Moshe Lifshits

Moshe Lifshits around 1937

Moshe Lifshits ( Hebrew משה ליפֿשיץ, Yiddish מוישע ליוושיץ Moyshe Livshits , Russian Мойше Лифшиц , German : M [oses]. Liwschitz; born May 18, 1894 in the Stetl Bila Tserkva in the Kiev Governorate ( Paleon of Settlement of the Russian Empire ), today Ukraine ; died April 12, 1940 in Tel Aviv , Palestine , today Israel ) was a multilingual journalist, translator, dramaturge and Yiddish poet.

Life

Childhood and youth

Little is known about Lifshits' origins, childhood and adolescence. In a marriage certificate from 1939, Feige, a née Moschkowna, and Elie Liwschitz, a Kojdanower Hasid and Melamed , are noted as parents . His father taught him in the cheder until he switched to high school. On the occasion of Theodor Herzl's death , he is said to have begun to write poetry in Russian when he was ten. Before 1910 he was interned for the first time in a political prison camp (a politisher tfise) . In order to avoid being recruited into the tsarist army, he spent the years 1910 to 1912 in Warsaw, where he was secretary to Jizchok Leib Perez . He seems to have stayed in Kovel until the end of spring 1913 , as his comrades donated a tree to him in memory of his departure from there. He is said to have made his debut as a poet around 1914 in the Lemberger Interesante blat .

First World War

Shortly before the start of the First World War , he moved to Vienna, where he lived with Abraham Mosche Fuchs and his wife at Melech Rawitsch's . After Lifshits married Amalia Neumann (1894–1981) in 1918, their first son Valentin Jeheskiel was born in 1919 and their second son Alexander (d. 2013) was born in 1920. Lifshits wrote as a literary critic for criticism (קריטיק) and published in Sch. J. Imbers Nayland (נײַלאנד, Neuland), the anthology Toyt-tsyklus (טויט ציקלוס, Cycle of Death) and elsewhere first poems. Although he intended to go to war against Tsarist Russia, he had to spend the war years in the Thalerhof internment camp . During his internment he developed a Russophile-pro-Soviet attitude and began to get involved in Poale Zion , which is why he was "abolished as an annoying foreigner" from "German Austria" in 1919. In the report of the Police Directorate to the German-Austrian State Office of the Interior of May 2, 1919 (Act 16355-19), the following is noted about his person and the connection of the "Poale Zion" to the Communist Party:

“According to the information received by the police headquarters, the group of Poale Zionists in Vienna joined the Communist Party on April 25, 1919 by a majority vote. The group's leader is currently a certain Lifschitz, who recently returned to Vienna from a trip to Russia […] The moderate members of the Sokal, Rudel and Mendel Singer group have not joined the new direction and are about to join a new party establish. They want to work towards the communist wing dropping the name Poale Zionist. In the Zionist, as in general in the Jewish bourgeois circles, it also aroused great concern that a group of Poale Zionists also took part in the procession organized by the Communist Party on May 1, 1919. "

In an attachment it is added: Moses Liwschitz, editor of the “Jüdische Morgenpost”, born in the Ukraine in 1894 and responsible there, Mosaic, was brought before the police department on May 4, 1919 for the purpose of pearlization. When he was questioned, he claimed to be a radical Poale Zionist, but refused to give any information about his political activities. During a search of his home, Communist advertisements were found. Liwschitz has now been abolished from German Austria.

The 1920s

Lifshits' trail is lost in the early 1920s, so it is unclear what actually happened between his deportation to Bila Tserkva or the competent authority in Malyn and his appearance in Riga in 1922. First he had to leave his young wife and small children, then he reappeared around 1920 in the model colony Malachowka near Moscow, where he worked as a teacher for Jewish orphans, whose parents were mainly victims of the Tsarist Jewish pogroms from 1904 to 1906 had fallen, worked. At that time Malachowka was considered a kind of laboratory for new concepts of modern child rearing, in which at the same time experiments with literature, poetry and painting were carried out. Here he taught alongside other Jewish artists and intellectuals such as Der Nister , Dovid Hofstein , Leib Kvitko , Marc Chagall and others. In 1922 he belongs to the avant-garde Kiev group Vidervuks (ווידערוואוקס, Tailings / sapling ). Soon afterwards he met Lilja Brik and dedicated himself entirely to the service of the revolution. According to Porat, he has now "entered the Soviet propaganda battle " with Vladimir Mayakovsky , Ossip Brik , Roman Jakobson and others. Rawitsch also stated that Lifshits was a liaison agent for the Soviet foreign service and owned gold and diamonds (un hot epes got arum zikh gold un brilyantn un Gelt, gevezn a color-finding agent fun di demolt nokh nisht crystallized sovyetishe oyslendishe agency). He also seems to have arranged courier services for the Briks, Mayakovsky and others. After the revolution he was sent to Riga as a cultural attaché of the Soviet Union. When the persecution of Trotsky and his supporters began, Lifshits left the Communist Party and settled in Berlin with his family. Two years later he moved back to Vienna, where he devoted himself to Jewish cultural life, in particular to Yiddish poetry. Because of political and family problems, he returned to Berlin in 1927, where he made contact with left-wing cultural circles.

