Jewish Theatre Lives

Timaru Herald, Volume CXXXVIII, Issue 19953, 10 November 1934, Page 12

Jewish Theatre Lives

NON-AYRAN CULTURE IN GERMANY

Although Nazi Germany has driven out of the German theatre all Jewish personnel and “influences,” there is a sense in which it flourishes to-day as never before, writes the Berlin correspondent of the London “Observer.”

The medium of its new expression is the Kulturbund, of the Jewish Culture League. The German Jews, as are Jews everywhere, are great lovers of the arts, and when Nazi-ism “cleansed” the German theatre of its Jews, which meant of all that was vital in it, Jewry in that country gathered its exiled ones unto itself and set out to build a true Jewish theatre.

It is Jewish not only in aim, culture, and thought; it is Jewish down to the audience, for the German Government,

in giving permission for the creation of the Jewish Culture League, stipulated that no Aryan was to be allowed membership, or even admission, and it took very good steps to see that this rule was enforced.

The Kulturband has established theatres in Berlin and in four other large cities; the smaller towns are served by touring companies. Its aim is the performance of Jewish plays by Jews for Jews. Its personnel—authors, musicians, producers stage hands, etc. —are and must be Jews.

Its formation has been welcomed by Jewish actors, musicians, and stage craftsmen, for obvious reasons, while its members are in it able to forget a while the troublesome atmosphere of modern Germany, as well as to bathe in their own learning and to enjoy the influence of thought, learning, and culture, both ancient and modern. Only Non-Aryans Admission to its performances is restricted vigorously to members, and only “non-Ayrans” are allowed to join Membership cards —which have to bear the photograph and signature of the applicant, as on a passport—cost 2.50 marks a month (about half-a-crown). For this one is able to attend three—sometimes four —performances a month: a play, one concert, and one lecture of dramatic reading. Sometimes there is an operatic performance,

The effect of the abnormal incidence and operation of the Kulturbund is phenomenal, for love of the drama, ever strong in the Jew. has never been so marked as it is in the German Jew of to-day. It may be a hot-house

growth, but it is none the less full vigorous and vital.

The German theatre is moribund, not only in Berlin, but also in theatreloving Bavaria, and, indeed, through-

out the Reich. That need surprise nobody. But the love of the drama is not easily killed, and since the only theatres where good acting is to be seen to-day are those in control of the Kulturbund, the non-Jews, too, seek to visit them. No good German money, however, says the German Government, will be permitted to find its way to the pockets of the Semitic gabardine, the result being that at the entrance to the theatre there is always a policeman, who asks for your membership card, and glances keenly at the photograph on it. Berlin Activities The extent of the influence of the Kulturband may be gauged from figures supplied by Dr Werner Levie, the administrative director of the league. It is estimated that 2000 Jewish actors and musicians were deprived of their employment by the operation of the “Aryan Paragraph” last year. Some of them left the country, and are now playing in Britain or the United States. Of those who remained the league has been able to give employment to 220. The membership of the Berlin section of the league alone is 23,000. Since October 1 last there have been 123 performances in the Berlin theatre, 71 of them being plays and 52 operas. Lecture evenings have totalled 90. children’s performances three, and charitable performances two. On various festivals the theatre has housed 12 special performances, 19 performances have been given on tour, 18 being theatrical and one orchestral. These figures relate to the Berlin branch only. Unfortunately, travelling Jewish theatres of other lands have not been seen in Germany. For one thing they would not find it easy to take the proceeds of their performances out of the country with them. Thus German Jewry have been deprived of seeing the work of such splendid troupes as the Vilna Players and the “Ohel” Palestine Company of Players. It is hoped, however, that visits of such players may later be possible. Meanwhile, it may truly be said of the German stage to-day: “The theatre is dead! Long live the theatre!”