 241;
Vol. II, pp. 126, 143.
Yehoshua Mezakh --
"Bms yshkhk u msha gia khziun", Warsaw, 1889.
Thomashefsky -- "Meyn lebens geshikhte", p. 132.
Thomashefsky -- "Thomashefsky's theater shriftn",
[memoirs] -- "Tog", N. Y., 29 April 1925.
Zylbercweig -- Der libling fun amoligen yudisen
teater-publikum in poyln -- avraham-yitzhak
tantsman, "Lodz togenblat", 7, 13 May 1929.