The 1930s

Whether Lifshits to those counts, the Piscator after the so-called people stage crash at the Nollendorfplatz followed or newly met; is uncertain. Undoubtedly, however, he belongs to the group of Becher , Brecht , Döblin , Mehring , Mühsam , Toller and Tucholsky .

Information on Lifshits' work in Piscator's dramaturgical collective can be found in Sami Feder's Durkh 12 geyhinom fayern (Through twelve Hellfire), in which he notes that he worked with the writer Lifshits and also from his work on Der Kaufmann von Berlin ( Walter Mehring  / Erwin Piscator ) reports. According to Feder, the idea to cast Paul (Ben-Zwi) Baratow (1872–1951), who traveled to Berlin from New York, came from Lifshits. Also in the staging of Ernst Toller's Oops, we're alive! he seems to have contributed. The Yiddish version , made in 1931 for Alexander Granach , Hopla, I'm alive! was not performed, but instead the translation of Granach's star role in Georg Kaiser's From Morning to Midnight and excerpts from Uriel Acosta . The years 1930/31 were the zenith of Lifshits' theatrical output with the popular successes Uriel Akosta ( Habimah / Granowski ) and Hershele Ostropolyer ( Vilner Trupe / Weichert ). Steffie Spira , for example, remembers Lifshits in her autobiography Trab der Schaukelpferde : “In those years [1930] we were rehearsing the Habima, knew the dramaturge Lifschitz and the actor Zwi Friedland, watched Wachtangows and Meyerhold's performances, and were incessant busy with discussions, never braising in their own juice, were always surrounded by the most varied of people [...] ”. Upcoming successes, also on other German-speaking stages, such as a collaboration with Fritz Wisten , were already in sight , but apart from manuscripts and cast lists, they remained unrealized until he had to emigrate to Paris in 1933, where he was in the environment of Leopold Lindtberg both physically and materially “Sans papier” was exposed to an extremely precarious situation.

On the initiative of Margot Klausner , Meir Dizengoff , Tel Aviv's first mayor, finally succeeded in obtaining an entry permit for Lifshits as the Habimah's dramaturge in 1935 . Because of discrepancies with the theater management, he ran a kibbutz theater with Max Reinhardt student Schulamit Bat-Dori. Pacifist pieces of time such as "The Court" and "When a simple person like you ..." were banned from performance. However, “The Court” was still staged in 1938 by Fritz Wisten and the Jüdischer Kulturbund in Germany after the originally planned performance “If the fool were not mine! A whimsical story with Herschel Ostropoler ”(translated from Yiddish by Leo Hirsch ) had to be deleted from the program because of Lifshits' political past. But there was also a break with Bat-Dori, so that Lifshits' name was deleted from all of her records and notes. The numerous love letters, which could provide nourishing information about their relationship, were lost over time, just as irretrievably as many of his pieces from this time. Eight years after Lifshits' death, “Hershel The Jester” (Hersch Ostropoler) was probably the last performance of one of his plays by Maurice Schwartz and the Yiddish Art Theater in New York.

In the last few years before his death Lifshits lived in the house of the poet Alexander Penn and wrote, sometimes under a pseudonym, the Aramaic word for "lonely" (לחוד) as the cultural editor of the Hashomer Hazair (in 1936 he was one of the founders of the "Socialist League" ). He was also active in the Turim circle around Avraham Shlonsky , Leah Goldberg , Israel Zamora, Jocheved Bat-Miriam , Rafael Eliaz and others. The latter admired Lifshits' oeuvre and dedicated his poem "After Midnight" to it. Due to its visually striking resemblance to Chaim Nachman Bialik , it was jokingly named after Bialik in the Turim district after a press photographer mistook him for Bialik, who had already died at the time. Lifshits' dramaturgical, poetic and political work in Tel Aviv has been largely untapped to date. Even Goldberg only discovered large parts of Lifshits' work for himself after his death.

Death and aftermath

Leah Goldberg remembered that Lifshits, who was already severely affected by illness, declaimed Bialik's “In my garden” before his death, playing word games with “cuor” (heart) and “dolor” (pain). On April 12, 1940, he died of heart failure. Obituaries were written by Nathan Alterman , Avraham Shlonsky, and others. On the twentieth anniversary of his death, Leah Goldberg published the following poem in memoriam in the Al ha-Mischmar newspaper :

