Jacob Michailovitch Gordin (Yiddish: יעקב מיכאַילאָװיטש גאָרדין; May 1, 1853 – June 11, 1909) was a Russian-American playwright active in the early years of Yiddish theater. He is known for introducing realism and naturalism into Yiddish theater.
The Cambridge History of English and American Literature characterizes him as "the acknowledged reformer of the Yiddish stage."[1] At the time of his rise, professional Yiddish theater was still dominated by the spirit of the early (1886–1888) plays of its founder, Abraham Goldfaden, which derived in no small measure from Purim plays, often spectacles more than dramas; Goldfaden's later works were generally operettas on more serious subjects, perhaps edifying, but not naturalistic. Again quoting the Cambridge History, after his 1892 arrival in New York City, "Gordin took the Yiddish drama in America from the realm of the preposterous and put a living soul into it," bringing it up to the level of "realistic melodrama."[1]
Life and career
Gordin was born in Myrhorod, Russian Empire, and received a liberal though irregular education at home. He was recognized as a reformer and a Russian writer. He had also been a farmer, a journalist, a shipyard worker in Odessa, and, reportedly, an actor.
He migrated to New York in July 1891, and tried to make a living writing for Russian-language newspapers and the Yiddish socialistArbayter Tsaytung (the precursor to the Forverts, The Forward), but his acquaintanceship with the noted Jewish actors Jacob Adler and Sigmund Mogulesko prompted him to try his hand at play-writing.
His first play, Siberia, was based on a true story about a man sent as a prisoner to Siberia and who escaped, lived out a normal life for many years, and was then exiled again. Although initially it met a rocky reception (as did his second play, Two Worlds), it was a critical success. His third play The Pogrom in Russia was produced in January 1892 by the actor Boris Thomashefsky. In June 1892, Gordin signed a contract with Jacob Pavlovich Adler, and later that year, for Adler and his troupe, he wrote Der yidisher kenig lir (The Jewish King Lear), loosely adapted from Shakespeare[2] and the Russian writer Ivan Turgenev's King Lear of the Steppes, and set in 19th century Russia. It laid the foundation of his career as a Yiddish playwright. The play drew a new audience of Russian-Jewish intellectuals to the Yiddish theater and constituted a defining moment in Adler's career as well as Gordin's. It is widely seen as ushering in the first "Golden Age" of Yiddish theater in New York.[3]
To some extent he had to compromise his modernist vision with the theatrical conventions of the time. As in the plays of Goldfaden, Moses Horowitz (Hurvitz), and Joseph Lateiner, dancing and songs unrelated to the plot still occupied a prominent part in the play, but Gordin's plots were naturalistic and the characters were living persons. Under the influence of his plays, Jewish actors began to regard their profession as one which calls for study and an earnest attitude.
Gordin is noted more for bringing naturalism and realism into the Yiddish theater than as an intrinsically great dramatist. Again quoting the Cambridge History, "With all the realism of his situations, with all the genuineness of his characters, he was rather a producer of plays for a particular theatrical troupe than a writer of drama. That his comic characters generally stand in organic relation to the play is one of his chief merits. Of his many pieces (about 70 or 80) only a score or so have been published."[1] They single out as some of his best Mirele Efros, Got, Mentsh un Tayvl (God, Man, and Devil, based on Goethe's Faust), and Der Umbakanter (The Unknown).
Partial list of works
Some of these plays may have earlier dates than indicated: it is possible that sources are referring to publication dates or revivals.
Joel Berkowitz, Shakespeare on the American Yiddish Stage. Iowa City: University of Iowa Press, 2002
Melech Epstein, Profiles of Eleven: Profiles of Eleven Men Who Guided the Destiny of an Immigrant Society and Stimulated Social Consciousness Among the American People. Detroit: Wayne State University Press, 1965
Henry, Barbara J. (2011). Rewriting Russia: Jacob Gordin's Yiddish Drama. University of Washington Press. ISBN978-0-295-80147-6.
Beth Kaplan, Finding the Jewish Shakespeare: The Life and Legacy of Jacob Gordin, University of Syracuse Press, 2007
Lulla Rosenfeld, "The Yiddish Idol," New York Times Magazine, June 12, 1977, p.32 ff. (in the New York Times digital archive edition, p.205-207, 210). The article is an excerpt from Rosenfeld's book Bright Star of Exile: Jakob Adler and the Yiddish Theatre (New York: Crowell, 1977).
