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Further, P shows that when
he returned from the provinces, there happened to be two
troupes in Buenos Aires: one troupe had played with
Aaron Lager Brash, and the other under the direction of
Isidor Zuckermaan. Both troupes had played only on
Sundays, and both troupes had only a few professional
actors [in them].
With time Z. there became
not only an actor, but also the manager of a Yiddish
troupe until 1925, when he became the director of the "Ambu"
Theatre, and engaged two others, the actors Adler,
Zaslavsky, Boris Auerbach, Yitskhok Deutsch, Jacob
Perlman, Jacob Shefner, Y.M. Warshavsky, et al, until
the famous "Argentina Theatre Conflict." Later he played
under the direction of Mideliberzon in the "Olympia,"
during the guest appearance of Samberg, and also with
the other guest stars.
Nekhamya Zuker characterized
him as such:
"Zuckerman was a pioneer of
Yiddish theatre in Argentina, playing together with his
wife. He was a comic, and was also in melodramatic
youthful roles. In their time (1906-1930), they were
very strong. He was theatre director, and for a very
long time was "neither play was important, but the the
name of the play was," and the last eleven to twelve
years of his life Zuckerman, year after year, played the
same plays for his benefit evenings, but in those years
he crowned the plays with a new name and title..."
The theatre audience of the
old immigrants had supported him and filled the theatre
for his ceremonial evenings, and when Clara Zuckerman
passed away, Isidor said that he had no where to live.
In three days he became sick. Doctors determined that he
was in order physically, but he ekt zikh
bankruptcy. In the hospital they only kept him two days,
determining that he did not suffer from any illness, and
they sent him home. The doctor of the actors' union
visited him every day and only could determine again
that Zuckerman went to him like a candle, and so he
became weaker and weaker for twenty-eight days, four
weeks after Clara's passing, he followed her to
eternity.
On his gravestone, the
kehilah had, at the wish of the actors' union, inscribed
on it rightly: "hanahbim uhneimim a'a'v'."
Sh.E.
Sh.E. from
Nekhamya Zuker.
-
Benzion Palepade-- "Zikhrones,"
Buenos Aires, 1946, pp. 365-66, 377-378, 385, 420.
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