That death was at his window	כִּי מָוֶת יַעֲלֶה בְּחַלוֹנָיו
did we know: his gaze screamed to heaven,	יָדַענוּ: מַבָּטוֹ הַמִשְׁתַּוֵעַ
clear and cool like grape skin.	.הָיָה שָׁקוּף וְקַר כְּזַג עֵנָב
A full world flickered through it	וּבְעַד הַזָג הִבְלִיחַ וְקָרַב
yellow like a full day	,עוֹלָם גָדוּשׁ, צָהֹב כְּיוֹם שָׂבֵעַ
Cities, rivers too, and many springs	,עָרִים, גַם נְהָרוֹת, גַם עֵרֶב-רָב
dawning frenzy of flowers.	.שֶׁל אֲבִיבִים וּשְׁלַל פְּרִיחָה בוֹקֵעַ
He went laden to the edge,	,וְהוּא הָלַךְ עָמוּס עַד קְצֵה הַגְבוּל
so in the evening a tired bull drags	כַּךְ שׁוֹר עָיֵף עִם יוֹם שׁוֹקֵעַ
the harvest on the threshing floor.	.יוֹבִיל הַגֹרְנָה אֶת הַיְבוּל

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  Marriage certificate from Moses Liwschitz u. Amalia Neumann (November 24, 1918)

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  Moshe Lifshits (second row), Marc Chagall , Der Nister u. a. in Malachowka (around 1920)

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  Entry permit from Moshe Lifshits (1935)

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  The poets Rafael Eliaz and Moshe Lifshits (around 1935)

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  from left Moshe Lifshits, Israel Zamora, Luba Goldberg, Avraham Shlonsky , Leah Goldberg , Jocheved Bat-Miriam (1938)

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  Grave of Moshe Lifshits. Nahalat Yitzhak. Giv'atajim , Israel.

Works (selection)

Poems

• Far di shvaygndike ("For those who remain silent"), Lemberg 1918.
• Der bal ("The Ball"), Lemberg 1918.
• Di libe ("Die Liebe"), Vienna 1918.
• A balade fun der khasene ("wedding ballad "), Vienna / Warsaw / Lemberg 1920.
• Di libe (“Die Liebe”), Vienna 1920 (not identical to the poem of the same name from 1918).
• Der dintoyre (“The Trial”), Vienna 1920.
• Ovntlid ("Evening Song"), Vienna 1920.
• Loshn Hore ("Bad Speech"), Berlin 1922.
• Prolog funm badkhn ("Prologue of Badchans [/ poet]"), Riga 1922.
• Tishrey ("Tischri"), Riga 1922.
• Ikh vel mir nisht onton keyn shtrik afn halz! (“I don't want to put a rope around my neck!”), Riga 1922.
• Ful with troyerikn yomer ("Full of sad sorrow ..."), Riga 1922.
• Af di parizsher bulevars fun dayne oygn (“On the Parisian boulevards before your eyes”), Riga 1922.
• Portret fun -o -a ("Portrait of -o -a"), Riga 1922.
• Lukretsia Krivelli ("Lucrezia Crivelli"), Riga 1922.
• Dem gantsn tog eyns afm other gevart (“One waited for the other all day”), Riga 1922.
• Tsu reytn af di gikhe carousels (“Riding on the fast carousels”), Riga 1922.
• Ikh hob a bakante (“I have a friend”), Riga 1922.
• Ikh Gerdal ... ("I Gerdal ..."), Riga 1922.
• Ven mayn shvester Lize Livshits ("When my sister Lischen Liwschitz"), Riga 1922.
• Geshrey in der nakht (“ Screaming in the Night”), Riga 1922.
• Nervn-bereyshim ("Nerve Rush"), Riga 1922.
• Beynkshaft aheym (“Longing for Home”), Riga 1922.
• Khasenes ("Wedding Time "), Riga 1922.
• Ikh bin tsvay ("I am two"), Riga 1922.
• O - iz a harbstiker oysruf ("Oh - is an autumnal exclamation"), Riga 1922.
• Frier harbst ("Early Autumn"), Riga 1922.
• Loyt Sologub ("Laut Sologub "), Riga 1922.
• Farklert ("Transfigured"), Riga 1922.
• Sdom ("Sodom"), Moscow 1922.
• Badkhens ershtlid (" Badchan's First Poem [/ poet]"), Berlin 1923.
• Fun ganovimlider ("crook song"), Berlin 1923.
• Dos komunistishe manifest ("The Communist Manifesto"), Tschernowitz 1923.
• Hebreyshe lerers ("Hebrew Teachers "), New York 1925.
• Samuil - Crocodile ("Samuel - Crocodile"), o. O. 1927.
• Fun der epopee min ("My Epopee"), Minsk 1930.
• Vert geboyrn dos lid vi s zingt vi mayn umru (“Song and Song of Unrest”), Warsaw 1935.
• Di balade fun di umbakante soldatn (etlekhe fragments) (Prologue to the “Ballad of the Unknown Soldier” and other fragments), Tel Aviv 1936
• In Flanders bay Buasan ("In Flanders near Buasan"), Tel Aviv 1936.
• Dem gertners lid ("The Gardener's Song"), Tel Aviv 1936.

