Metadata: The Drama Censorship
Collection
- Country:
- Russia
- Holding institution:
- St. Petersburg State Theatrical Library
- Holding institution (official language):
- САНКТ-ПЕТЕРБУРГСКАЯ ГОСУДАРСТВЕННАЯ ТЕАТРАЛЬНАЯ БИБЛИОТЕКА
- Postal address:
- 191011, St. Petersburg, ul. Zodchego Rossi, d. 2
- Phone number:
- (812) 5717711
- Web address:
- http://www.sptl.spb.ru
- Email:
- sptl@sptl.spb.ru
- Reference number:
- [unnumbered fonds]
- Title:
- The Drama Censorship
- Title (official language):
- Драматическая цензура
- Creator/accumulator:
- The Drama Censorship
- Date(s):
- 1865/1917
- Language:
- Russian
- Yiddish
- German
- Extent:
- approx. 42,000 storage units
- Type of material:
- Textual material
- Scope and content:
-
The fonds consists of a collection of censored copies of dramatic works (including librettos of operas and operettas); these are manuscript, typewritten, lithographic, and printed copies (often with markings by the censor to the effect that staging or showing the given play in a theatre was permitted or prohibited); as well as censorship materials from the archive of the Interior Ministry’s Main Administration on the Press. The fonds contains a considerable quantity of documents on the history of the Jewish theatre in Russia.
1) The Russian Censorship section (sub-fonds) includes plays on Jewish subjects written in Russian, or translated into Russian from Yiddish or other languages), including Kh. Adskii’s drama Rebecca, or Cries of the Heart (1911); a tragedy by A. Azar and M. Girshman titled Love in the Ghetto (1903); M. Girshman’s drama The Foundations of Marriage (1903); D. Ia. Aizman’s plays Lessons Given (1912), Family Matters (1910), Wives (1907), The Seekers (Shepherds) (1915), The Radiant God (undated), The Thorn Bush (1907), The Feast of Flowers (undated), The Latin Quarter (1915), The Shroud (1904, 1910), Enemies (1908, 1910), The Heavenly Truth (1911), and Summer Romance (1915); tragedies by K. N. Algasovskii: She Who Died Innocently (1905), A Wretched Lot (1912), The Jewess Rachel (1904), A Ruined Life and Young Shoots (1910, 1911), etc.; and Algasovskii’s historical drama In the Kingdom of Zion (Nahman’s Dream) (1912); tragedies by S. Al’fredov: Without a Homeland (1907), The Vale of Tears (1909), Woman of the Future (A Woman in Pants) (1915), Life’s Adversity (1907), The Earth is Spinning (1905), and Jewish Luck (1915); historical plays by V. A. Bazarov: Jews of Past Centuries (1880), The Jewess, a Victim of the 15th c. Inquisition (1879, 1895), and Haman: Eminent Courtier of Persia and Media (1887); dramas by Sof’ia Belaia (S. N. Bogdanovskaia): Children of the Pale (In a Jewish Home) (1910), The Eagle’s Flapping (1909), Eve’s Sin (What a Woman is Capable of) (1912), Judas’s Kiss (1909), The Time Shall Come (1908), The Evening Sacrifice (1914), Heroes of the 20th c. (1911), and The Comedian (the Jew from Gol’ta (1911); D. A. Berkutov’s historical play Esther and Ozario, or the Israelites in the Mountains of Ein Gedi (1887); dramas by G. G. Ge: The Pogrom (1890), As the Torah Commands (1906), and Yankel the Hero (1914); plays by Osip Dymov (I. I. Perel’man): Two Truths (1894), The Debt (1902), The Sacrifice (1915, 1918), Hear, O Israel! (1907), Spring Madness (1910), The Eternal Wanderer (1915), The Upshot (A Crime Against Morality) (1912), Cain (1904), and Don’t Come Back (1906); Ways of Love (1909), The Voice of the Blood (1902); Sh. Z. Rappoport (S. A. An-ski)’s epic-lyric drama Between Two Worlds (The Dybbuk) (1915) and his plays Don’t Fool Around with Gossip (1900, 1901) and At the Conspirators’ Apartment (1906); plays by E. N. Chirikov: The Odd Bird (1914), The Jews (1906), etc.; as well as translated plays (with the translator often unnamed): A. Simon, Iakhil’ (The Judean Feat) (1889, 1901); M. Alters, The Rebirth of Israel (1909); S. Al’shits (David Pinski), Between the Hammer and the Anvil (Yankel’ the Blacksmith) (1911), Love and Passion (1911, 1912), Pogrom Days (1906), Free Love (trans. by S. I. Brailovskii; 1911), Aizik Sheftel’ (1912), and The Treasure Trove (1907); D. Benar’e (David Manevich), The Chosen of God (1911) and The Shpigel’man Family (1906); G. A. Bernshtein, Baccarat (1909), The Storm (1906), The Thief (1907), Israel (1909), Samson (undated), and Judith (undated); O. S. Broud, The Modern Jewish Woman, or the Victim of Feminine Nihilism (1879); Theodor Herzl, In the New Ghetto (1899, 1900, 1898) and The Alienated (1906); Avrom Goldfadn (Abraham Goldfaden), Bar-Kokhba, or, The Last Days (1901), The Sacrifice of Isaac (1915), The Sorceress (1887, 1888), The Shulamite, or, The Daughter of Jerusalem (1899); M. Rikhter, Sholom-Bais (1913), Hertzel Meiuhes, or, The Fateful Oath (1914); Z. Faynman, The Holy Sabbath (Shabbos Kodesh) (1914), Anna di neytorin, or, Anna the Seamstress (trans. by Ia. Sh. Guzik; 1914); etc.