Zalmen Zylbercweig (ed.), "Gordin, Yankev," in Leksikon fun yidishn teater, vol. 1, Farlag "Elisheve," New York, 1931, p.392–461
Yiddish theatre consists of plays written and performed primarily by Jews in Yiddish, the language of the Ashkenazi Jewish community. The range of Yiddish theatre is broad: operetta, musical comedy, and satiric or nostalgic revues; melodrama; naturalist drama; expressionist and modernist plays. At its height, its geographical scope was comparably broad: from the late 19th century until just before World War II, professional Yiddish theatre could be found throughout the heavily Jewish areas of Eastern and East Central Europe, but also in Berlin, London, Paris, Buenos Aires and New York City.
Abraham Goldfaden, also known as Avram Goldfaden, was a Russian-born Jewish poet, playwright, stage director and actor in Yiddish and Hebrew languages and author of some 40 plays. Goldfaden is considered the father of modern Jewish theatre.
Jacob Pavlovich Adler was a Jewish actor and star of Yiddish theater, first in Odessa, and later in London and in New York City's Yiddish Theater District.
Boris Thomashefsky, born Boruch-Aharon Thomashefsky, was a Ukrainian-born Jewish singer and actor who became one of the biggest stars in Yiddish theater.
Sigmund Mogulesko — Yiddish: זעליק מאָגולעסקאָZelik Mogulesko, first name also sometimes spelled as Zigmund, Siegmund, Zelig, or Selig, last name sometimes spelled Mogulescu — was a singer, actor, and composer in the Yiddish theater in New York City. He was born in Kalarash, Bessarabia and began singing in the local synagogue choir. Before reaching adolescence, he was paid nearly three times what teachers made, to sing in the synagogue of Chişinău. Soon after moving to Bucharest, Romania, he was paid to sing in churches as well as synagogues, and started acting.
Moses Ha-Levi Horowitz, also known as Moishe Hurvitz, Moishe Isaac Halevy-Hurvitz, etc., was a playwright and actor in the early years of Yiddish theater. Jacob Adler describes him as an "authorit[y] on dramaturgy", but also remarks that before being part of the Yiddish theater in London in the mid-1880s he had "wandered in different lands, involved himself in various undertakings, and then moved on often leaving, it is said not altogether pleasant memories behind him." He was one of the few figures in the early years of Yiddish theater who did not participate in the boom years in Imperial Russia (1879–1883).
Isidor Goldenberg (1870–?) was a Romanian Jewish singer and actor, prominent in Yiddish theater in the late 19th and early 20th century.
Sara Adler was a Russian actress in Yiddish theater who made her career mainly in the United States. She was known as the "mother" or "duchess" of Yiddish theater.
Sophia "Sonya"Adler, also known by her early stage name Sonya Michelson, was a Russian actress who was one of the first women to perform in Yiddish theater in Imperial Russia. Later she became the first wife of actor Jacob Adler, with whom she relocated to London in 1883, after Yiddish theater was banned in Russia.
David Kessler (1860–1920) was a prominent actor in the first great era of Yiddish theater. As a star Yiddish dramatic performer in New York City, he was the first leading man in Yiddish theater to dispense with incidental music.
Keni Liptzin was a star in the early years of Yiddish theater, probably the greatest female dramatic star of the first great era of Yiddish theater in New York City.
Osip Mikhailovich Lerner, also known as Y. Y. Lerner, was a 19th-century Russian Jewish intellectual, writer, and critic. Originally a maskil—a propagator of the Haskala, or "Jewish Enlightenment"—he became a pioneer in the fields of Yiddish theater and folklore, as well as literary criticism. In his later years, he converted to Christianity and wrote a book denouncing Jews.
Mirele Efros was an 1898 Yiddish play by Jacob Gordin. Some have called it "the Jewish Queen Lear".
The Yiddish King Lear was an 1892 play by Jacob Gordin, and is generally seen as ushering in the first great era of Yiddish theater in New York City's Yiddish Theater District, in which serious drama gained prominence over operetta.
Bertha Kalich was a Jewish-American actress. Though she was well-established as an entertainer in Eastern Europe, she is best remembered as one of the several "larger-than-life" figures that dominated New York stages during the "Golden Age" of American Yiddish Theatre during the late nineteenth and early twentieth century. Historians estimate that, during her career, Kalich performed more than 125 different roles in seven different languages.
Joseph Rumshinsky (1881–1956) was a Jewish composer born near Vilna, Lithuania. Along with Sholom Secunda, Alexander Olshanetsky and Abraham Ellstein, he is considered one of the "big four" composers and conductors of American Yiddish theater.
Boaz Yungvits (Youngwitz), aka Bernard Young was a Polish actor.
Aaron Lebedeff (1873–1960) was a Yiddish theatre star, born in Gomel, Belarus.
Shloyme Prizament (1889-1973), Jewish composer, actor in the Yiddish theater, and badkhn, son of Moyshe Prizament.
Pauline Edelstein was a Yiddish theatre actress.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
