Abstract

In this essay, we address the relationship between the IFT (Idisher Folks Teater, Jewish Popular Theater), that was the first and most important expression of Independent Theater in the Jewish theater field of Buenos Aires, and the Independent theater movement, that emerged in 1930 with the foundation of the Teatro del Pueblo. We believe that, although it is possible to consider that in these first years the institution was constituted like a sort of colectivity theatre –cause the activities were developed entirely in Yiddish and were oriented to a purely Jewish audience- we maintain that as the years pass and the Independent Theater movement grows in magnitude and strength, an increasing desire for integration appeared, and the IFT gradually began to be included as a constituent part of a larger phenomenon.

Highlights

  • In this essay, we address the relationship between the IFT (Idisher Folks Teater, Jewish Popular Theater), that was the first and most important expression of Independent Theater in the Jewish theater field of Buenos Aires, and the Independent theater movement, that emerged in 1930 with the foundation of the Teatro del Pueblo

  • Cuando las masas judías hablaban en ídish, la función del Idisher Folks Teater (IFT) había sido ponerlos en contacto con los clásicos universales traducidos a su idioma, ahora consistía en cambio en lo opuesto: en transmitir la cultura judía en el idioma de los argentinos y en este sentido, El diario de Ana Frank de Frances Goodrich y Albert Hackett dirigida por Oscar Fessler condensaba perfectamente este nuevo objetivo, en tanto era una obra de temática judía pero que abordaba una problemática universal

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Summary

Introduction

Hasta 1952 la revista se publicaba casi completamente en ese idioma, incluyendo únicamente una editorial en español, mientras que en su número 32° publicado en 1953, aparecieron por primera vez artículos en castellano, algunos de los cuales fueron escritos por personalidades de gran renombre en el ámbito del teatro independiente como Alberto D’Aversa y Leónidas Barletta.

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