2) Materials of the Yiddish censorship section (sub-fonds) include manuscript and typewritten copies of plays in Yiddish and German. (From 1883-1905, theatres in the Russian Empire were barred by a special government edict from staging shows performed in Yiddish; Jewish theatre troupes were officially permitted to stage shows only on the condition that they would be performed in German; accordingly, plays were submitted to the censorship in German.) These were of the broadest genre variety: operettas, comedies, sketches, farces; musical drama; scenes from everyday Jewish life; historical dramatisations; children’s plays for Hanukkah; collections of monologues, couplets, and Jewish folk songs; dramatisations of Bible stories; etc. Copies of plays were submitted for censorship by professional playwrights; and also by Yiddish theatre impresarios or lead actors who had adapted plots of popular operettas, comedies, and sketches for their productions. The fonds contains manuscripts of the following plays (variants of Russian translations of the plays’ titles are given in parentheses, along with the name of the person who submitted the MS to the censorship, and the year of its submission; here and subsequently, in order to make it more convenient to look up play titles, these have been left in the Germanised roman transliteration characteristic of the time, insofar as this is how they appear in card catalogues of the St. Petersburg State Theatrical Library; some (but far from all) cards also give play titles in Hebrew lettering): A din Tore mit a Toiten (Judgment with a Dead Man; Ia. Tsipkus [Tsipis], 1909); A Doktor (The Doctor; Sholom Aleichem, 1905, 1907, 1913); Abram und Sarah (Avrom Goldfadn, 1905); Achaschwerosch oder Persische Konig (Ahasuerus, or, The King of Persia; M. Girshovich, 1906); Adassa und Gedaliа (Hadassah and Gedalia; S. M. Krauze, undated); Aisik Scheftel (David Pinski, 1909); Aleksander Kronprinz (Crown Prince Alexander; I. Latainer, 1913); Alilas Dam (Blood Libel; I. Latainer, 1909); Amerikaner Gluken (American Joys; M. Genfer, undated); An’Eize (Advice; Sholom Aleichem, 1909, 1913); Anna di neytorin (Anna the Seamstress; A. Fishzon, 1902; S. M. Krauze, 1904; D. O. Bronshtein, 1906; N. Rozenblium, undated; S. Tsuker, undated; etc.); Auf dem Ganew brent das Hitel (The Cap Burns on the Thief’s Head; L. Baumvol’, 1913); Auf dem Weg nach Zion (On the Way to Zion; I. I. Shtrausfogel’, undated); Auf der Tlija (On the Gallows; Ia. Tsipkus [Tsipis], 1910); Babba Jachne oder die Zaubern (Baba Iakhna, or, The Sorceress; Avrom Goldfadn, 1908); Bald noch der Chupe (Right After the Wedding; A. Kompaneets, 1913); Bar-Kochba (Avrom Goldfadn, 1861, 1906; D. O. Bronshtein, 1902; M. Genfer, undated); as well as Bar-Kochba ein Held von der Letzten Tagen Zion (Bar-Kokhba, Hero of the Last Days of Zion; D. M. Shabshai (Sabsai), undated; Beim Doktor (At the Doctor’s; Sholom Aleichem, 1909); Ben Ami. Dramatishce legende (Ben-Ami. A Dramatic Legend; Avrom Goldfadn, 1911); Ben Hador (A Son of His Generation; on theatre posters, usually Prince Ben-Hador; S. M. Krauze, 1904); Ben Zion (Son of Zion; A. Fishzon, 1915); Berek Joselewich (Ia. Vaksman, 1910); Berke und Schmerke (Berko and Shmerko; N. M. Shaikevich [Shomer], 1907); Bluchmele oder Die Perle von Krakau (Bliumele, or The Pearl of Krakow; D. M. Shabshai (Sabsai), undated); Blume die kechne oder Selikl Scholtak (Blume the Cook, or Zelig the Scapegrace; A. Fishzon, 1916); Blumele oder doktor Daniel (The Little Flower, or, Dr. Daniel; M. Genfer, 1906); Blumen und Dornen (Flowers and Thorns; Ia. Tsipkus [Tsipis], 1917); Blutt ist kein Wasser (Blood Isn’t Water; Ia. Tsipkus [Tsipis], 