Plays

• The valdkeyzer: A kindershpil ("The Erlkönig: A piece for children"), Kiev 1918 (dramaturgical elaboration of the poem by JW von Goethe ).
• Sdom ("Sodom"), o. O. 1927 (dramaturgical elaboration of the poem from 1922).
• Tsvelf a zeyger (“Midnight”), o. O. 1927 (Lost Prelude).
• A mayse with Hershele Ostropolyer: an oysgetrakhte komedye in dray aktn, 4 pictures (“ Hersch Ostropoler : Comedy in three acts”), Berlin 1930.
• Uriel Akosta (Hebrew) ("Uriel Acosta: Play in 4 acts based on motifs by Karl Gutzkow "), Berlin 1930.
• The plucked chicken: A comedy in three acts, Vienna around 1935.
• Revenge is Sweet: A Careless Comedy in 3 Acts. Berlin-Wilmersdorf around 1935 (dramaturgical elaboration of the translation from 1928).
• Bisness , Tel Aviv 1935.
• Di balade fun di umbakante soldatn ("The Ballad of the Unknown Soldier"), Tel Aviv around 1936.
• How to party , Tel Aviv 1937.

Parerga and Paralipomena

Journalist and translator

Lifshits wrote and translated for the Frankfurter Zeitung , the Jüdische Morgenpost , the Jüdische Rundschau , the Simplicissimus , the Literary World , Das Tag -Buch , Der Kunde , Das neue Russland , the Paris exile newspaper Tchisla (Числа, German: numbers), Haynt (הײַנט, today), Vilner tog (װילנער טאָג, Vilnius day), Frimorgn (פֿרימאָרגן, early morning), Hashomer Hazair , Davar (also Dawar, "word"); worked for S. Fischer Verlag and as a dramaturgical advisor to Erwin Piscator .

Re-writing and translations

• Der valdkeyzer ( Der Erlkönig ), Kiev, 1918 (adaptation of the poem by JW von Goethe ).
• Translation of W. J. Brjussow's poem Der Maurer, Vienna 1919.
• Libe un other novels (“Love and other novels” by Gerschon Schoffmann ), Vienna 1919.
• Translation of Alexander Blok's Die Twelve, Vienna 1920.
• Lost translation of Mayakovsky's Tschelowek (“Ein Mensch”), Riga 1921.
• The ball ("The Ball"), New York, 1927 (English translation of the poem of the same name from 1922).
• Sojka's apartment: a piece in 4 acts , Berlin 1928 (unauthorized, first German translation of MA Bulgakov's piece).
• Translation of Ilja Grigorjewitsch Ehrenburg's short stories Schiraiim , travelogue of a Russian from Germany and The Two Friends , Berlin 1928.
• Translation of Ossip Dymow's revenge is sweet .
• Translation by Michail Leonidowitsch Slonimskis Lavrowy , Berlin 1928.
• The actor (translation of a previously unidentified text by Vera Vsevolodovna Baranovskaya ).
• Fun in the fri biz beynakht (“From morning to midnight” by Georg Kaiser ), Berlin / New York 1931.
• Hopla, live to me! (“Oops, we're alive!” By Ernst Toller ), Berlin / New York 1931.
• Shkiah (translation of Isaak Babel's Zakat ("sunset") into Hebrew), Tel Aviv 1937.

Articles and posts by Lifshits

• Di flikhten fun a kritiker (“The Duties of a Critic”), In: Critique. H. 4, Vienna, October 10, 1920.
• Vegen L. Miler's “Oyf got's velt” (regarding L. Miller's “In Gottes Welt”), In: Critique. H. 5, Vienna, November 10, 1920.
• Far zikh (For yourself (review of poems by M. Chmelnitzki)), In: Critique. H. 10, Vienna, April 10, 1921.
• Molly Picon . In: “Jüdische Morgenpost”, Vienna, April 8, 1921.
• Literature fun ibergangstsayt (literature of the transition period (essay)), In: Geyendik. Berlin 1923.
• Klein Irmchen (review of Christian Morgenstern ), In: Frankfurter Zeitung, second morning paper, literary sheet. December 5, 1926.
• Der Hexer (review of the theater performance "Der Hexer" by Edgar Wallace ), In: Frankfurter Zeitung, Abendblatt. July 13, 1927.
• The three “G” in the history of Jewish theater, In: Jüdische Rundschau. Entertainment supplement, May 16, 1928.
• A recognition. In: Frankfurter Zeitung, first morning paper. Column “From the world and life”, June 22, 1928.
• Russian Theater, In: The Diary. October 6, 1928.
• Nordost (short story), In: The customer : Time and polemic of the vagabonds. Vol. 3, no. 9/10, Sonnenberg / Stuttgart-Degerloch, 1930.
• Die Lombarden (review of the performance of the Verdi opera “Die Lombarden” in La Scala in Milan ), In: Frankfurter Zeitung, first morning paper. 17th December 1930.
• Far vos iz Granovski's nayer film farbotn gevorn in Berlin (Why AM Granowski's new film [“The Song of Life”] was banned in Berlin), In: Haynt. Warsaw, March 25, 1931.
• Haanussim ( Habimah's review of the premiere of “Die Marranen” ), In: Davar / Turim. Tel Aviv, January 4, 1939.

