1955 Israel JEWISH Hebrew ART PHOTO Theatre HANA ROVINA Habimah EURIPIDES MEDEA

Description: DESCRIPTION : Here for sale is an original real - candid ACTION PHOTOGRAPH which was taken during the 1955 stage production of "MEDEA" by EURIPIDES as was presented by the Israeli Jewish National Theatre "HABIMAH" with its first lady , The legendary Jewish actress of Russian origin CHANAH ( Also Hana or Hanna or Hannah ) ROVINA ( Also Robina ) playing the main role of MEDEA. For her acting art in MEDEA in the 1955 production , Rovina received the most important ISRAEL PRIZE for THEATRE in the year 1956 . The PHOTOFRAPH is an ORIGINAL ( Not a reprint !! ) silver gelatine 1955 ACTION PHOTO. Taken from the stage. It's an artistic REAL CANDID PHOTO. The PHOTOGRAPHER STAMP ( Sam Frank from Tel Aviv ) is on the verso. Around 8 x 10 " .Good condition . A few tiny creases and one tear in margins. Photographer stamp and several writings on the verso. ( Pls look at scan for accurate AS IS images ) Will be sent inside a protective rigid packaging . PAYMENTS : Payment method accepted : Paypal . SHIPPMENT :SHIPP worldwide via registered airmail is $ 19 . Will be sent inside a protective packaging. Handling around 5-10 days after payment. Medea (Ancient Greek: Μήδεια, Mēdeia) is an ancient Greek tragedy written by Euripides, based upon the myth of Jason and Medea and first produced in 431 BCE. The plot centers on the actions of Medea, a barbarian and the wife of Jason; she finds her position in the Greek world threatened as Jason leaves her for a Greek princess of Corinth. Medea takes vengeance on Jason by killing Jason's new wife as well as her own children with him, after which she escapes to Athens to start a new life. Considered shocking to his contemporaries, Medea and the suite of plays that it accompanied in the City Dionysia festival came last in the festival that year.[1] Nonetheless the play remained part of the tragedic repertoire, and experienced renewed interest with the emergence of the feminist movement, because of its nuanced and sympathetic portrayal of Medea's struggle to take charge of her own life in a male-dominated world. The play has remained the most frequently performed Greek tragedy through the 20th century.[2] Production and stylistic innovations Medea was first performed in 431 BCE at the City Dionysia festival. Here every year three playwrights competed against each other, each writing a tetralogy of four tragedies and a satyr play (alongside Medea were Philoctetes, Dictys and the satyr play Theristai). In 431 the competition was between Euphorion (the son of famed playwright Aeschylus), Sophocles (Euripides' main rival) and Euripides. Euphorion won, and Euripides placed last. The form of the play differs from many other Greek tragedies by its simplicity: All scenes involve only two actors, Medea and someone else. These encounters serve to highlight Medea's skill and determination in manipulating powerful male figures to achieve her own ends. The play is also the only Greek tragedy in which a kin-killer makes it unpunished to the end of the play, and the only one about child-killing in which the deed is performed in cold blood as opposed to in a state of temporary madness.[3] Plot Medea is centered on a wife’s calculated desire for revenge against her unfaithful husband. The play is set in Corinth some time after Jason's quest for the Golden Fleece, where he met Medea. The play begins with Medea raging at Jason for arranging to marry Glauce, the daughter of Creon (king of Corinth). The nurse, overhearing Medea’s grief, fears what she might do to herself or her children. Creon, in anticipation of Medea’s wrath, arrives and reveals his plans to send her into exile. Medea pleads for one day’s delay and eventually Creon acquiesces. In the next scene Jason arrives to explain his rationale for his apparent betrayal. He explains that he couldn’t pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials." In the following scene Medea encounters Aegeus, King of Athens. He reveals to her that despite his marriage to his wife he is still without children. He visited the oracle who merely told him that he was instructed “not to unstop the wineskin’s neck.” Medea relays her current situation to him and begs for Aegeus to let her stay in Athens if she gives him drugs to end his infertility. Aegeus, unaware of Medea’s plans for revenge, agrees. Medea then returns to plotting the murders of Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god Helios) and a coronet, in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more and, in an elaborate ruse, apologizes to him for overreacting to his decision to marry Glauce. When Jason appears fully convinced that she regrets her actions, Medea begins to cry in mourning of her exile. She convinces Jason to allow her to give the robes to Glauce in hopes that Glauce might get Creon to lift the exile. Eventually Jason agrees and allows their children to deliver the poisoned robes as the gift-bearers. Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection. In the next scene a messenger accounts Glauce and Creon’s deaths. When the children arrived with the robes and coronet Glauce put them on gleefully and went to find her father. Soon the poisons overtook Glauce and she fell to the floor, quickly dying. Creon clutched her tightly as he tried to save her and, by coming in contact with the robes and coronet, got poisoned and died as well. Medea kills her son, Campanian red-figure amphora, c. 330 BC, Louvre (K 300). Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too. While Medea is content with her current success she decides to take it one step forward. Since Jason brought shame upon her for trying to start a new family, Medea resolves to destroy the family he was willing to give up by killing their sons. Medea does have a moment of hesitation when she considers the pain that her children’s deaths will put her through. However, she steels her resolve to cause Jason the most pain possible and rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason then rushes onto the scene to confront Medea about murdering Creon and Glauce and he quickly discovers that his children have been killed as well. Medea then appears above the stage with the bodies of her children in the chariot of the sun god Helios. When this play was put on, this scene was accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again: "I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom." She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions: Manifold are thy shapings, Providence! Many a hopeless matter gods arrange. What we expected never came to pass, What we did not expect the gods brought to bear; So have things gone, this whole experience through! Themes Euripides' characterization of Medea exhibits the inner emotions of passion, love, and vengeance. Medea is widely read as a proto-feminist text to the extent that it sympathetically explores the disadvantages of being a woman in a patriarchal society,[4] although it has also been read as an expression of misogynist attitudes.[5] In conflict with this sympathetic undertone (or reinforcing a more negative reading) is Medea's barbarian identity, which would antagonize a 5th-century Greek audience.[6] Euripidean innovation and reaction Although the play is considered one of the great plays of the Western canon, the Athenian audience did not react so favorably, and awarded it only the third place prize at the Dionysia festival in 431 BC. A possible explanation might be found in a scholium to line 264 of the play, which asserts that traditionally Medea's children were killed by the Corinthians after her escape;[7] Euripides' apparent invention of Medea's filicide might have offended its audience just as his first treatment of the Hippolytus myth did.[8] In the 4th century BC, South-Italian vase painting offers a number of Medea-representations that are connected to Euripides' play — the most famous is a krater in Munich. However, these representations always differ considerably from the plots of the play or are too general to support any direct link to the play of Euripides – this might reflect the judgement on the play. However, the violent and powerful character of princess Medea, and her double nature — both loving and destructive — became a standard for the later periods of antiquity and seems to have inspired numerous adaptations thus became standard for the literal classes. With the rediscovery of the text in 1st-century Rome (the play was adapted by the tragedians Ennius, Lucius Accius, Ovid, Seneca the Younger and Hosidius Geta, among others), again in 16th-century Europe, and in the light of 20th century modern literary criticism, Medea has provoked differing reactions from differing critics and writers who have sought to interpret