Chava Adelman
........................
A. Baratz ...................................
Bat-Ami .....................................
Raikin Ben-Ari ..........................
Ben-Chaim ................................
J. Bertonow ..............................
Shlomo Brook ...........................
Efroti-Chechik ...........................
Elisheva Factorowitch .............
Zwi Friedlander ........................
Miriam Goldin ...........................
E. Golland .................................
Ina Govinskaya ........................
Ch. Grober.................................
Chana Hendler ..........................
D. Itkin .......................................
F. Lubitsch ................................
Aharon Meskin .........................
Anna Paduit ...............................
A. Prudkin ..................................
L. Pudalower .............................
Tamar Robins ............................
Hannah Rovina ..........................
Benno Schneider ...................... .
B. Tschemeritsky .......................
L. Warshawer .............................
E. Winiar ....................................
Winiar-Katchur ...........................
Tmima Yudelwitch .....................
Benjamin Zemach .....................
Naum Zemach ............................
|
Yachna
Chassidim
Sender's Relative
First Batlan
Dalfon
Third Batlan
Schulem
Chassidim
Nachman
Berchik
Chassidim
Chassidim
Rivke
Michael
Sender's Relative
Sender's Relative
Chassidim
Voice Off Stage in Third Act
Elke
Gnessia
Dresl
Chassidim
An Old Woman
Sender
Batia
Raphael
Chassidim
Nechame
Messenger
Sender's Relative
Gittel
Leah
Second Batlan
Mendal
Meir
Rabbi Shamshon
Channon/Hanan
Chassidim
Asher
Zundel
Dwossia
Frieda
Henoch
Menashe
Rabbi Anzriel |
"The Dybbuk (original version), a dramatic legend in three
acts, by S. Ansky, with music by I. Engel; staged by E.
Vachtangiv; presented in Hebrew by the Habima Players at the
Mansfield Theatre."
From the NY Times review,
by J. Brooks Atkinson
"The Dybbuk" in Hebrew
December 14, 1926
"...In order to describe it one must report some of the
details. First of all, the make-up is extraordinary. Faces are
painted with curious designs, in high colors, not unlike
grotesque masks; mouths are pulled out of shape by daubs
of grease-paint; eyes are rendered almost uncanny by circles
and arches; noses are pulled to a sharp point. The black gowns
of the chassidim are crudely smeared with white at the
edges. All the benches and chairs used in the synagogue and at
the wedding breakfast are off centre; the angular treatment of
the property extends even to the unpretentious scenery. The
actors move about the stage with grotesque motions, with
absurd attitudes; the lines of the human figure are broken up
by stooping or leaning heavily to one side. And the voices of
the beggars, the professional prayer men and the choruses n
general are individually unnatural, stressed and strained.
Divided into its various parts, like the individual scores for
a symphony, the production would be thoroughly unintelligible.
When all these separate parts are pulled together in a
symmetrical performance the effect is astonishing--as unreal
as the mystical legend of the play, as profound in its
searching of the emotions, supple, resilient and varied...
...With the Habima we see a
fresher method of group-acting, suited to dramas of a
freer technique. Our stage may learn a good deal from it in
the orchestration of producing." |