1909); Byes-Levi oder di yuidische Tochter (Byes-Levi, or, The Daughter of Jerusalem; L. Baumvol’, 1916); Chafni und Pinkas (Khofni and Pinkus; I. Latainer, 1904); Chaim in Amerika (Chaim [Life] in America; A. Kompaneets, undated; A. Fishzon, 1908); Chana mit ihre Sieben Souhne (Hannah and Her Seven Sons; A. Fishzon, 1907); Chasie die Jesoime (The Little Orphan Hasya; Ia. Gordin, 1907; S. Tsuker, 1907); Chava: Das Gassenmadel (Hava, a Girl of the Streets; Ia. Vaksman, 1912); Chawe oder Dawids Geige (Hava, or, David’s Fiddle; L. K. Bronshtein, 1907); Chinke Pinke oder Gabriel der Mahler (Chinke Pinke, or, The Artist Gabriel; often referred to on playbills as Gabriel, or, The Love of a Jewish Woman; I. Latainer, 1907; L. K. Bronshtein, undated); Churbn beis Hamikdosch (The Destruction of the Jerusalem Temple; N. M. Iasnogorskii, 1910); Chоiffne und Pinkus (Khofni and Pinkus; A. Kompaneets, 1906); Chоfni und Pinkus (Khofni and Pinkus; I. Latainer, 1904; A. Kaminskii, 1904; S. K. Krauze, 1904); Col Nidrei (Kol Nidrei; I. Latainer, 1908); Daniel in der Lewengrube (Daniel in the Lion’s Den; I. Latainer, 1907); Das Amerikanische leben (American Life; Ia. V. Spivakovskii, undated); Das eibige Lied (The Eternal Song; M. Arnshtein, 1909); Das Erbe (The Legacy; G. D. Levitas [Levit], 1915); Das geraubte Madchen oder liebe und Rache (The Abducted Girl, or, Love and Vengeance; I. Volkovskii, undated); Das Gericht am Himlen (The Judgment of Heaven; G. D. Levitas [Levit], 1915); Das Goldеne Land (The Golden Land; N. M. Shaikevich [Shomer], 1909; Das Judisches leben (Jewish Life; Kh. Eppel’berg, undated); Das Kind im Walde oder Der verlieb te Prinz (The Child in the Forest, or, The Prince in Love; I. I. Shtrausfogel’, 1906); Das Leben in Amerika (Life in America; N. M. Shaikevich [Shomer], 1912); Das Leben unzerer Zeit (The Life of Our Time; G. D. Levitas [Levit], 1915); Das leben von ein Frau (A Woman’s Life; I. Zolotarevskii, 1911); Das Pintele Weib oder Wus frojen lieben (What Women Love; L. Baumvol’, 1915); Das Yudishe Herz (The Jewish Heart; I. Latainer, 1909); Das Yudishe leben (Jewish Life; G. D. Levitas [Levit], 1908); David Grossman oder die Muhle brennt (David Grossman, or, The Mill is Burning; I. I. Shtrausfogel’, 1907); Dawid Geiger (David the Fiddler; S. Tsuker, undated); Dawid in der Wuste oder Goliath der Palestiner (David in the Desert, or, The Goliath of Palestine; Kh. Eppel’berg, 1894); Debora oder Der bussender sunder (Deborah, or, The Penitent Sinner; S. Tsuker, undated); Der Adjutant Major und der Capitan (The Adjutant-Major and the Captain; A. Kaminskii, undated); Der Aktior (The Actor; N. Rakov, 1907); Der Apikoires (The Freethinker; on playbills referred to as The Epicurean; N. M. Shaikevich [Shomer], 1906); Der Arbeiter (The Worker; N. Rakov, 1911); Der austreichischer Jude (The Austrian Jew; B. Tomashevskii, M. I. Chernov, 1911); Die Judische Kreun (Jewish Pride; M. Tenzer, 1913); Der bewusster Doktor oder Die Verleundung (The Famous Doctor, or, Slander; A. Kaminskii, 1897); Der bigamist (The Bigamist; A. Kompaneets, 1914); Der Deutsch: Monolog (The German: A Monologue; Sholom Aleichem, undated); Der Dibek (The Dybbuk; I. Latainer, 1904); Der Doktor hat alle geretten (The Doctor Saved Everyone; A. Kaminskii, undated); Der erster churbn (The Destruction of the First Temple; N. M. Iasnogorskii, 1908); Der erster scwug (The First Couple; N. M. Iasnogorskii, 1910); Der Fremder (The Outsider; Ia. Gordin, 1909); Der Gast von jener Welt (The Guest from the Next World; A. Kaminskii, undated); Der Gast von Keiwer (The Guest from the Grave; I. Latainer, 1911); Der Gemnazist (The Gymnasium Student; G. D. Levitas [Levit], 