the reactions of their societies in the light of past generic assumptions; bringing a fresh interpretation to its universal themes of revenge and justice in an unjust society. Modern productions and adaptations Theatre Front cover of the programme of the 1993 production starring Diana Rigg at the Wyndham's Theatre. Jean Anouilh adapted the Medea story in his French drama Médée in 1946Robinson Jeffers adapted Medea into a hit Broadway play in 1947, in a famous production starring Judith AndersonBen Bagley's Shoestring Revue performed a musical parody off-Broadway in the 1950s which was later issued on an LP and a CD, and was revived in 1995. The same plot points take place, but Medea in Disneyland is a parody, in that it takes place in a Walt Disney animated cartoonIn 1982 George Eugeniou directed Medea in a Wellacot Penguin translation at Theatro Technis with Angelique Rockas in the title role [Link to live performance of Angelique Rockas as Medea 1990 play Pecong, by Steve Carter, is a retelling of Medea set on a fictional Caribbean island around the turn of the 20th centuryThe play was staged at the Wyndham's Theatre in London's West End, in a translation by Alistair Elliot.[9] The production was directed by Jonathan Kent and starred Diana Rigg.[9] The Evening Standard described Rigg's performance as "the performance she was born to give" while the Mail on Sunday described it as "unquestionably the performance of her life."[9] Peter J. Davison provided the scenic design and Jonathan Dove the music.[9] The production opened on 19 October 1993.[9]A 1993 dance-theatre retelling of the Medea myth was produced by Edafos Dance Theatre, directed by avant-garde stage director and choreographer Dimitris PapaioannouJohn Fisher wrote a camp musical version of Medea entitled Medea the Musical that re-interpreted the play in light of gay culture. The production was first staged in 1994 in Berkeley, California.[10]Neil Labute wrote Medea Redux, a modern retelling, first performed in 1999 starring Calista Flockhart as part of his one act trilogy entitled Bash: Latter-Day Plays. In this version, the main character is seduced by her middle school teacher. He abandons her, and she kills their child out of revengeMichael John LaChiusa created a musical adaptation work for Audra McDonald entitled Marie Christine in 1999 . McDonald portrayed the title role, and the show was set in New Orleans and Chicago respectively in 1999Liz Lochhead's Medea previewed at the Old Fruitmarket, Glasgow as part of Theatre Babel's[11] Greeks in 2000 before the Edinburgh Fringe and national tour. 'What Lochhead does is to recast MEDEA as an episode-ancient but new, cosmic yet agonisingly familiar- in a sex war which is recognisable to every woman, and most of the men, in the theatre.' The ScotsmanTom Lanoye (2001) used the story of Medea to bring up modern problems (such as migration and man vs. woman), resulting in a modernized version of Medea. His version also aims to analyze ideas such as the love that develops from the initial passion, problems in the marriage, and the "final hour" of the love between Jason and MedeaKristina Leach adapted the story for her play The Medea Project, which had its world premiere at the Hunger Artists Theatre Company in 2004 and placed the story in a modern day setting.[12]Peter Stein directed Medea in Epidaurus 2005Irish playwright Marina Carr's By the Bog of Cats is a modern re-telling of Euripides' MedeaIn November 2008, Theatre Arcadia, under the direction of Katerina Paliou, staged Medea at the Bibliotheca Alexandrina (University of Alexandria, Egypt). The production was noted (by Nehad Selaiha of the weekly Al-Ahram) not only for its unexpected change of plot at the very end but also for its chorus of one hundred who alternated their speech between Arabic and English. The translation used was that of George TheodoridisUS Latina playwright Caridad Svich's 2009 play Wreckage, which premiered at Crowded Fire Theatre in San Francisco, tells the story of Medea from the sons' point of view, in the afterlifePaperstrangers Performance Group[13] toured a critically acclaimed production of Medea directed by Michael Burke to U.S. Fringe Festivals in 2009 and 2010.Luis Alfaro's re-imagining of Medea, Mojada, world premiered at Victory Gardens Theater in 2013.Theatre Lab's production, by Greek director Anastasia Revi, opened at The Riverside Studios, London, on 5 