Placards from the leading center of Yiddish theater in heydays:
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Placards from the leading center of Yiddish theater in heydays: Buenos Aires, 1930s-1940s קצת נוסטלגיה, פלקטים של מופעי תיאטרון בבואנוס איירס בשנות השלושים של המאה הקודמת, מהאוסף של הספרייה העירונית של ניו יורק. Afiches del Teatro Idish en su apogeo en Buenos Aires: 1930-1940.

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Placards from the leading center of Yiddish theater in heydays:

Buenos Aires, 1930s-1940s

קצת נוסטלגיה, פלקטים של מופעי תיאטרון בבואנוס איירס בשנות השלושים של המאה הקודמת, מהאוסף של הספרייה העירונית של

ניו יורק.

Afiches del Teatro Idish en su apogeo

en Buenos Aires: 1930-1940


New York and Buenos Aires Yiddish theater heydays:

With immigration drastically curtailed and assimilation all the rage, New York Yiddish theater between the wars lacked the authenticity of its glory days before World War I. From the vulgarity of the commercial nostalgia-peddlers to the high-minded kitsch of the modernists, it was at best a silver age. In Buenos Aires, by contrast, the story was quite the reverse. Yiddish theaters had existed there since the beginning of the 20th century, but, controlled by mobsters and patronized by the city's rollicking Jewish underworld, they had taken on something of the character of the burlesque house and, accordingly, were given a wide berth by members of the official, respectable, larger Jewish community. It was not until the end of the 1920s that the genteel element, with its aspirations toward community and cultural advancement, prevailed. With encouragement from such figures on the New York scene as Thomashefsky, who would visit for the winter while their own companies were closed for the summer, a modest golden age ensued, through the 1930s and into the 1940s, that made Buenos Aires the second city of the world history of Yiddish theater.

אנו נציג במצגת זו רק את הפלקטים של מופעי התיאטרון האידיש

בבואנוס איירס.


Estas imágenes reflejan la presencia de una comunidad dinámica y creativa, que concibió en el teatro un espacio destinado a los encuentros comunitarios no religiosos, acompañando desde allí los procesos de transformación de los inmigrantes, que poco a poco comenzaron a sentirse argentinos, mezclando sus propias raíces con las costumbres de su nuevo país. Es por ello que estos afiches no solamente anuncian un espectáculo. De un modo simple, accesible, breve y directo, nos muestran las dimensiones de una de las prácticas culturales más representativas de los judíos argentinos.


These posters reflect a creative and central community that made the theatre into a space for non-religious community encounters. The theatre accompanied the immigrants, who little by little began to feel Argentine, and to mix their own roots with the customs of this country in its making. That is why these posters do not just advertise performances. Simply, accessibly and directly they show us the dimensions of one of the cultural practices most representative of Argentinian Jewry.


1935? made the theatre into a space for non-religious community encounters. The theatre accompanied the immigrants, who little by little began to feel Argentine, and to mix their own roots with the customs of this country in its making. That is why these posters do not just advertise performances. Simply, accessibly and directly they show us the dimensions of one of the cultural practices most representative of Argentinian Jewry.


1935? made the theatre into a space for non-religious community encounters. The theatre accompanied the immigrants, who little by little began to feel Argentine, and to mix their own roots with the customs of this country in its making. That is why these posters do not just advertise performances. Simply, accessibly and directly they show us the dimensions of one of the cultural practices most representative of Argentinian Jewry.


1931? made the theatre into a space for non-religious community encounters. The theatre accompanied the immigrants, who little by little began to feel Argentine, and to mix their own roots with the customs of this country in its making. That is why these posters do not just advertise performances. Simply, accessibly and directly they show us the dimensions of one of the cultural practices most representative of Argentinian Jewry.


1931? made the theatre into a space for non-religious community encounters. The theatre accompanied the immigrants, who little by little began to feel Argentine, and to mix their own roots with the customs of this country in its making. That is why these posters do not just advertise performances. Simply, accessibly and directly they show us the dimensions of one of the cultural practices most representative of Argentinian Jewry.


1934? made the theatre into a space for non-religious community encounters. The theatre accompanied the immigrants, who little by little began to feel Argentine, and to mix their own roots with the customs of this country in its making. That is why these posters do not just advertise performances. Simply, accessibly and directly they show us the dimensions of one of the cultural practices most representative of Argentinian Jewry.


193-? made the theatre into a space for non-religious community encounters. The theatre accompanied the immigrants, who little by little began to feel Argentine, and to mix their own roots with the customs of this country in its making. That is why these posters do not just advertise performances. Simply, accessibly and directly they show us the dimensions of one of the cultural practices most representative of Argentinian Jewry.


1932 made the theatre into a space for non-religious community encounters. The theatre accompanied the immigrants, who little by little began to feel Argentine, and to mix their own roots with the customs of this country in its making. That is why these posters do not just advertise performances. Simply, accessibly and directly they show us the dimensions of one of the cultural practices most representative of Argentinian Jewry.


1937 made the theatre into a space for non-religious community encounters. The theatre accompanied the immigrants, who little by little began to feel Argentine, and to mix their own roots with the customs of this country in its making. That is why these posters do not just advertise performances. Simply, accessibly and directly they show us the dimensions of one of the cultural practices most representative of Argentinian Jewry.


193-? made the theatre into a space for non-religious community encounters. The theatre accompanied the immigrants, who little by little began to feel Argentine, and to mix their own roots with the customs of this country in its making. That is why these posters do not just advertise performances. Simply, accessibly and directly they show us the dimensions of one of the cultural practices most representative of Argentinian Jewry.


193-? made the theatre into a space for non-religious community encounters. The theatre accompanied the immigrants, who little by little began to feel Argentine, and to mix their own roots with the customs of this country in its making. That is why these posters do not just advertise performances. Simply, accessibly and directly they show us the dimensions of one of the cultural practices most representative of Argentinian Jewry.

1938


1938 made the theatre into a space for non-religious community encounters. The theatre accompanied the immigrants, who little by little began to feel Argentine, and to mix their own roots with the customs of this country in its making. That is why these posters do not just advertise performances. Simply, accessibly and directly they show us the dimensions of one of the cultural practices most representative of Argentinian Jewry.

1940


1938? made the theatre into a space for non-religious community encounters. The theatre accompanied the immigrants, who little by little began to feel Argentine, and to mix their own roots with the customs of this country in its making. That is why these posters do not just advertise performances. Simply, accessibly and directly they show us the dimensions of one of the cultural practices most representative of Argentinian Jewry.


1950 made the theatre into a space for non-religious community encounters. The theatre accompanied the immigrants, who little by little began to feel Argentine, and to mix their own roots with the customs of this country in its making. That is why these posters do not just advertise performances. Simply, accessibly and directly they show us the dimensions of one of the cultural practices most representative of Argentinian Jewry.


מקור התמונות: הספרייה העירונית של ניו יורק

Yiddish Theatre Placards: Buenos Aires and New York

http://digitalgallery.nypl.org/nypldigital/explore/dgexplore.cfm?topic=culture&collection=YiddishTheatrePlacar&col_id=222

http://digitalgallery.nypl.org/nypldigital/dgkeysearchresult.cfm?parent_id=243660&word=

עריכה

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