{"id":334332,"date":"2025-12-08T06:11:44","date_gmt":"2025-12-08T06:11:44","guid":{"rendered":"https:\/\/peraltafinancing.com\/american-history\/yiddish-actors-give-a-whole-new-meaning-to-the-phrase-staging-a-strike\/"},"modified":"2025-12-08T06:11:44","modified_gmt":"2025-12-08T06:11:44","slug":"yiddish-actors-give-a-whole-new-meaning-to-the-phrase-staging-a-strike","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=334332","title":{"rendered":"Yiddish Actors Give a Whole New Meaning to the Phrase, \u201cStaging a Strike\u201d"},"content":{"rendered":"


\n<\/p>\n

\n

One of the earliest foundations of the progressive theatre movement in America was contributed by the Yiddish Theatre, 1887\u20131913, in the formation of the Hebrew Actors\u2019 Union with its strong ties to socialist trade unionism in Europe. The unionization of the Yiddish actors was the genesis of \u201cagitprop\u201d theatre, short for \u201cagitation propaganda\u201d theatre for political purposes.\u00a0 The liberation of the sidewalks in front of the theatre to plead their cause against theatre managers gave a whole new meaning to the phrase, \u201cstaging a strike.\u201d The term \u201cagitprop\u201d for this highly effective clever weapon was finally brought over from Russia in the 1920s.<\/p>\n

Agitprop theatre, made either in the moment or rehearsed and presented by \u201chit and run\u201d companies, became the heavy artillery used throughout the Great Depression to gain support for labor actions among coworkers and the general public. It made a powerful news-grabbing comeback in the 1950s and 60s in America with the debut of the San Francisco Mime Troupe, The Farmworkers\u2019 Theater, and the Bread and Puppet Theatre of New York.<\/p>\n

At the end of the 19th<\/sup> century, unionization was finding its way into the theatre as an industrial workplace. Stage carpenters, painters, costumers and stage hands had been gaining union recognition since the mid 1880s. It was long before actors in the Yiddish theatre shed their elitism as \u201cartistes\u201d and recognized their role in an industrial work place. Actors worked unpaid in long rehearsal periods. They had to provide their own costumes. They could be fired without warning for any reason. With inferior pay compared with their male counterparts, more expensive costumes to buy, and sexual harassment from (usually male) superiors and coworkers, the situation for female performers was worse.<\/p>\n

Jewish actors\/impresarios Thomashefsky, Mogulesko, Goldfaden, and Adler thought that actors imported from Eastern Europe and Russia could be paid less and worked harder with little recourse but to keep silent. They had not figured that Eastern European performers, steeped in European socialist trade unionism, would stand up for themselves.<\/p>\n

The very first performing groups to unionize were the Yiddish Theatre Choristers in 1886. Due to continued concerns over wages and working conditions, the actors soon followed suit. According to Mendel Teplitzky, \u201cThe organizing of an actors\u2019 union began in November 1887 as an act against Abraham Goldfaden, who at that time had taken over the Romanian Opera House [in New York]. \u201cWe picketed the theatre. Arrests were not lacking. They once arrested me\u201d (Teplitzky 2008). In their campaign for unionization, the actors would soon discover their skills in recruiting the audience into their struggle.<\/p>\n

In the spring of 1888, perhaps to undermine the growing interest in unionism after the Goldfaden incident, Jacob P. Adler took his company out of the Lower East Side of New York and moved it to Chicago. Adler confessed that things did not go well. \u201cBitterness began. Anger began. In the end, the actors declared an actual strike\u2014the first strike, if I am not mistaken, of Yiddish actors in America . . . This meant couplets insulting our rivals sung before the audience in the middle of the play\u201d (Adler 1999). What he is describing is a theatrical guerrilla action in front of an audience<\/em>. For the first time, the performers used the opportunity to agitate for their grievances directly from the stage within a performance event, generating impromptu material with a political purpose<\/em> that had nothing to do with the play they were performing.<\/em> This was the first recorded instance of \u201cagitprop\u201d theatrical activity to support a \u201cwildcat\u201d strike.<\/p>\n

Adler\u2019s Chicago experiment was a financial disaster. Adler and the company returned to New York, but using the stage as an organizing tool became part of the actors\u2019 political arsenal. The next step followed soon thereafter. \u201cThe Hebrew Actors\u2019 Union (HAU) was founded in 1888, making it the first theatrical union founded in the United States with a peak membership of 400 members.\u201d Then:<\/p>\n

\u201cIn 1889, the lesser actors were earning too little to live on. \u2026 Zilberman, the owner of Poole\u2019s [Theatre] fired all the actors and choristers in the union and replaced them with non-union workers, which led to a strike. \u2026 All the striking theater workers rented the Oriental and started a cooperative theater under the leadership of the UHT [United Hebrew Trades] \u2026 The cooperative theatre lasted only a short while\u2026 The Poole\u2019s strike was lost, but the Actors Union lasted a long time\u201d<\/em> (Weinstein 2018).<\/p>\n