March 2014.The Hungry Woman: A Mexican Medea by Cherríe Moraga takes elements of Medea and of other works[14]14 July – 4 September 2014 London Royal National Theatre staging of Euripides in a new version by Ben Power, starring Helen McCrory as Medea, directed by Carrie Cracknell, music by Will Gregory and Alison Goldfrapp. Film Pier Paolo Pasolini adapted the legend into a movie of the same name in 1969 starring Maria Callas as MedeaMexican filmmaker Arturo Ripstein adapted the plot for his 2000 film Such Is Life Television Lars von Trier made a version for television in 1988.Theo van Gogh directed a miniseries version that aired 2005, the year following his murder.[15]OedipusEnders, a documentary broadcast on BBC Radio 4 on 13 April 2010, discussed similarities between soap opera and Greek theatre. One interviewee revealed that the writers for the ITV police drama series The Bill had consciously and directly drawn on Medea in writing an episode for the series.[16] Translations Alan Chriztopher R. Aranza, 2015 - proseEdward P. Coleridge, 1891 – prose: full text[17]Theodore Alois Buckley, 1892 – prose: full text[18]Michael Woodhull, 1908 – verseGilbert Murray, 1912 – verse: full text[19]Arthur S. Way, 1912 – verseAugustus T. Murray, 1931 – proseCountee Cullen, 1935R. C. Trevelyan, 1939 – verseRex Warner, 1944 – versePhilip Vellacott, 1963[20]John Davie, 1996James Morewood, 1997 – prosePaul Roche, 1998 – verseRuby Blondell, 1999 – verseGeorge Theodoridis, 2004 – prose: full text[21]Joseph Goodrich, 2005 – verse: full text[22]Graham Kirby, 2006 – verse (The Bloomsbury Theatre)Diane Arnson Svarlien, 2008 – verseRobin Robertson, 2008 – verseJ. Michael Walton, 2008 – prose Brian Vinero, 2012 – verse: full text[23] *****This highly avant-garde theatre gives, since 1917, an expression to the spirit of the Jewish people through the revival of Hebrew culture and language. Maxim Gorki wrote:"from poverty, hunger, and frost, this miracle was conceived… This small and beautiful baby will grow into a glorious giant." The origins of the Habima theatre go back to 1917, year when a theatre company of Jewish zealots – all Hebrew teachers – was formed. At the time when studies of the Hebrew language were forbidden, they were determined to found not simply a highly professional avant-garde theatre, but to give expression to the revolutionary spirit of the Jewish people through the revival of Hebrew culture and language. They soon attracted the high priest of Russian theatre, Constantin Stanislavsky, who agreed that Habima would act as one of the studios attached to the Moscow Art Theatre. In 1945, the Habima opened its new venue in Tel Aviv. Today it provides a home for creativity and an incubator for playwrights, directors, actors and designers, where they can develop their talents, gain experience and develop. At the same time the Habima invites artists from abroad and has represented Israel in a variety of prestigious theatre festivals around Europe. **** Hanna Rovina (Hebrew: חנה רובינא‎‎ 1 April 1893 – 3 February 1980), written also Hannah, Hana, or Chana Rovina or Robina, Israeli actress, is recognised as the original "First Lady of Hebrew Theatre".[1] Biography Born in Byerazino, Minsk district (guberniya, Belarus in the Russian Empire, she originally trained as a kindergarten teacher, at a course for Hebrew-speaking kindergarten teachers in Poland. She began her career on stage at the "Hebrew Stage Theatre" of Nahum Tzemach. She joined the Habima theatre in 1917 just as it was being launched, and participated in its first production, a play by Yevgeny Vakhtangov. She became famous for her role as Leah'le, the young bride who is possessed by a demon in The Dybbuk by S. Ansky.[2] Rovina and the other actors of HaBima immigrated to Mandate Palestine in 1928. She quickly became a symbol of the emergent Hebrew theatre, and especially of HaBima, which became the flagship of the new national theatre movement. For many years, the icon representing HaBima was a young girl in a white nightdress with two long tresses: Rovina in her role as Leah'le.[3] Rovina's room, in Habima Theatre She filled every role she played with dramatic expression, taking every part very seriously and trying to live the life of the character, as prescribed by the Stanislavski School of acting. Outside the theatre, she was a non-conformist, even having a child out of wedlock with the Hebrew poet Alexander Penn, though this was very unusual for that time. Her lifestyle won her many admirers, even among people that did not frequent the theatre. Her admirers within the theatre included writer Nissim Aloni, who wrote a play, Aunt Liza, especially for her. Of course, Rovina played the lead.