Румыниядағы еврей театрының тарихы мен қалыптасуы

Teatrul Evreiesc de Stat (TES, the State Jewish Theater) in Bucharest, Romania is a theater specializing in Jewish related plays. It is the oldest Yiddish language theater with uninterrupted activity in the world. Its contemporary repertoire includes plays by Jewish authors, plays on Jewish topics, and plays in Yiddish (which are performed with simultaneous translation into Romanian, using headphones installed in the theater in the 1970s). Many of the plays also feature Jewish actors. A precursor, the Teatru Evreiesc Baraşeum operated as a Jewish theater through most of World War II, although they were closed during the few months of the National Legionary State, and thereafter performed in Romanian rather than Yiddish through until the fall of Ion Antonescu.

The Jewish Theatre in Romania has a tradition dating back to the 19th century. The first newspaper reference to a Jewish theater in Romania was a review by Mihai Eminescu in the Romanian newspaper Curierul de Iaşi (The Courier of Iaşi) in 1876, in which he described a troupe of six Jewish actors who performed in the famous Green Tree garden of Iaşi under Avram Goldfaden’s management, the father of the modern Jewish Theatre. In Bucharest, the theater building, the Teatru Baraşeum or Sala Baraşeum, was used from the early 1930s as a Yiddish language theater, originally under private management. The theater was named in honor of Dr. Iuliu Barasch, as was an adjoining clinic. (The street it is on, the former str. Ionescu de la Brad, is now str. Dr. Iuliu Barasch.) On the verge of World War II, it was home of the Thalia company, one of four professional Yiddish theater companies in Bucharest at that time. As war broke out in Europe and the antisemitic right wing politics that had long been a factor in Romania came to the fore, resources for Yiddish theater in Bucharest dried up. In the summer of 1940, all four Bucharest based Yiddish theater companies, including Thalia, set out on tours of the country rather than attempt summer theater in Bucharest. Thalia were on the road when King Carol II abdicated on September 6, 1940, the start of the National Legionary State under General (later Marshal) Ion Antonescu. The extremely antisemitic Iron Guard became the only legal political party in Romania. On September 9, Jews were prohibited from participating in theater. All Jews were fired from artistic or administrative positions at the National Theater and others, and the country's Yiddish language companies had their licenses revoked. Public use of the Yiddish language was also banned. Nonetheless, after some petitioning, permission was obtained on September 26 to start a single Jewish theater in Bucharest, subject to conditions such as making donations to a fund for unemployed Christian actors, performing only in Romanian, and getting permission from the Military Commander of the capital. Some 200 people were associated with the group that emerged, ranging from performers of light comedy to actors versed in the method acting of Konstantin Stanislavski, and representing a wide range of politics and all levels of experience. The company wanted to rent the Roxy Theater in the central Lipscani district, but were told that they would only be allowed to perform in the Jewish ghetto; the Baraşeum in the Văcăreşti neighborhood met this requirement. Over the next six months, the company would struggle with the authorities over the conditions under which they could open, while awaiting the elusive permission from the Military Commander. A January 17, 1941 document from the Minister of Culture and from Director General of Theaters and Operas Liviu Rebreanu added new requirements: each individual artist would need approval from the Director General of Theaters; no plays could be performed on major Christian holidays, nor on the three "legionary holidays"; they could use only the front door of the Baraşeum on str. Ionescu de la Brad, not the stage door on str. Udricani; and they could not open until May 31, 1941, four and a half months away. Days after these requirements were put in place, the Iron Guard attempted a coup against Antonescu; the Guard's defeat resulted in a government less actively hostile to Jews. These new requirements were relaxed after the defeat of the Iron Guard, and Rebreanu wrote on February 19 that "in view of the current situation" they could open on March 1. The Military Commander never did give formal permission, but that requirement seems to have been ignored.

On March 1, 1941 Teatrul Evreiesc Baraşeum (the Baraşeum Jewish Theater) opened with a revue, Ce faci astă seară? (What are you doing this evening?). Five days later they premiered a production of The Brothers Sanger by Margereth Kennedy. They changed the name to Gema and also substituted a different author's name (since they were only allowed to do plays by Jews). During the war years, the Baraşeum Jewish Theater premiered over thirty productions, about half of them directed by Sandru Eliad. Although officially exclusively Jewish, at times various Gentile intellectuals helped the company illegally, especially with translations; this was well enough known to provoke indignation from at least one antisemitic newspaper. Some Gentiles, mostly intellectuals, showed support for the theater by coming to performances. At times their plays were heavily censored. For example, on one occasion they were required to drop the lines "Je sais bien que demain tout peut changer" ("I know that tomorrow everything could change") and "L'histoire est à tournant" ("The story/history is at a turning point") from a French love song, lest they be understood politically. At other times, though, they sneaked in the occasional Yiddish language joke or refrain. Their included Romanian language translations of classic Yiddish theater pieces such as the bittersweet Dos Groise Ghivens (The Big Lottery Ticket, a musical based on a story by Sholom Aleichem) and S. Ansky's The Dybbuk as well as new pieces, and performances of works by the acceptably Jewish Jacques Offenbach and Louis Verneuil. On August 23, 1944 the overthrow of Antonescu in a coup led immediately to the re legalization of the use of the Yiddish language. The Baraşeum returned to performing in Yiddish, presenting Sholom Aleichem's Mentshn (Men) on September 15. This Baraşeum production was not, however, the first Yiddish play after of the new period. On the very evening of August 23 an improvised Yiddish performance Nacht Tog (Night Day) took place in Botoşani — the town where, in 1876, Avram Goldfaden had presented one of the first professional Yiddish language productions, the first ever in an indoor theater.

This group who had improvised the play in Botoşani were part of the Yiddisher Kultur Ferband (IKUF). They would evolve and repeat their performance of Nacht Tog. This performance was sharply divided into two parts, Nacht being the dark past and Tog expressing a belief in life. The play used songs both from the forced labor camps and from Yiddish theater before the war. Mansdorf, according to Bercovici, tired of leading a theater troupe after only two years; some of his actors left with him. Others, including Sevilla Pastor, Dina König, Seidy Glück, Moris Siegler and Marcu Glückman, reorganized under Bernard Lebli, and became the new permanent company of the Baraşeum, with an unprecedented subsidy from the government. They began their new season January 11, 1948 with Dos Groise Ghivens; this was followed by Nekomenemer (The Song of War) by French Yiddish writer Haim Sloves.