Meir Eyzenberg

He was born in 1896 in Gowarczow, Poland to Chasidic parents. Raised as a weaver, in 1913 he belonged to Warsaw's "Hazamir" and used to perform in undertakings with folksongs and declamations. In 1914 he arrived in America, and in 1918 he was taken into the "Chicago Yiddish Dramatic Society," where he acted under the direction of Ben-Zion Gordon, Abraham Teitelbaum, Marion Gering, Mark Arnstein, Abraham Morevsky, Osip Dymow, Mark Schweid, Jacob Ben-Ami and Joseph Buloff  In 1929, due to fundamental differences of opinion, he left the "society" and organized a worker's theatre studio, "Artes," where he staged "Naftali Botwin," "Hirsh Lekert," "The Commisar's Father," and also one-acters and pageants, while at the same time also stage-directed other dramatic sections of Jewish Workers Clubs. In 1931 E. became employed as a drama teacher in the school of the International Workers Order in Chicago. In 1933 E. was in New York and joined "Artef," where he performed in 1934 under the direction of Benno Schneider in "Recruits," and participated since then in every production of "Artef." E. also was stage manager

for the production of "200,000" and worked on the sets for the performed plays: "Haunch, Paunch and Jowl," stage-directed in the dramatic section of the worker's clubs in New York, and performed with recitations and readings for various undertakings. The "Artef" member Jacob Bostinsky writes: "E. was always working on materials in the house and held rehearsals; here Meir was the leading force. He literally swam in his directorial fantasy, and he especially excelled in cutting and condensing material in a play. Lyuba [his wife], with her quiet artistic sense, helped a lot to deepen all the work. When the ["Artef"] theatre closed, Meir became the dramatic teaceher in the progressive Jewish Children's School, and in the summer seasons the Eisenberg's performed in Camp Lakeland." But about his acting in "Artef," one could not "make a living," so E. worked for various trades. For a time he was a "laundryman" (supplier of a washery) and drove a horse-and-wagon. After the disbanding of "Artef," E. participated in the production of an "ensemble." In 1956 E. settled in Miami Beach, and about his local activity there, R. Yukelson wrote: "Through the years when he lived in Miami, for many summers he directed together with (his wife) Lyuba, cultural work as a performer, reader, and recitator in Camp "Lakeland," He created a lot of spiritual pleasure for the thousands of visitors, a special and unique place that Meir Eisenberg engaged in Miami Beach, where he was active in every important cultural area and had fulfilled many functions. Besides that, he regularly worked on preparing programs for various folk celebrations and culutral opportunities in which they mostly both -- he and Lyuba -- led. Meir also held lectures on literary, political and general societal topics. ... Meir appeared to me as a man with significant knowledge, as someone who follows the exciting developments of the time in which we live, and as a human being who reads good books and journals, and is well-versed in world literature. ... His performance on the stage in a theatre play, reading or reciting, always draws a large audience, and with a special interest one listens to his lectures in the Jewish Cultural Center. Whether by sea, under a morning sky, he fulfilled the duties of the office with diligence and responsibility as Cultural Director of the Coordinator Committee. It was always a great pleasure to be with him at a homely celebration. He was always loaded with beautfiul stories, anecdotes, which he used to tell us with a special mastership. He also knew many folk songs and parodies, which he used to bring with him. Apart from his properties as a folk artist, he appeared as an outstanding, progressive human being. With his optimism he pleased the people with whom he came into contact." The poetess Chana Safran, whose one-act, "Landslayt," E. and his wife played in, portrays him this way: "Work and acting, songs and words were an integral aprt in Meir and Lyuba's life. For Meir, however, it wasn't just entertainment, it was a means to cheer up and uplift the mood of his listeners. The desire to use his profession to develop and elevate the common man, to give him a progressive orientation in the current events and struggles in the world, Meir in recent years, more and more emerged as a speaker, activist and leader in Miami. Meir Eisenberg was the chairman for the many lectures and symposiums that the Cultural Center [held], with such seriousness and solemnity that he used to explain: "The Center is our holy place. Hee we come to learn a page of Gemorah." A happy, cheerful man, he stands me front of my eyes with his dark, slender figure. Memories flash of celebrations and concerts, sitting at lectures, meeting with friends and guests from outside the country in small, intimate joyous house events, and everywhere there is Meir Eisenberg with his words, his humor, and his interpretation of the Yiddish song." On May 8, 1966 E. passed away in Miami Beach, Florida. "Ten Years of Artef," New York, 1937, pp. 101-102. P.A.N. (Pesakh Novik) -- Tog-eyn tog-oys, "Morgn frayhayt," N.Y., 10 May 1966. R. Yukelson -- Meir Eisenberg, dort, 18 May 1966. Jacob Botsinsky -- Mit meir eisenberg in di artef-yorn, dort, 31 May 1966. Chana Safran -- A fraynt iz avek ...., dort, 15 June 1966. Ben Benevitz -- Di eisenbergs -- men vet zay fish fargesn, dort, 11 Oct. 1967.