[4] Rovina had a very stern attitude regarding the theatre, and made high demands of her audience. She frequently stopped a play in the middle when she felt that the audience wasn't behaving appropriately. In one famous instance, she stopped the play Hannah Senesh right in the middle of a moving scene, when she was visiting her daughter in prison before her execution. Turning to a group of school children in the audience, she shouted at them to stop munching sunflower seeds. Rovina was awarded the Israel Prize for theatre in 1956.[5] She remained active on stage until her death, in 1980.[6] She died in Tel Aviv, aged 86. HABIMAH (Heb. הבימה; "the Stage"), repertory theater company; founded in Moscow in 1917 as the first professional Hebrew theater in the world, and now the National Theater of Israel. Its initiator was Nahum David *Zemach , who was joined by Menahem Gnessin and the actress Ḥannah *Rovina in Warsaw, but World War I halted their efforts. They met again in Moscow in 1917 and were soon joined by a number of young Jewish actors. Their idea was not simply to found a theater but to give expression to the revolutionary change in the situation of the Jewish people and especially to the revival of Hebrew. Zemach turned to the great Russian theater director Konstantin Stanislavski and adopted his famous "method." It was, in fact, their idealism which enabled the Habimah actors to overcome the great initial difficulties, first of all the economic problem of the revolutionary period. David Vardi, one of its founding members, wrote in his diary in September, 1918: "Today we held a meeting… On the agenda was the food problem. It was decided to send two members out to the country, to look for potatoes and flour… We were each allotted a [role]. Mine was to bring potatoes from the he-Ḥalutz farm to the Habimah cooperative kitchen…."There were also political problems. The Yevsektsiya, the Jewish section of the Communist Party, lodged a protest with Stalin, the People's Commissar of Nationalities, against Habimah's very existence. Stalin, however, overruled their intervention (1920). In this struggle Zemach succeeded in enlisting the support of leading artists, writers, and political personalities, such as Lunacharski, the commissar for education and culture, who proved a true friend of Habimah. Maxim *Gorki was also an enthusiastic supporter. Habimah introduced plays of a type that had never been staged by Jewish troupes, and they were directed by great teachers, all of them non-Jewish disciples of Stanislavski.Habimah first performed in 1918, presenting four oneact plays by Jewish writers. It became one of the four studios of the Moscow Art Theater. Habimah scored its greatest triumph with S. *An-Ski 's The Dybbuk, which was the third play it staged. Bialik translated it into Hebrew and Joel Engel composed its musical score. Its first performance took place on Jan. 31, 1922, and it established Habimah's reputation, as well as that of Yevgeni Vakhtangov, a young director of Armenian origin who had been delegated to Habimah by StanislavskiThe Dybbuk owed its triumph to its outstanding orchestration, its forceful symbolism, and its glaring contrasts, but mainly to the boundless enthusiasm of the company in its acting and singing. Even in the mass scenes, every person on the stage gave his individual, distinct contribution; every Ḥasid and every beggar stood for something different, and yet together they formed a team. Vakhtangov's method, which was an endless process of refining, came to its perfect expression in the beggars' dance in Act II. In 1926 Habimah left Soviet Russia and went on a tour abroad. The Dybbuk was hailed as an unusual phenomenon. In 1927, when Habimah arrived in the United States, the company split. Zemach and several actors decided to stay in the country. According to David Vardi, "differences arose between Zemach and some of the younger actors, who had taken a giant step forward, of which Zemach hardly took note."Habimah visited Palestine in 1928–29 and presented two productions, Ha-Oẓar ("The Treasure") by *Shalom Aleichem and Keter David ("David's