1915); Der Get (The Divorce; Sholom Aleichem, 1907); Der Gilger (The Werewolf; Ia. Tsipkus [Tsipis], 1909); Der griene Insel (The Green Island; M. Meerson, undated); Der griner aktior (The Green Actor; N. Rakov, 1907); Der Hammer von leben (The Hammer of Life; M. Meerson, 1908); Der Hassid und Student (The Hasid and Student; N. Rakov, 1907); Der Hauswirth (Master of the House; Ia. Vaksman, 1909); Der Held als Seiger (The Conquering Hero; D. M. Shabshai [Sabsai], undated); Der Held! (Hero!; A. Kaminskii, undated); Der Hunger oder die ungluikliche Mutter (Hunger, or, The Unfortunate Mother; I. I. Shtrausfogel’, 1907); Der Idiot (The Idiot; G. D. Levitas [Levit], 1916); Der Intelligent (A Man of the Intelligentsia; I. I. Shtrausfogel’, undated); Der Jejzer Hore (The Tempting Spirit; N. Rozenblium, 1916); Der Joiresch (The Heir; N. Markovich, 1913); Der judische Hamlet (The Jewish Hamlet; I. Zolotarevskii, 1907) Der Katorschnik (The Convict; M. Girshovich, undated); Der Kounig Achaschwerosch (King Ahasuerus; D. M. Shabshai [Sabsai], undated); Der Mord au Kawerlij (Death at Coverley; M. Meerson, undated); Der Mourd (Death; M. Tenzer, 1913); Der Mourder (The Killer; M. Tenzer, 1913); Der Nissojen (Temptation; I.-L. Perets, 1906); Der Poilischer Jude (The Polish Jew; M. Tenzer, 1914); Der Storm fun Leben (The Storm of Life; G. D. Levitas [Levit], 1915); Der Talmud chuchem (The Wise Man; N. Rakov, 1907); Der Taten mit der Mamen die Tochter mitn sihne (Papa and Mama, Daughter and Son; D. M. Markovich, 1912); Der Treffniak (The Reprobate; on playbills, usually The Epicurean; N. M. Shaikevich [Shomer], 1904-08; Der Ungarishce Sounger oder der Neschome von main Volk (The Hungarian Singer, or, The Soul of My People; M. Tenzer, 1912, 1914); Der Vampir (The Vampire; Ia. Tsipkus [Tsipis], 1910); Der Zweite Hamon (The New Haman; S. Shaikevich, 1907, 1908); Der Zweite Kain oder Brudermourde (The New Cain, or, The Fratricide; S. Shaikevich, 1907); Der Zweite Rewizor (The New Inspector General; S. Shaikevich, 1908); Di Gassen Kinder (Street Children; A. Kompaneets, 1913); Gedalion und Adassa (Gedalia and Hadassah; A. Kompaneets, 1904); Di Moiral fur Frauen (Women’s Morality; G. D. Levitas [Levit], 1915); Die Agenten (The Agents; Sholom Aleichem, 1905, 1909, 1910); Die Aktioren oder die Amerikaner Gluken (The Actors, or, American Joys; I. Zolotarevskii, 1907); Die alter Cocette oder Zwei Aferisten (The Old Flirt, or Two Con Artists; A. Kaminskii, 1891); Die Amerikaner arstokraten (American Aristocrats; I. Zolotarevskii, 1914); Die Amerikaner Dgentlemen (American Gentlemen; I. Zolotarevskii, 1915); Die Amerikaner Gluken (American Joys; N. Rakov, 1907); Die Beiden Diebe oder Der zweite Theil von Roman (The Two Thieves, or, The Second Part of the Novel; S. Tsuker, undated); Die beiden Koni-Lemel (The Two Koni-Lemels; Avrom Goldfadn, 1904, 1906; A. Kaminskii, 1902; D. M. Shabshai [Sabsai], undated), as well as Die Beiden Cono-le-me-le oder Wer bin ich? (The Two Koni-Lemels, or, Who Am I?; S. Tsuker, undated); Die Beiden Serganten oder die Intrige (The Two Sergeants, or, The Intrigue; S. Tsuker, undated); Die bettler Lebensbild (A Picture from the Life of a Pauper; S. Adler, 1903); Die Blumenmacherin Malke (Malka the Flower Girl; A. Fishzon, 1915); Die blutige Hochzait oder der geplante Esras (The Bloody Wedding, or, Ezra’s Plan; I. I. Shtrausfogel’, undated); Die Brillantenhandler (The Diamond Merchants; A. Kaminskii, 1905); Die Bruder Lurie (The Brothers Lurie; Ia. Gordin, 1906); Die Dame in Roten (The Lady in Red; Ia. Vaksman, 1913); Die Eiferzsuht oder Das leben in New York (Jealousy, or, Life in New York; D. M. Shabshai [Sabsai], 1902); Die