The members elected officers and maintained the union between strikes, but things did not settle down. The December 19, 1899 issue of Forverts<\/em> carried an announcement that \u201c400 Years = 400 \u05d9\u05d0\u05d4\u05e8.\u201d The \u201cnew work\u201d by B. Thomashefsky would be performed at the People\u2019s Theater on Friday December 22, Saturday the 23rd, Sunday the 24th, and Monday the 25th (Christmas Day), 1899. This production did not run smoothly. All of the issues came to a head.<\/p>\n

A bald-faced attempt by the producer to skirt his obligations to the Choristers Union raised the stakes. The director of the play, Boris Thomashefsky, decided that the recognized actors\u2014Leibush Gold, Leiser Goldstein, Solomon Mane, and Efraim Perlmutter\u2014should sing in a chorus as a quartet. Singing in the shows was strictly reserved by contract for the choristers. By asking the actors to sing, Thomashefsky was attempting to avoid hiring and paying choristers. In support of the choristers, the actors walked out. \u201cThe owners continued to perform [produced the show] with several Yiddish actors that they brought from the Province [Theatre] and there broke out a large strike with strike-breakers\u201d (Mlotek 2008). \u201cThe owners of the theatre thereupon declared a lockout against the four protesters and the whole troupe left the rehearsal\u201d (Mlotek 2008).<\/p>\n

A struggle of nearly six weeks ensued. Insulting, inflammatory broadsides were plastered on lampposts, fences, and in the newspapers. A poster from this strike is preserved, declaring a boycott of the theatre. These were a kind of \u201cagitprop-in-print.\u201d In part, it says:<\/p>\n

\u201cGEHT NIT IN PIPELS THEATER! (Don\u2019t go to the People\u2019s Theatre!) A lookout at the People\u2019s Theatre! Saturday night the bosses of the People\u2019s Theatre locked out the following members of the Hebrew Actors\u2019 Protective Union: \u2026 Workers and friends, we implore you not to go to the People\u2019s Theatre until we achieve our demands\u2026 Thomashefsky should perform before empty walls as long as our just demands are not granted as commanded by the organized workers\u201d<\/em> (Hibru E\u1e33\u1e6ders Prote\u1e33\u1e6di\u1e7f Yunyon 1899).<\/p>\n

\u00a0<\/p>\n

\"A
Actors\u2019 Boycott Poster, \u201cGeht nit in Pipels Theater!\u201d (Don\u2019t go to the Peoples Theatre!), 1899. Courtesy of the New York Public Library.Translation: Content: \u201cDon\u2019t go the People\u2019s Theatre! A lookout at the People\u2019s Theatre! Saturday night the bosses of the People\u2019s Theatre locked out the following members of the Hebrew Actors\u2019 Protective Union: Madame Carp, Madame Mani, Madame Nathanson, Mr. Nathanson, Mr. Manie, Mr. Fishkind, Mr. Blank, Mr. Gold, Mr. Conrad, Mr. Tarnberg, Mr. Perlmutter and Mr. Goldstein. Here are the main points of the lockout: Several weeks ago the actors from all the theaters organized themselves and founded \u2018Hebrew Actors\u2019 Protective Union.\u2019 The bosses from People\u2019s Theatre were the only ones that openly expressed their hatred for the union; they were the first to try to send away two actors because they belonged to the union\u2026 Workers and friends, we implore you not to go to the People\u2019s Theatre until we achieve our demands\u2026 Thomashefsky should perform before empty walls as long as our just demands are not granted as commanded by the organized workers.\u201d<\/figcaption><\/figure>\n

\u00a0<\/p>\n

A broadside with Thomashefsky\u2019s rebuttal to the strike complaint also exists. Evidently, this was a common form of exchange. It was only a short evolutionary leap to the tactic of striking actors standing outside a theatre or invading a lobby, making a commotion with a \u201cguerrilla action\u201d speech or a skit, then beating it out the door.<\/p>\n

\"\"
\u201cDos iz Mayn Het: a Tsuve fun Zayn Lieben Nomen.\u201d Thomashefsky\u2019s rebuttal to the call for a strike, 1899. Courtesy of the New York Public Library.<\/figcaption><\/figure>\n

\u00a0<\/p>\n

After a protracted struggle the HAU was chartered by the Yiddish United Trades Council. A contract agreement recognizing the union as the representative for the actors with this theatre was signed on December 31, 1899. The union had won recognition, but the struggle was not over. The following notice appeared in the Forverts<\/em> of New Years Day, 1900, under the title, \u201cDistress of the Yiddish Actors\u201d:<\/p>\n