Crown") by Calderon, both under the direction of the Russian Alexander Diki. In 1930 the company went to Berlin, where it performed Twelfth Night, directed by Michael Chekhov, and Uriel da Costa, under the direction of Alexander Granovski. It finally settled in Palestine in 1931. In the course of time it added to its repertoire a great variety of plays derived both from Jewish literature (of messianic and biblical content) and from world literature. It sought to foster dramas depicting Jewish life in the Diaspora, which it succeeded in presenting with extraordinary authenticity. Its aim was to present all phases of Jewish historical experience.For the next 17 years Habimah was under the direction of its own members, mainly Barukh Chemerinsky and Ẓevi Friedland, the former concentrating on Diaspora dramas and original Hebrew plays, and the latter on world drama. Eventually Habimah also invited foreign directors, such as Leopold Lindberg, Leopold Jessner, and Tyrone Guthrie. It was Guthrie's 1948 production of Oedipus Rex which inaugurated a new era in the life of the company.In the period in which Habimah relied mainly on its own directors, progress was slow. Each new performance became a festive occasion and Habimah had its admirers, a Habimah "circle," and a youth studio, as well as its own periodical (Bamah); but the company failed to keep pace with the cultural and social transformation of the yishuv. It did not rid itself of expressionistic oddities, and young people, as well as immigrants from the West, kept away. It also did not absorb the young talent which was crying out for a chance to prove its mettle. The graduates of the company's school for the most part joined the *Cameri , whose founding caused a crisis for Habimah.In April 1948, Habimah went on a tour of the United States, presenting four productions (The Dybbuk, The Golem, Keter David, and Oedipus Rex). Although acclaimed by the critics, Habimah failed to attract audiences. When the company returned to Israel in July, it had nothing in its repertoire to express the heroic period of the national struggle. There was also conflict over the company's organization. For years there had been opposition to the continued existence of Habimah as a "collective," for it was argued that such a structure had become an obstacle to the company's progress because of the undue protection that it provided to members who had failed to attain the required artistic standard. This conflict was to remain unresolved for another two decades. Relief came from an unexpected quarter, the "generation of 1948." Yigal Mossinsohn's play Be-Arvot ha-Negev ("In the Negev Desert") had its premiere in February 1949 and met with an enthusiastic response. It expressed the spirit of the times, the highlights being Aharon Meskin's masterful acting and the play's portrayal of the new Israel-born generation.In the following years Habimah enlisted directors of world renown: André Barsac from France, Alexander Bardini from Poland, Sven Malmquist from Sweden, John Hirsch from Canada, and Lee Strasberg and Harold Clurman from the United States. Under their direction, Habimah successfully mounted high-quality productions. At the same time, it continued to employ its own directors – Ẓevi Friedland, Israel Becker, Shimon Finkel, Shraga Friedman, and Avraham Ninio.In 1958, on the 40th anniversary of its first performance in Moscow, Habimah was awarded the title of "National Theater of Israel." The honorific award could not, however, conceal the company's shortcomings. There was neither an artistic authority nor a true collective, and conflicts between various factions, as well as financial difficulties, threatened the theater's very existence. Finally, in 1969, the members decided to dissolve the "collective." The Ministry of Education and Culture appointed its representatives to the management of Habimah, and a new administering director, Gavriel Zifroni, took over. In 1970 Habimah dedicated its beautiful renovated hall in the center of Tel Aviv. In the same year the veteran actor Shimon Finkel was appointed artistic director. In 1972 it opened the Bamartef small hall for experimental productions. In 1975, Yossi Yisraeli was named artistic director. In 1976, Ḥannah Rovina played her last role as the queen mother in Shakespeare's Richard III. In the same year, Shlomo Bar Shavit became artistic director. In 1978, Shmuel Omer was named general