Emigranten (The Emigres; N. M. Shaikevich [Shomer], 1910); Die Erd (The Earth; Perets Hirshbeyn, 1909); Die Europaer in Amerika (Europeans in America; S. M. Krauze, 1904; Ia. V. Spivakovskii, 1904; I. S. Kisis, undated); Die Familie Hirsch (The Hirsch Family; David Pinski, 1906); Die Frauen Haundlerin (The Tradeswoman in Live Goods; S. A. Faerman, 1915); Die fraunen frage (The Woman Question; M. Meerson, 1910); Die Goldene Chasene (The Golden Wedding; I. Zolotarevskii, 1911); Die Heutige Giborim oder die Inteligenten Kinder (Real Epic Heroes, or, Intelligentsia Children; Perets Hirshbeyn, 1909); Die Korbonois (Victims; M. Tenzer, 1913); Die Kraft von Geld (The Power of Money; N. Rozenblium, 1912); Die Malke Schabos (Queen Sabbath; M. Arnshtein, 1912); Die Meschimejdes (The Apostate; M. Nordau, 1912); Die Milchome (War; I. A. Veksler, 1915); Die Mutter (Mother; D. Pinskii, 1908; I. Zolotarevskii, 1909); Die nue Generatsion (The New Generation; N. M. Shaikevich [Shomer], 1910); Die Patriotke (The Patriotic Girl; D. M. Markovich, 1912); Die schlechte Frau (A Bad Woman; I. S. Kisis, undated); Die Schoine Klara (The Beautiful Clara; S. Tsuker, undated; Ia. V. Spivakovskii, 1900); Die schpiel-Feigelech (Songbirds, N. Rozenblium, 1913); Die Schwartse Blondinke (The Black Blonde; N. Rozenblium, 1915); Die Schwester (Sisters, I.-L. Perets, 1909); Die Sufraschistkes (The Suffragettes; D. M. Markovich, 1912); Die tnoyin untern tish un Shepsel der zayike (An Engagement at the Table and Stuttering Shepsl; S. A Faerman, 1914); Die Undankbare Kinder (Ungrateful Children; Sholom Aleichem, 1907); Die Verleumdung (Slander; S. Adler, 1901); Die verlorene blum (The Lost Flower; I. Volkhovskii, 1913); Die Weibersche Herzer (Women’s Hearts; N. Rozenblium, 1907); Die Yuden auf Kaukas (The Jews of the Caucasus; A. Kompaneets, 1913); Die Zauberin (The Sorceress; Avrom Goldfadn, undated; Ia. V. Spivakovskii, 1904); Die Zerstreuten (The Outcasts; Ia. V. Spivakovskii, 1904); Die zweite Frau (The Other Woman; I. Zolotarevskii, 1911); Doktor Joselman (Doctor Yoselman; A. Kaminskii, undated); Doktor Kohn (Doctor Kohn; M. Nordau, 1906); Doktor Lewi (Doctor Levi); I. Latainer, 1909); Doktor Seifenblus (Doctor Seifenblus; L. Baumvol’, 1912); Dos Frauen Hertz (A Woman’s Heart; Ia. Tsipkus [Tsipis], 1915); Dos Freiliche Bocher (A Happy Fellow; N. Rozenblium, 1914); Dos Gassen Model (A Girl of the Streets; Ia. Vaksman, 1916); Dos Pikante Maidel (A Racy Girl; N. Rozenblium, 1915); Dos Pintele Judine (The Essential Jewish Woman; I. G. Sandberg, 1913); Dovidl fun Tiraspol (Dovidl from Tiraspol’; A. Kompaneets, 1916); Dreifuss (Dreyfus; I. G. Sandberg, 1914); Drosche Geschenk (The Wedding Present; Ia. Tsipkus [Tsipis], 1916); Du Zawoje (The Will; S. A. Faerman, 1915); Dwojre Mejucheses (Dvoira the Aristocrat; on playbills usually titled Dvoira Meiukheses; Ia. Gordin, 1906, 1907); Egiptisher Hirst (The Egyptian Shepherd; S. Adler, 1904); Ein Agent: Monolog (An Agent: A Monologue; Sholom Aleichem, undated); Ein Bild von leben (A Picture from Life; Ia. Vaksman, 1907); Ein jener Welt (The Next World; M. Tenzer, 1913); Eits Haadas (The Tree of Knowledge; Ia. Gordin, 1912); Ende Sodom’s (The End of Sodom; S. Tsuker, undated); Ester (Esther; Kh. Eppel’berg, 1907); Ezra oder Der Ewige Yuden (Ezra, or, The Wandering Jew; S. M. Krauze, 1902); Ezra (I. Latainer, 1907); Fantazie (A Fantasy; G. D. Levitas [Levit], 1914); Far wos? (Why?; Ia. Vaksman, 1912); Fater und Tochter (Father and Daughter; L. K. Bronshtein, 1903); Feitel Pawolie (Careful, Feitel; N. M. Shaikevich [Shomer], 1911); Ferblondset (In Error; A. Kaminskii, 1908); Fersauet und Zerspreit (Sixes and Sevens; Sholom