In 1908 F. played with
Sam Adler in Lublin (Silberkasten), Ben-Ami, Freed,
Lipman, Neroslavska), who united with Spivakovski,
but soon separated and united with Meyerson until
1910. In that the torpe also came out to play with
Teitelbaum, M. Weissblatt (later Michalesko), Liovke
Brown, F. Finkel, Sandler, Rabinowitz, Libertovska,
Fannie Reiber et al. Soon there will be another run
off from troupe to troupe. In 1910 a piece of time
in a collective with Bidesko and Doktorov, then with
Korik, later with Rotenstein, three years with
Genfer, and from there with George and Becker, again
returning to Sam Adler, after to Sharavner. In
1916 he joined Libert's troupe (in Nikolaev), where
Jacob Libert, M. Libert, H. Weissman, S. Edelman, N.
Edelman, Rosa Brin, Sh. Brin, et al played.
In the span of 1909
until 1917 F. came to lay the following roles: "Berele'
in Schorr's "A mentsh zol men zayn (Be a Man!)," "Motele"
in Gordin's "Got, mentsh un tayvl (God, Man and
Devil)," "Shemaya" in Feinman's "Shabes kodesh,"
"Bennie" in Schorr's "Di amerikanerin," "Kvekzilber
(Quicksilver)" in Schorr's "Shir hashirim (Song of
Songs)," ""Noakh" in Hirshbein's "In a farvarfenem
vinkl (In a Faraway Corner)," and "Donnie" in
Gordin's "Mirele efros."
At the Yiddish artists'
convention in Russia (in Kiev), in 1917 F. was taken
into the cooperative troupe number 1 (among them: H.
Weissman, Menachem Rubin, Brandesko), who began to
play in Kremenchug, then in Minsk and in Kiev, where
it united with Libert's troupe, and there F. played
until 1919. F. became chosen as a member of the
management of the Kiev Art Workers Union, and
together with Y.L.Boimvol et al organized in Kiev
the first Jewish State Theatre "Unzer Vinkl (Our
In September 1920 F.
participated as a delegate in the first convention
of the "Kunst-Tuer (Art Workers?)" in Kiev, and was
elected as a member of the presidium, and a member
in the management, and he was invited by the Homler
government management of the people's education to
become manager of the local art section. A short
time later F. was appointed director and organizer
of the first state gypsy "Roman." In 1932 F worked
as an assistant director in Moscow's circus (Gometz).
In 1933 he was director in Moscow's "First Workers
In "Emes" there is,
after his biography, he became a jubilee, saying:
"Traveling around over
towns and villages, going over from one troupe into
the other, working very much and living a life of a
Yiddish actor in the Czarist times, suffering from
hunger and need, troubles from the police masters
and pristaves. Every trouble very often used
to come suffering from the directors, who used to
search as far as possible to exploit the actor.
Often, he would seem to be struggling with them. In
1911 Feil led a strike in Sam Adler's troupe.
He organized by himself a friendly collective, and
it comes down to looking for the various police
assaults, sometimes under a German veil, and
sometimes in a different way a Jewish play smuggled
onto the stage.
...Feil has a good
understanding, that the old Yiddish theatre as no
further perspectives and must perish. All this
compelled F. to go away from the old Yiddish
theatre, tearing it up completely. Feil then started
a very important part of theatrical work -- to the
In 1937 until August
1941 F. was assistant director in Moscow's "Theatre
Leninski Komsomol." From August 1941 until 1944 --
director of the theatre for young audiences. From
1944 to 1948 he was a director of the studio for
opera. From 1948 until 1948 he was the assistant
director in Moscow's circus, then he received
a state pension, and societal activity in the
central home for workers in art.
F. also wrote in Russian
his live history with biographical facts and
characteristics about certain actors with whom he
played, and it was published in Moscow in 1938 (98
pp.), in a book, "Dos lebn fun a yidishn aktyor,"
published through the Alrusisher Teatraler
Sh.E. from Y. Lubomirski and Mark Leiptsiger.
[--] -- Teater un
kino, Ay. D. Fiel, "Der emes," Moscow, 26
[In Russian] --
Y. Feil -- "Dos lebn fun a yidishn aktyor,"