director and David Levin artistic director, replaced in 1985 by Omri Nizan. In 1986 Habimah went on tour to Moscow. In 1992, Shmuel Omer became both general and artistic director. In 1995 Yaakov Agmon replaced him, remaining at the helm until 2004. In 1995 Ilan Ronen established the Habimah's youth group, which aimed at advancing young actors. In 1997 Habimah produced The Dybbuk, its most popular play, to celebrate the theater's 80th birthday. Under Agmon's management, the theater began to produce successful musicals, such as Bustan Sefaradi ("Spanish Orchard") and Mary Lou (based on songs of the pop composer-singer Zvika Pick). In 2004 Habimah employed 80 actors performing in 33 productions. The Origin and Early History of the HabimaThe Habima Theatre ("Habima" means "stage" in Hebrew) was founded in Moscow by Nahum Zemach, not long after the 1905 revolution. During their first few years of existence, the Habima troupe was comprised mostly of amateurs and teachers. They organized and performed without charge. in attics and cellars, all the time evolving into the Habima of today. Their performances reflected their ideology and artistry. In 1911, the group went on tour to various Russian cities as well as Vienna. All of the Habima's performances were given in Hebrew and often dealt with many of the problems experienced by the Jewish people. The troupe struggled under the persecution of the Tsarist government before World War I, that forbade plays to be presented in Hebrew. The Hebrew language had been forbidden in Russia at that time. It was during this time that Moscow Art Theatre and Stanislavsky took the Habima under its wing, not wanting it to fail in its efforts. The troupe also were forced to stop their activities because of the post-war Soviet Government in 1917. The troupe were forced to disband for two years; Zemach then found work as a bank clerk. After this time, under the aegis of Stanislavsky, he once again started up the Habima, and from then on they developed a program that would eventually earn the group worldwide recognition. In 1921 Zemach turned to folk drama as the basis for what would be the group's repertoire. First he chose "The Dybbuk," a drama of legend written by S. Ansky. He subsequently chose "The Golem" by H. Levick, a version of this play produced under the title "The Deluge", "Jacob's Dream" by Beer-Hoffman, and "The Eternal Jew" written by David Pinski.In 1926 the Habima company left the Soviet Union and toured widely for a number of years in Europe and the United States. They played in one hundred and eleven performances at New York's Mansfield Theatre from December 1926 to March 1927.One year later, Nahum Zemach and some other actors of the troupe decided to remain in the United States; others chose to immigrate to Palestine, where Habima would make its new home. It later became the national theatre of Israel in 1958. From the New York Times, Dec 7, 1926 "HABIMA PLAYERS HERE; SENT TO ELLIS ISLAND" (Moscow Troupe of Forty to Be Permitted to Land Today Under Bond of $500 Each.) The Habima Players from the Moscow Art Theatre numbering fifteen women, eighteen men and seven machinists and property men, forty in all, arrived yesterday on the Cunarder Carmania and were sent to Ellis Island in the afternoon on a special boat with their baggage from the pier at the foot of West Fourteenth Street. They will appear before a Special Board of Inquiry today and be permitted to land under the regular bond of $500 each, which will be furnished by S. Hurok, the impresario who brought them to New York. The Russian company is booked for a six months' tour and will open with "The Dybbuk," at the Mansfield Theatre in West Forty-seventh Street. Nachum Zemach is the director, Mme. Rovina is the leading woman and B. Tchmerinsky is the leading actor of the troupe. Zemach said that the title "Habima" means the tribune and added that every member in the company received the same pay irrespective of his duties in the theatre. The Habima Company is subsidized by the Soviet in Moscow, the director said, and married members who have children in Russia get an extra allowance for them. Mr. Zemach, who founded the organization, said that seats in the theatre in Moscow cost from 25 cents to $8, but on opening nights the tickets cost from 50 cents to $16. ebay3057

Price: 78.2 USD

Location: TEL AVIV

End Time: 2024-12-04T10:51:44.000Z

Shipping Cost: 19 USD