Aleichem, 1906); Flich nicht Hoch (Don’t Fly Too High; I. A. Veksler, 1916); Fluch der Liebe (The Curse of Love, S. A. Faerman, 1906; Kh. Eppel’berg, undated); Freulein Doctor oder Die dankbare kinder (Mrs. Doctor, or, Grateful Children; S. Tsuker, undated); Frihling (Spring; Arnshtein, 1913); Fun’m Prisiv (From the Draft; Sholom Aleichem, 1909); Geheimnisse von New York (Secrets of New York; S. Adler, 1903); Gelt und Liebe (Money and Love; I. Volkhovskii, 1913); Gluk Vergessen (The Luck-Forsaken; David Pinski, 1905, 1908); Goliath und Dawid (Goliath and David; A. Kaminskii, 1899); Gott der Rache (The God of Vengeance; Sholem Asch, 1908); Hamman und Esther (Haman and Esther; S. Tsuker, undated); Haus von Aschkenasi (House of the Ashkenazi; Ia. Vaksman, 1906); Herzele Mejuches (The Wellborn Herzele, on playbills usually referred to as Gertsele Meiukhes; M. Rikhter, 1907); Hore Israel (Shma Israel) (Hear, O Israel!; O. Dymov, 1904, 1906); Housfrieden. Schulim Bais (Family Happiness; M. Rikhter, 1906); Idele der Blinder (Blind Idl; S. M. Krauze, 1905); In eine Tag (In Those Days; Ia. Vaksman, 1907); Intelligent (A Man of the Intelligentsia; G. D. Levitas [Levit], 1916); Jacob und seine Souhne oder Josef in Egypthen (Jacob and His Sons, or, Joseph in Egypt; S. Tsuker, undated); Jacob und seine Souhne (Jacob and His Sons; I. Latainer, 1908); Jacob und seine Souhne (Jacob and His Sons; M. Girshovich, 1906); Jankel der Schmied (Yankel the Blacksmith; David Pinski, 1907, 1909); Jean Roul oder Fabricant (Jean-Raul, or, The Factory Owner; I. I. Shtrausfogel’, 1907); Jehuda Halewi (Yehuda Halevi; Kh. Eppel’berg, 1905); Jejkel Ball-Agule (Yekl the Cab-Driver; M. Rikhter, 1906); Jeruhem Kantor (Jeruhem the Cantor; S. M. Krauze, 1906); Jom Haget (The Divorce; A. Kompaneets, 1913); Josef und seine Bruder (Joseph and His Brother; M. Girshovich, 1906); Jspanisches Philosoph oder Aben Ezra (The Spanish Philosopher, or, Ibn Ezra; A. Kaminskii, 1894); Juda Makkabaus (Judah Maccabee; Kh. Eppel’berg, 1899); Judith die Tochter Manass’s oder die Falsche Vermeumdung (Judith, Daughter of Manasseh, or, An Unrighteous Slander; S. Tsuker, undated); Judith und Holothernes (Judith and Holofernes; Kh. Eppel’berg, 1900); Jugedn und Elter (Youth and Old Age; N. Rozenblium, 1912); Kapzensohn und Hungermann (Kapzensohn and Hungermann; Iu. A. Adler, 1903); Kidush Hoshem (For the Faith of the Fathers; I. Latainer, 1909); Koliev Volfman (Kolev Volfman; M. Tenzer, 1913); Kolombuses Medine (The Country of Columbus; M. Tenzer, 1913, 1914); Konig Ahaswer und Konigin Eschfir (King Ahasuerus and Queen Esther; S. M. Krauze, undated); Konig Solomon (King Solomon; A. Kompaneets, undated); Konigen von Jerusalem (The Kings of Jerusalem; Ia. V. Spivakovskiii, 1900); Kreizer Sonate (The Kreutzer Sonata; Ia. Gordin, 1908); Lebendig haworden (The Resurrected; I. Latainer, 1908); Leibele viskotchke (Leibele the Parvenu; A. Fishzon, 1917); Mann kann nicht sein ein gutter (One Cannot Be Good; I. A. Veksler, 1916); Mazel Tov! (Congratulations!; Sholom Aleichem, 1903, 1905, 1907, 1908); Meer Itzik Mendel (Meer-Itzik-Mendel (D. M. Shabshai [Sabsai], 1906); Mendel die Neweile (Mendel the Offal; Perets Hirshbeyn, 1908); Menschen (People; Sholom Aleichem, 1908, 1909); Mirele Efros (Ia. Gordin, 1906); Mit dem Strom (With the Current; Sholem Asch, 1910); Monologen aus dem Judischen Leben (Monologues from Jewish Life; Sholom Aleichem, 1912); Mosche Chaith als Gemeinderath (Moshe Hayt, Community Council Member; M. Rikhter, 1907); Moses Montefiore (M. Latainer, 1907); Odesser Knaker’s (Top Men of Odessa; N. Rozenblium, 1912); Odesser Schmate Klauber (The Odessa Ragman; Iu. A. Adler, 1910); Oif der Linken sait oder In die Hoiche fenster (Inside Out, or, In Highest Society; N. Rozenblium, 1913); Pamelech mit Fauer (Be Careful with Fire; I. Volkhovskii, 1914); Psak Geld (The Payment; or Payment for Dispute Settlement; Sholom Aleichem, 1914); Rabbi Schloime Itzhok (Ia. Tsipkus [Tsipis], 1916); Rebeka (N. M. Shaikevich, 1906, 1907); Rosa Lapidus (Ia. Vaksman, 1907); S’brent (In Flames; I.