Article about Lifshits and his work

• A kindershpil ("[The Erlkönig:] A children's game"), NN, In: Far yidishe kinder: shul un lebn. Kiev, 1918.
• Vegn Moshe Livshits (“Regarding Mosche Liwschitz ['Poetry book A ber tants ]”), K., In: Flekn. Riga, 1922.
• Shtrom, NN, In: Bikher ṿelṭ. II, Ḳulṭur league. Warsaw, 1923.
• The way of the Jewish theater, Sch [emarja] Gorelik , In: Jüdische Rundschau. Vienna, May 23, 1928.
• “Style Movement” (PDF) Werner Hegemann . In: Wasmuth's monthly magazine for architecture . H. 11, 1928, p. 504.
• A mayse with Hershele Ostropolyer ("A story with Hersch Ostropoler"), R., In: Naye folkstsaytung. Warsaw, January 22, 1930.
• Hershele Ostropolyer ("Hersch Ostropoler"), K. S., In: Jüdisches Volksblatt. Bielsko [-Biała], January 24, 1930.
• Hershele Ostropolyer bay der vilner trupe ("Hersch Ostropoler played by the Vilna troupe "), Moshe Blecher, In: Yidishe vort. H. 3, Cracow, 1930.
• Opowieść o Herszlu z Ostropola ("A fairy tale about Hersch Ostropoler"), Henryk Hescheles, In: Chwila. 3/4, Lwow, 1930.
• Hershele Ostropolyer bay of the "vilner trupe" ("'Hersch Ostropoler' played by the 'Wilnaer Truppe'"), M. Weichert, In: Literarishe bleter. H. 4, Warsaw, 1930.
• Vilner trupe: Hershele Ostropolyer fun Moshe Lifshits ("Hersch Ostropoler von Mosche Liwschitz"), Moshe Lustig, In: Morgn. Lviv, April 10, 1930.
• Hershele Ostropolyer oyf der bine ("Hersch Ostropoler on the stage"), Kv, In: Lodzer veker. Łódź, July 2, 1930.
• A mayse with Hershele Ostropolyer fun Moshe Lifshits (“A story about Hersch Ostropoly by Mosche Liwschitz”), M [oshe]. B [roderzon]. In: Nayer folksblat. Łódź, July 6, 1930.
• Di "vilner" in lodzer shtotishn teater ("The 'Wilnaer [troupe]' in the city theater of Łódź"), A. Wolf, In: Naye folkstsaytung. Warsaw, July 9, 1930.
• Di komedye fun "Hershele Ostropolyer" ("A comedy about Hersch Ostropoler"), Yitzhak Katsenelson, In: Lodzer Tageblat. July 11, 1930.
• Hershele Ostropolyer ("Hersch Ostropoler"), Mikhail Yo [Meyer Yoffe], In: Frimorgn. Riga, October 9, 1930.
• Tsvay comments on the nayer research bay di "vilner" in varshe ("Two opinions on the new performance of the 'Wilnaer [troop]' in Warsaw"), Teatrikon-Elkhanan Zeitlin, In: Unzer ekspres. Warsaw, October 17, 1930.
• Hershele Ostropolyer ("Hersch Ostropoler"), Yehoshua Perle, In: The moment. Warsaw, October 22, 1930.
• The ns fun yidishn teater, Israel Stern, In: Naye folkstsaytung. Warsaw, October 26, 1930.
• Di vilner in varshe (“The 'Wilnaer [troop]' in Warsaw”), YM Neyman, In: Haynt. Warsaw, October 31, 1930.
• A mayse with Hershele Ostropolyer in riger yidishn meutis-teater ("A story about Hersch Ostropoler in the Meutis Theater") and Teater-notitsn ("Theater Notes"), A. Wasserman, In: Nayer fraytik, H. 103, Riga, 1930.
• Oyf a farshtelung bay di "vilner" ("At a performance of the 'Wilnaer [troupe]'"), L. S-ki [Stotski], In: Tsayt, Wilna, November 3, 1930.
• The third ns Hersheles, Sh. Dreyer, In: Vilner tog. November 4th 1930.
• Bravo vilner! (“Bravo, Vilnius [troop]”!), Khanan [Pesakh Kaplan], In: Dos naye live. Białystok , December 16, 1930.
• Di "habimah" with Tsekhov un Granovski ("The ' Habimah ' with Chekhov and Granovsky"), Herman Svet, In: Literarishe bleter. H. 41–42, Warsaw, 1930.
• "O 'Habimie', Granowskim i 'Pieśni życia': Wywiad z poeta M. Liwschitzem" ("Oh, stage [/ 'Habimah'], Granowski and 'Das Lied vom Leben'": Interview with the poet M. Liwschitz) , MK, In: Nowy Dziennik. H. 51, p. 9, March 23, 1931.
• Aleksander Grankh's oyftrit oyf der yidisher bine (“ Alexander Granach's first appearance in the Yiddish theater”), Hillel Rogoff, In: “Forward” / Forverts. New York, September 25, 1931.
• "Występy Habimy: 'Uriel Acosta'" ("The appearance of Habimah: 'Uriel Acosta'"), P. Appenzlakowa, In: Nasz Przegląd. H. 55 and 58, Warsaw, February 24, 1938 and February 27, 1938.
• "Teatr Habima w Warszawie (Gutzkow: 'Uriel Acosta')" ("The Habimah in Warsaw (Gutzkow: 'Uriel Acosta')"), T. Boy-Żeleński, In: Kurier Poranny. H. 60, March 1, 1938.
• "'Uriel Acosta' w Habimie" ("'Uriel Acosta' on the 'stage [/ Habimah]'"), J. Leser, In: Ster. H. 9 (55), n.d., March 13, 1938.
• Tragedia i komedia w Habimie ("Tragedy and Comedy on the Stage [/ Habimah]"), J. Leser, In: Ster. H. 10, not specified, March 20, 1938
• Hershel The Jester: Yiddish Art Theater, Bob Francis, In: The Billboard. Vol. 60, No. 53, New York, December 25, 1948.
• Maurice Schwartz Due at Parkway April 14 . (PDF) In: Brooklyn Eagle. New York, April 5, 1949 a. December 5, 1948.
• Hershel, the Jester, JPS, In: New York Times. New York, December 14, 1948.

