Lives in the Yiddish Theatre
SHORT BIOGRAPHIES OF THOSE INVOLVED IN THE yIDDISH THEATRE
aS DESCRIBED IN zALMEN zYLBERCWEIG'S "lEKSIKON FUN YIDISHN TEATER"

1931-1967
 

Samuel Ostrowsky

 


Born in Malin, Kiev Gubernia, Ukraine.

Graduated art school in Kiev and then the Académie Julian in Paris. Ostrowsky traveled widely in France and exhibited his paintings in Paris (Salon des Independants, Galerie de la Renaissance).

Ostrowsky settled in America and had his paintings exhibited at the Art Institute of Chicago. In Chicago he also painted the settings for Osip Dymov’s play “Jerusalem” produced by Joseph Shoengold at Glickman’s Palace Theatre. On 22 January 1922, at the above theatre, he constructed the stage scenery for Sholem Asch’s “The Dead Man”, directed by Abraham Teitelbaum and performed by the Dramatic Society of Chicago.

A theatre person wrote about it:

"The second [person] who brought about the play's [immense] success was the famous young painter Samuel Ostrowsky with his excellent settings, which were not realistic but impressionistic.  Every form, every feature represents a certain mood, a fantastic flash, and these create the mood of the play…”

On 27 January 1924, Ostrowsky made the stage scenery for An-Sky's “Day and Night”, directed by Itzhak Anes and performed by the Chicago Dramatic Society at the Norwegian Club in Chicago [Chicago Norske Klub]. 

After moving to New York, he exhibited at the Whitney Museum, at the Brooklyn Museum and others, while at the same time painting the settings for Asch’s “The Dead Man” produced at the Yiddish Art Theatre, Leonid Andreyev's "Anathema”, H. Leivik’s “Beggar”, Abraham Goldfaden’s “Two Kuni Lemels”,  “Bloody Laughter” adapted from Ernst Toller’s “Hinkemann“, Leonid Andreyev's “He Who Gets Slapped”  and Sholem Asch’s “Kiddush hashem”.


Sh. E from William Merkur

A "teater-mensch" – a play which took Jewish Chicago by storm, “Forward“, Chicago, 27 January 1922.


 

 

 

 


 

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Adapted from the original Yiddish text found within the  "Lexicon of the Yiddish Theatre" by Zalmen Zylbercweig, Volume 6, page 6056.
 

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