-L. Perets, 1909); Selig Itzik der Klezmer (Zelik-Itsik the Musician; M. Meerson, undated); Serke die Grefine (Serke the Countess; I. Markovich, 1912); Shyen takhas sheyn (A Tooth for a Tooth; Ia. Tsipkus [Tsipis], 1909); Sir Moses Montefiore (Ia. V. Spivakovskii, 1904); Verleumundung und Unschuld (Slander and Innocence; Ia. V. Spivakovskii, 1896); Sochrim (The Merchants; N. Rozenblium, 1912); Sprinza Odessaer (Shprintsa, a Lady Agent of Odessa; N. M. Shaikevich [Shomer], 1906); Stempenu oder Judische Paganini (Stempeniu, or, the Jewish Paganini; Sholom Aleichem, 1906); Sulamith (The Shulamite; G. D. Levitas [Levit], 1915); Welwel ist Kompot (Velvel Eats Compote; M. Tenzer, 1905); Wer ist der Mourder? (Who Is the Killer?; M. Tenzer, 1912); Yeremija hanovi (The Prophet Jeremiah; N. M. Iasnogorskii, 1908); Yuden in Polen (Jews in Poland; G. D. Levitas [Levit], 1905); Zeiten bieten sich oder der Judischer Held (Times Change, or, The Jewish Hero; I. A. Veksler, 1915); Zu spat (Too Late; M. Rikhter, 1914); Zuseit und zupreit (Higgledy-Piggledy; Sholom Aleichem, 1903, 1905-1909; Zwei Tanaim (Two Talmud Scholars; I. Latainer, 1907); Zwei Waisen (Two Orphans; N. M. Shaikevich [Shomer], 1904); Zwischen zwei Flammen (Between Two Fires; S. Shaikevich, 1907); etc.
- Archival history:
- The St. Petersburg State Theatrical Library was founded 30 August 1756 per the edict of Empress Elizaveta Petrovna that established the first professional Russian theater. It arose as a repertoire library of the Russian Theater Troupe, and was subsequently reorganized as the Central Library of the Directorate of Imperial Theaters. However, it is clear from archival research that the library of the Russian Theater Troupe began to take shape well before the edict itself. In particular, this is attested to by copies of manuscript plays housed in the library dating from 1754 through 1759 marked “From the Library of the Court Theater.” The name and agency jurisdiction of the library changed on numerous occasions: from 1759-1889, it was called the Library of the Russian Court Theater; from 1889-1917, the Central Library of the Directorate of Imperial Theaters; from 1917-31, the Central Russian Drama Library; from 1931-34, the Library of the A. S. Pushkin Theater; from 1934-93, the A. V. Lunacharskii Leningrad State Library; and since 1993, the St. Petersburg State Theatrical Library (SPb GTB). Since 1889, the library’s fonds have been supplemented with collections of plays from other state troupes (French, German, and Italian) working in St. Petersburg in the 18th-19th c. After 1917, the library opened its fonds to all persons interested in the theater arts. Currently the library’s fonds number over 700,000 storage units. A third of them (manuscripts, rare and valuable publications, personal papers of theater figures, decoration and costume designs, theater programs and posters, one-of-a-kind photographs, etc.) are housed in the library’s Department of Rare Books, Manuscripts, and Archival and Visual Materials. All materials of this department are catalogued (including in card catalogues), insofar as the St. Petersburg State Theatrical Library employs the library accounting system (with the exception of the Archival Materials Sector, which has inventories).