Literature (selection)

• Arthur Thilo Alt: The Berlin Milgroym Group and Modernism. In: Yiddish. 1/4. 1985, pp. 33-44.
• Delphine Bechtel: Babylon or Jerusalem. Berlin as Center of Jewish Modernism in the 1920s. In: Dagmar Lorenz, Gabriele Weinberger: Insiders and Outsiders. Jewish and Gentile Culture in Germany and Austria. Wayne SUP, Detroit 1994, pp. 116-123.
• Sabine Boehlich : “Nay-Gayst”: Mystical traditions in a symbolist story by the Yiddish author “The Nister” (Pinkhas Kahanovitsh). Harrassowitz, Wiesbaden 2008.
• Marc Chagall : My life. From the Frz. by Lothar Klünner. Hatje Cantz, Ostfildern 2003 [reprint of the 1959 edition].
• William J. Chase: Enemies Within the Gates? The Comintern and the Stalinist Repression, 1934-1939. Yale UP, London 2001.
• Brigitte Dalinger: Source edition on the history of the Jewish theater in Vienna. Max Niemeyer, Tübingen 2003.
• Armin Eidherr , Karl Müller (ed.): Zwischenwelt 8. Drava. Klagenfurt / Celovec 2003.
• Rachel Ertel: La Bande. revue Littéraire. Lachal & Ritter, Paris 1989.
• Gennady Estraikh: In harness. Yiddish writers' romance with communism. Syracuse University Press, New York 2005.
• Katharina Sabine Feil: A scholar's life. Rachel Wischnitzer and the Development of Jewish Art Scholarship in the Twentieth Century. UMI, Ann Arbor 1994.
• Alexander Granach : Galicia - Berlin - New York. An autobiographical sketch. In: Gero Gandert (Ed.): Filmexil 5th Edition Hentrich, Berlin 1994.
• Georg Herlitz, Bruno Kirschner (ed.): Jüdisches Lexikon II. JVB, Berlin 1929.
• Frieder Arne Kärsten: Bertolt Brecht's beast as a palimpsest. Russian revolution, Jewish theater and film made in America. Bielefeld 2008 (unpublished BA thesis, Faculty of Linguistics and Literary Studies, Bielefeld University 2008).
• Frieder Arne Kärsten: Yiddish Modernism and New Objectivity. The lyrical work of Moshe Lifshits (1894–1940). Attempt to synthesize New Objectivity with Russian Formalism and Futurism. Bielefeld 2014 (unpublished MA thesis, Faculty of Linguistics and Literary Studies, Bielefeld University 2014).
• Kinga Kapela: “… there is no printing ink left on wood paper, it pushes towards reality, action, life.” Vienna 2009 (diploma thesis, Faculty of Social Sciences, University of Vienna 2009).
• Doris A. Karner: Laughing with Tears: Jewish Theater in Eastern Galicia and Bukovina. Edition Steinbauer, Vienna 2005.
• Mikhail Krutikov: From Kabbalah to Class Struggle. SUP, Stanford 2010.
• Mark Kupovetsky et al. a. (Ed.): Dokumenty po istorii i kul'ture evreev v arkhivakh Moskvy: Putevoditel '. Jewish Documentary Sources in Moscow Archives: Guide. Project Judaica, Moscow 1997.
• Jerzy Malinowski: Group "Jung Idysz" i żydowskie środowisko "nowej sztuki" w Polsce, 1918–1923. Polska Akademia Nauk, Instytut Sztuki, Warsaw 1987.
• Heidelore Riss: Approaches to a History of Jewish Theater in Berlin. Lang, Frankfurt am Main 2000.
• Joseph Sherman, Ritchie Robertson (Eds.): The Yiddish presence in European literature. Inspiration and interaction. Selected papers arising from the Fourth and Fifth Mendel Friedman Conferences in Yiddish. Legenda, Oxford 2005.
• Thomas Soxberger: Sigmund Löw (Ziskind Lyev): a 'Revolutionary Proletarian Writer'. In: East European Jewish Affairs. 34/2, London 2004, pp. 151-170.
• Frieder Arne Kärsten: Melekh Ravitsh and the forgotten Yiddish poet Moshe Lifshits. In: Jiddistik-Mitteilungen: Jiddistik in German-speaking countries. No. 45, 2011.
• Elisha Porat: A bridge from Yiddish to German . (Translation from Hebrew: Helene Seidler) MB “Yakinton” magazine of the Jeckes descendants in Israel, 2011.
• Thomas Soxberger: Literature and Politics - Modern Yiddish Literature and “Yiddishism” in Vienna (1904 to 1938) . (PDF) 2010

