Also among Sh.'s students
was the future famous German and then Yiddish actor
Morris Morrisson. In Galatz he also formed a friendship
with Peretz Smolenskin and Velvl Zbarzher.
Due to his reuniting with
his wife and children, Sh. was appointed as a
religion professor in the Prince Rudolf Gymnasium, but he
could no longer hold on to one place, and in 1876 he
went to Odessa. Here he became friends with Avraham
Goldfaden, Shomer, Moshe-Leib Lilienblum, Tsederbaum and
I. L. Lerner, with whom he planned to found a Hebrew
theatre. When the plan did not succeed, he began in 1877
to perform on the Yiddish stage in Odessa, later in
Romania and since 1888 with Gimpel in Galicia, where he
also staged the Obercantor I. Z. Halpern's historical
operetta, "Nbukhdntsr," playing the title role.
In the years 1906-07 Sh. was
in America. At the end of 1908 he returned to Galicia,
and on 6 April (first day of Passover) in 1909 he passed
away in Lemberg.
According to his son, Moshe
Schorr, to his funeral gepravet from the
religious Jewish world, and actors were not admitted.
"Now he is fully ours" -- religious Jews claimed. In one
of the Lemberg houses of study, there would lay a page
on a prayer book, which was written by Sh.
Sh. was one of the important
and beloved actors of his time. People called him "The
Yiddish Zonental." According to Jacob Mestel, Sh. for
many years suffered from asthma. However, regardless of
this, he constantly impressed with his fine diction and
slender figure -- his personality descended down from
the stage. His weakness was in speaking German. About
this, Dr. M. Berkowitz writes:
"As to the attitude [to speaking
German on the Yiddish stage], he had strongly overtaken
the older Schorr, who was a maskil, and had a
nice measure of learning. His "Rufus" (in 'Bar Kochba),
his, 'Ahasheurus' and other lofty personalities had in no
way driven him to speak plain Yiddish, as the other
people on the stage; thereby he had acquired renown not
only as one who was educated, but also as a great
artist, of which the public had actually used the
finger [?]. I mentioned to him, when I, by chance,
several days back was listening to a conversation held
between two older Galician Jews, who could still today
after more than forty years, not forget the elder Schorr
as the greatest of the former actors in Yiddish theatre,
who had excelled with his German speech, from his other
Sh.'s older daughter, Rivka,
was for a short time a Yiddish actress of scarce
importance. His son Moshe was a Yiddish theatre director,
actor and playwright in America, and Sh.'s son, Shlomo
-- a Yiddish actor in Galicia.
Sh. E. from
Moshe and Anshel Schorr.
B. Gorin --
"History of Yiddish Theatre," Vol. II, p. 143.
Berta Kalich --
[Memoirs], "Der Tog," N. Y., 18 April 1925.
Zylbercweig -- Vegn di umbakante yidishe
dramaturgn, "Pinkas," N. Y., 1, 1929.
Dr. M. Berkowitz
-- Vegn "deytsh" oyf der yidisher bine, "Literarishe
bleter," Warsaw, 1, 1933.
Zylbercweig -- "Teater-figurn," Buenos Aires,
1936, pp. 23-26.
-- In ertsoygen gevoren tsu zayn rebbe, iz
antlofen fun der heym un gevoren an aktyor un
boyer fun idishen teater, "Morgn zhurnal," N.
Y., 13 November 1938.
-- "Yidishe dramaturgn un teater-kompozitors,"
New York, 1952, pp. 228-29.