- Administrative/biographical history:
- The fonds represents a collection of dramatic works in the languages of the Russian Empire received by the library in July 1918 upon the liquidation of the Russian Interior Ministry’s Main Administration on the Press, which had been in operation from 1 September 1865 to 8 March 1917 and had been the supreme censorship authority. [See also the description of Russian State Historical Archive (RGIA) f. 776, “Main Administration on the Press”]. Its status had been defined in the “Temporary Rules on the Censorship and Press” of 6 April 1865. The administration consisted of a director, council, drama censors, special-assignments officers, and a chancellery. It held jurisdiction over the censorship of domestic and imported publications and of drama and the theatre; and had oversight of printing presses and the book trade. Procedures for operations of the Main Administration on the Press were laid out in instructions of the minister of the interior of 26 August 1865. The administration’s council had oversight of all works printed in the Russian Empire (whether by permission of the preliminary censorship or not); and reviewed issues pertaining to disciplinary actions against publications and the commencement of court proceedings. According to the new law, all publications exempt from preliminary censorship were, upon their printing, to be delivered from the publishing house to the censorship committee, and could only be distributed publicly on the third day after this. Publications were examined by censors who, if they discovered violations of censorship rules, drew up a report, which was discussed at a session of the committee and then remitted to the Main Administration council; at the same time, an order was given to halt distribution of the publication, and then to seize it at the printing press. In 1906, the Department of Foreign and Non-Russian Press was transferred from the Department of the Police to the Main Administration on the Press. This body was responsible for informing government personnel as to statements in the foreign and periodical press in languages of the peoples of the Russian Empire regarding issues of Russian domestic and foreign policy. In 1915, the department consisted of a foreign section, engaged in surveying the press in sixteen foreign languages of Europe and America; and a non-Russian section, which compiled surveys of the press in eleven national languages of the Russian Empire. The Main Administration on the Press also had oversight of the censorship of dramatic works. Per the law of 6 April 1865, censorship of dramatic works was performed by two censors; a third was assigned in 1887, and a fourth in 1912. In 1915, the drama censorship was performed by two staff censors and two authorised signatories. The administration was abolished after the February Revolution of 1917.
- Access points: locations:
- Russia
- Access points: persons/families:
- Adler, Iu. A.
- Adler, S.
- Adskii, Kh.
- Aizman, D. Ia.
- Al’fredov, S.
- Al’shits, S.
- Algasovskii, K. N.
- Alters, M.
- An-ski, S.
- Arnshtein, M.
- Asch, Sholem
- Azar, A.
- Baumvol’, L.
- Bazarov, V. A.
- Belaia, Sof’ia
- Berkutov, D. A.
- Bernshtein, G. A.
- Brailovskii, S. I.
- Bronshtein, D. O.
- Bronshtein, L. K.
- Broud, O. S.
- Chernov, M. I.
- Chirikov
- Dymov, O.
- Eppel’berg, Kh.
- Faerman, S. A.
- Faynman, Z.
- Fishzon, A.
- Ge, G. G.
- Genfer, M.
- Girshman, M.
- Girshovich, M.
- Goldfaden, Abraham
- Gordin, Ia.
- Guzik, Ia. Sh.
- Halevi, Yehuda
- Hirshbeyn, Perets
- Iasnogorskii, N. M.
- Ibn Ezra
- Kaminskii, A.
- Kisis, I. S.
- Kompaneets, A.
- Krauze, S. M.
- Latainer, I.
- Levitas, G. D.
- Markovich, D. M.
- Markovich, I.
- Markovich, N.
- Meerson, M.
- Montefiore, Moses
- Nordau, M.
- Perets, I. L.
- Pinskii, D.
- Rakov, N.
- Rappoport, Sh. Z.
- Rikhter, M.
- Rozenblium, N.
- Sandberg, I. G.
- Shabshai (Sabsai), D. M.
- Shaikevich, S.
- Sheftel’, Aizik
- Sholem Aleichem
- Shtrausfogel’, I. I.
- Simon, A.
- Spivakovskii, Ia. V.
- Tenzer, M.
- Tomashevskii, B.
- Tsipkus, Ia.
- Tsuker, S.
- Vaksman, Ia.
- Veksler, I. A.
- Volkovskii, I.
- Zolotarevskii, I.
- System of arrangement:
- The fonds includes card catalogues systematised by subject, language, and alphabetically, and an electronic catalogue.
- Finding aids:
- Catalogues (card and electronic) are available.
- Yerusha Network member:
- Jewish Theological Seminary