Web links

• Literature by and about Moshe Lifshits in the catalog of the German National Library
• Short biography. (English)
• Elisha Poorat on Lifshits' Ruler Ostropoler (Hebrew)

Individual evidence

1. ↑ rujen.ru He also used the pseudonym "Шарик" Дубинский ("Sharik" (= small ball) Dubinski); see. Bengt Jangfeldt (ed.): Love Is the Heart of Everything: Correspondence Between Vladimir Mayakovsky and Lili Brik 1915–1930: The Love Letters of Mayakovsky and Lili Brik . 1997 p. 74 et passim. (The first mention is not about Benedikt Livshits (!), As his biography covers Kiev / St. Petersburg, but not Riga.)
2. ↑ Compare Reyzen, Zalman 1927: Leksikon fun der yidisher literature: Prese un filologye. II, Vilnius. Zalmen Zilbertsvayg , Jacob Mestel : Leksikon fun yidishen teater. Volume II, 1934, column 1130 ff. The Hebrew Actors Union of America. Warsaw; Samuel Niger , Jacob Shatzky: Leksikon fun of the nayer yidisher literature. Volume V, 1963, Col. 220 ff. New York.
3. ↑ cf. Die Welt: Central Organ of the Zionist Movement 19 (May 9, 1913) p. 607
4. ↑ ^{a b} Rawitsch's biographical sketches suggest, however, that Lifshits came to Vienna because of Rawitsch's poems, which he had read in the “Interesting Journal”; see. on this: Melekh Ravitsh: Mayn leksikon. (“My Lexicon”) Volume III, 1958, p. 225 ff., Aroysgegebn fun a komitet in montreal. Montreal; Melekh Ravitsh: Dos mayse-bukh fun mayn lebn. Volume II, 1963, pp. 189 ff., Tsentralfarband fun yidn in argentine. Buenos Aires.; Melekh Ravitsh: (edited and translated by Armin Eidherr): The story book of my life. Otto Müller Verlag, Salzburg 1996. A detailed and readable description of Lifshits' arrival in Vienna etc. can be found in Armin Eidherr 1996, p. 44 f.
5. ↑ Susanne Blume Berger, Michael Doppelhofer, Gabriele Mauthe: Manual Austrian authors of Jewish origin 18th to 20th century. Volume 2: J-R. Edited by the Austrian National Library. Saur, Munich 2002, ISBN 3-598-11545-8 , pp. 842f .; Y. Knobler: Professor Yecheskel Liwschitz. In memoriam. In: Israel Journal of Chemistry. Vol. 9, Issue 2, 1971, pp. 77-86.
6. ↑ ^{a b} Quoted from the police report on Liwschitz from the General Administrative Archives Vienna (AVA), today part of the Austrian State Archives; s. also Hans Hautmann: The beginnings of the radical left movement and the Communist Party of German Austria: 1916-1919. Europa-Verlag, Vienna a. a. 1970, p. 105; ders .: The lost Soviet republic: Using the example of the Communist Party of German Austria. Europa Verlag, Vienna a. a. 1971, p. 167.
7. ↑ See Bikher velt , 1922, Volume 2.
8. ↑ See also Roman Jakobson, Bengt Jangfeldt (Ed.): My Futurist Years. Marsilio Publishers, 1997, p. 140, passim .
9. ^ William J. Chase: Enemies Within the Gates? The Comintern and the Stalinist Repression, 1934-1939. Yale UP, London 2001, p. 165.
10. ↑ A bridge from Yiddish to German (see web links).
11. ↑ Heinrich Goertz: Erwin Piscator in personal testimonials and image documents. Rororo, 1974, p. 55. Goertz explains that their results were pathetic. “All of these authors basically worked for themselves, trying to pick up ideas at best, to collect suggestions”. In fact, Brecht found there probably the inspiration for his short story "The Beast" (1928), whose source Lifshits before in the Frankfurter Zeitung (First Morning Journal of the Friday edition, under the heading "From the world and life" on page 3) and A Recognition had published. What remains unclear, however, is the role of his collaboration in AM Granowski's early sound films The Song of Life and The Suitcases of Mr. O. F. ( film on archive.org ) It is possible - but so far not verifiable - that Lifshits followed Erwin Piscator to the Soviet Union in 1931 and due to there lack of employment, among other things, worked on Alexander Medvedkin's short films "Konveier" (assembly line workers ), Pis'mo kolkhoznika (letter from the collective farm members) and others.