\u201cApparently, trouble\u2014physical blows\u2014ensued at the People\u2019s Theater on December 28, which were aimed by the theater \u201cmanagers\u201d at the actor, \u201cGoldstein.\u201d [Goldstein was one of the actors asked to sing in place of the choristers by Thomashefsky] The managers also dismissed Goldstein after this blow up. In retaliation for this incident, other performers said that they would also not perform on that day [December 28, 1899]. The managers said that they were prepared to pay $100 to make good on their bad behavior. As a direct result of this incident, 45 actors from three Yiddish theaters formed the \u2018Hebrew Actors\u2019 Protective Union.’\u201d\u00a0<\/em><\/p>\n

Clearly, the actors\u2019 tsuris<\/em> was not over. An ad posted in Forverts<\/em> from January 8 to 18, 1900, crowed about the show\u2019s continued success, clearly indicating that the lockout was ongoing. From the month of January 1900, Schiller discovered a megillah<\/em> of twenty-four articles in Forverts<\/em> (January 1-31, 1900) documenting a continuing melodrama being played out in the entire Jewish community caught in the throes of the struggle for the union. A few examples:<\/p>\n

\u201cThe Demands of the Actors.\u201d January 23.<\/p>\n

\u201cBakers Union 163 of Brooklyn Regular Meeting Detained.\u201d January 23.<\/p>\n

\u201cIn Sympathy with the Actors.\u201d January 24.<\/p>\n

\u201cNo Change in the Condition of the Actors\u2019 Strike.\u201d January 28.<\/p>\n

Friedlander, Max. \u201cUnited Jewish Trade Unions of New York State.\u201d January 29.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>\n

\u201cThe Actors\u2019 Fight.\u201d January 29.<\/p>\n

\u201cPublic Opinion. About the Actors\u2019 Strike.\u201d January 30.<\/p>\n

\u201cPublic Opinion About the People\u2019s Theater\u2014Resolution.\u201d January 31.<\/p>\n

\"\"
Advertisement for Hebrew Actors\u2019 performance published in Forverts<\/em>, December 19, 1899, under the heading of \u201cPipl\u2019s [People\u2019s] Theater.\u201d It states that the above \u2018new work\u2019 by B. Tomashevsky would be performing at the People\u2019s Theater on Fri. 22, Sat. 23, Sun. 24, and Mon. (Christmas) 25 Dec. 1899. Translation by Rivka Schiller. Permission: Historical Jewish Press, National Library of Israel, and Tel Aviv University.<\/figcaption><\/figure>\n

In the middle of this Sturm und Drang,<\/em> an article in the New York S<\/em>un <\/em>from January 4, 1900 reported a most interesting turn of events. It noted, \u201cThe recently organized Hebrew Actor\u2019s Union,\u00a0which asserted itself last week by delaying the performance at an East Side theatre for fifteen minutes,<\/em> came out yesterday with a manifesto in Yiddish\u201d [emphasis mine]. This could only have been another guerrilla theatre action by the locked-out actors. On January 3, they must have invaded the theatre, jumped up on the stage, or held forth in the lobby in a guerrilla-style appropriation of the performance space before the show began.<\/p>\n

Then, miracle of miracles, Thomashefsky had a change of heart. Most likely, his epiphany was caused by his losing money due to the boycott of the show. \u201cAfter a few weeks, Thomashefsky recognized the union and the strike ended\u201d (YIVO Institute for Jewish Research 2006). Twenty-three Yiddish theatres across the country signed with the union to employ its members, setting an example to other performers\u2019 groups. The lessons learned from their power to persuade returned to the stage of history in the Actors\u2019 Equity strike of 1919.<\/p>\n

The content of this article is taken from Dr. Joel Eis\u2019 and Doug Rippey\u2019s manuscript, <\/em>Left Off the Program: The Untold Story of Progressive Theatre in America Before WWII [working title] currently circulating for publication.<\/em><\/h5>\n<\/p><\/div>\n\n","protected":false},"excerpt":{"rendered":"

One of the earliest foundations of the progressive theatre movement in America was contributed by the Yiddish Theatre, 1887\u20131913, in the formation of the Hebrew Actors\u2019 Union with its strong ties to socialist trade unionism in Europe. The unionization of the Yiddish actors was the genesis of \u201cagitprop\u201d theatre, short for \u201cagitation propaganda\u201d theatre for […]<\/p>\n","protected":false},"author":1,"featured_media":334333,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12032],"tags":[13126,10971,20940,28473,13593,18590,86831],"dealstore":[],"offerexpiration":[],"class_list":["post-334332","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-american-history","tag-actors","tag-give","tag-meaning","tag-phrase","tag-staging","tag-strike","tag-yiddish"],"yoast_head":"\nYiddish Actors Give a Whole New Meaning to the Phrase, \u201cStaging a Strike\u201d - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=334332\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Yiddish Actors Give a Whole New Meaning to the Phrase, \u201cStaging a Strike\u201d - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"One of the earliest foundations of the progressive theatre movement in America was contributed by the Yiddish Theatre, 1887\u20131913, in the formation of the Hebrew Actors\u2019 Union with its strong ties to socialist trade unionism in Europe. 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