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Before 1968, I used to go regularly to the Jewish Theater, naturally in civilian clothes. In Wroclaw, where I taught at the Infantry School, I also went to all the plays. The theater in Warsaw used to be located in a barrack on Krolewska Street, in the place where the Victoria hotel stands today. It had been the building of the Polish Army Theater, later handed over to the Jewish Theater. After the war there were two Jewish theaters in Poland: Ida Kaminska's 72 theater in Lodz - that theater used to be housed in the building of the current Teatr Nowy - and the one in Wroclaw. Then in the 1950s the two theaters were merged into a single, state-owned theater with its home in Warsaw; it was a traveling theater. I remember a production of 'Meir Ezofovich', in which Ida Kaminska had a beautiful silent role and Juliusz Berger made his mark as the young Ezofovich.
My personal relationship with the Jewish Theater in postwar Poland really began in 1969. I had already been pensioned-off; it happened after the 'de- jewification' of the Polish army. One day someone from the post-Kaminska Jewish Theater came to see me. Ida Kaminska had emigrated in 1968, and the theater was taken over by Juliusz Berger, I think, who was its first director, before Szurmiej. Szurmiej [Szymon, the current director of the Jewish Theater] is a native of Luck and was aware that I knew Yiddish and Hebrew. And my visitor wanted to know if I would agree to teach Yiddish to a new generation of actors. After Ida Kaminska's departure there were only seven actors left. Well, you couldn't stage a play with seven actors. I readily agreed because I suddenly discovered here a purpose, a task I could accomplish. There was a recruitment drive among young Jews who hadn't left in 1968 or 1969, and I began to teach them Yiddish. After the first two years, more groups, young people from mixed marriages, came, and then still more groups - those included hardly any Jews. And all this time I have served the theater as consultant, and translated the lines into the headphones [simultaneous interpretation into Polish].
I also acted in two plays. Szurmiej came up with this idea in order to save money.
My personal relationship with the Jewish Theater in postwar Poland really began in 1969. I had already been pensioned-off; it happened after the 'de- jewification' of the Polish army. One day someone from the post-Kaminska Jewish Theater came to see me. Ida Kaminska had emigrated in 1968, and the theater was taken over by Juliusz Berger, I think, who was its first director, before Szurmiej. Szurmiej [Szymon, the current director of the Jewish Theater] is a native of Luck and was aware that I knew Yiddish and Hebrew. And my visitor wanted to know if I would agree to teach Yiddish to a new generation of actors. After Ida Kaminska's departure there were only seven actors left. Well, you couldn't stage a play with seven actors. I readily agreed because I suddenly discovered here a purpose, a task I could accomplish. There was a recruitment drive among young Jews who hadn't left in 1968 or 1969, and I began to teach them Yiddish. After the first two years, more groups, young people from mixed marriages, came, and then still more groups - those included hardly any Jews. And all this time I have served the theater as consultant, and translated the lines into the headphones [simultaneous interpretation into Polish].
I also acted in two plays. Szurmiej came up with this idea in order to save money.
Period
Location
Poland
Interview
Michal Friedman