12. ↑ cf. Museum of Family History
13. ↑ Whereby Walter Mehring met with little understanding.
14. ↑ Cf. Alexander Granach 2010: xviii (preface by Herbert S. Lewis to From the Shtetl to the Stage ): The Odyssey of a Wandering Actor . According to a source that has not yet been verified ( Undzer yorbukh: ḳinder-ring, Volume 26, Farayniḳṭer Arbeṭer-ḳomiṭeṭ, Philadelphia), Lifshits is also said to have been arrested in the USA (p. 323).
15. ↑ Steffie Spira: Trot of the rocking horses . Aufbau-Verlag, Berlin (GDR) 1984, p. 80. For the Wachtangow Theater , Lifshits u. a. MA Bulgakov made the first, but unauthorized translation of Sojka's apartment .
16. ↑ Nicole Metzger: Staging everything, just not yourself: the director Leopold Lindtberg. Braumüller. Vienna 2002, p. 45 f.
17. ↑ In Di ibergerisene tkufe: fragmentn fun mayn lebn , Siegmund Turkow noted that in Paris he entrusted Moshe Lifshits, the former advisor to Erwin Piscator, with the play "Ivar Koyger" about the Swedish match magnate Kreuger , because the play "Menschlichkeit", probability and above all, there would be no social background to discredit his machinations behind the scenes. The piece was supposed to be Turkow's debut in Argentina, but then disappeared again from his repertoire, whereas some solo numbers from Lifshits' pen became an integral part of his stage program.
18. ↑ mschwartz / ok / ch36-39
19. ↑ Billy Rose Theater Collection photograph file: Hershel the Jester, by Mose Livshitz.
20. ↑ Quoted in the German translation by Helene Seidler (MB “Yakinton” magazine of the Jeckes descendants in Israel, 2011; see #Weblinks ).
21. ↑ p. 6 ff.
22. ↑ p. 8.
23. ↑ p. 9.
24. ↑ pp. 41-49. In Sdom ( "Sodom") is a Yiddish poetry adaptation of the Soviet version of Michael Curtiz 'Austrian epic film Sodom and Gomorrah (1922) .
25. ↑ In 1937 the songs: Zot Hi Ha-baladah (“Life goes on”), Al Admateinu (“To this, our blessed land”), Sim Shalom (“Peace to the tree”) and Hachayalim Ts'u Lilchom (“ Knowing how to fight ”) from the ballad of the unknown soldier (set to music by Stefan Wolpe); see. Stefan Wolpe and M [oshe] Lifshits 1950: Zot hi ha-baladah: le-maḳhelah me'urevet. Ha-merkaz le-tarbut. Tel Aviv; Clarkson, Austin 2008: What is Jewish Music? In: Contemporary Music Review. Vol. 27, Issue 2-3: 179-192.
26. ^ The German translations by Hersch Ostropoler and Uriel Acosta were published by S. Fischer.
27. ↑ Uriel Acosta ; see also Rogério Paulo da Costa Madeira: Ficção e história: A figura de Uriel da Costa na obra de Karl Gutzkow . (PDF) 2009, p. 7. The piece Gzrs t'h, written for the Habimah and mentioned in the short biography of the Museum of Family History, has not yet been identified.
28. ↑ Melischek, Gabriele u. Josef Seethaler (Ed.): The Viennese daily newspapers. A Documentation , Vol. 3: 1918–1938. Frankfurt / Main [u. a.]: 1992, p. 119, p. 204 et passim.
29. ↑ Tatjana P. Buslakova: Russkij Pariž. Izdat. Moskovskogo Univ. Moscow 1998, p. 290 u. 433.
30. ↑ Bibliyografishe yorbikher fun Yivo, Yidisher ṿisnshafṭlekher insṭiṭuṭ. Bibliyografishe tsenṭrale, Farlag kulturlige, 1926, p. 213.
31. ^ MA Bulgakow, Julie Curtis, Swetlana Geier: Manuscripts don't burn: A biography in letters and diaries. Fischer publishing house. Frankfurt am Main 1991.
32. ↑ Simplicissimus (Vol. 33, Issue 10, p. 136 (June 4, 1928)).
33. ↑ For the translation of the Yiddish article by Thomas Soxberger, s. Brigitte Dalinger (Ed.): Source edition on the history of the Jewish theater in Vienna. Walter de Gruyter, Berlin 2003, p. 73 f.
34. ↑ Numerous other Hebrew articles Lifshits' can be found in "Davar" / "Turim" (including April 27, 1938, August 17, 1938, October 6, 1938, November 23, 1938, etc. and in the weekly magazine "Hashomer Hazair").