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Teatr Miejski we Lwowie u progu niepodległości 1918-1919

100%

Szydłowska M.

Pamiętnik Teatralny

2018

issue 3(267)

77-116

The article discusses the activity of the Miejski Theatre in Lwów in the season of 1918/1919, putting it in the context of momentous political events. The Lwów stage was managed by Roman Żelazowski, the first theatre manager to come after the theatre had been taken over by the municipal administration. Stanisaw Niewiadomski assisted Żelazowski as Musical Director. The new theatre management commenced their work with the intention of restoring the stage to its former glory, and their first productions met with favourable response from both the audiences and the critics. The ambitious artistic plans, however, failed due to the Ukrainian coup d’état. For the time of November fights in defence of Polish Lwów, the theatre suspended its operations, and many of the theatre artists volunteered for army duty. Following the final victory on 1 December, the theatre recommenced its operation with a staging of the patriotic play Obrona Częstochowy (‘The Defence of Częstochowa’), which, although almost half a century old, took on new relevance. It became homage to the youngest defenders of Lwów, the brave “Eaglets.” The fighting still going on at the outskirts kept disorganising the theatre’s work As a result of a power cut just before the New Year, the theatre remained inoperative for almost a month. Żelazowski and Niewiadomski resigned on 30 June 1919. Even though the war had thwarted their ambitious plans, the Miejski Theatre they headed played an important social and patriotic role. In these dramatic and momentous times, the Lwów stage did speak to the heart of the Nation, just as its founder, Jan Nepomucen Kamiński, had envisaged.

Z dziejów żydowskich widowisk rozrywkowych we Lwowie przed 1945

100%

Szydłowska M.

Pamiętnik Teatralny

2014

vol. 63

issue 1-2(249-250)

77-152

Entertainment played a major role in the cultural life of the Jewish community that constituted about one third of the population of Lvov before the Second World War. The article discuses a broad array of such shows, from popular folk performances to artistic cabarets and outdoor stage concerts. The folk current, especially strong before the First World War, was represented by klezmer musicians and the legendary Broder singers who came to Lvov with songs about the hardships of life of indigent Jews. Their performances in pubs, inns, and gardens attracted poor and uneducated audiences while being shunned by the intelligentsia. Jewish audiences, this time intellectual elites as well, enjoyed kleynkunst performances, or artistic cabaret shows modelled on their Polish and Russian counterparts, staged with care for their high literary and artistic merits, but infused with Jewish folklore and everyday experience of the community. Lvov never had its resident Jewish cabaret, but it was visited by Warsaw and Łódź kleynkunst theatres, such as Sambation, Azazel, Scala, Ararat, Di Idisze Bande, and others that formed just to play in the summer season. These theatres created their own stars, who toured with their own recitals; among them were the diseuses Hilda Dulickaja and Chajele Grober, the Ola Lilith and Władysław Godik duet, and the dramatic singer Wiktor Chenkin. The outdoor stage acts included also soloist dancers, students of Lvov dance schools, reciters, including the world-famous Herc Grossbart, and cantors. These numerous and varied entertainment shows were part of the local colour of Lvov, one of the greatest centres of Jewish culture in the world.

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2 Pamiętnik Teatralny

2 Szydłowska M.

1 2018

1 2014

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Teatr Miejski we Lwowie u progu niepodległości 1918-1919

Z dziejów żydowskich widowisk rozrywkowych we Lwowie przed 1945