ridiculous and primitive props, [. . .] costumes, poor articulation, overacting, [. . .] and dilettantism in acting, young students in too demanding roles, lack of a director’s [firm?] touch, [. . .] petite bourgeois repertoire—all this intensifies this analogy [. . .] that you can only dream about innovation and experiments, about any artistic efforts of the producer [. . .] [13] It could have been done by means of a unified, artistic, financial, and technical effort. In cooperation with all those who [. . .] create at least one [. . .] communal Jewish theatre, subsidized, not profit-oriented, indifferent to the taste of smugglers, speculators, [. . .] boars and illiterates, snobs, gilded youth, and the sex-crazed. There could have been a theatre with a repertoire that would correspond with the current atmosphere and needs, with the real desires and aspirations of the masses—a theatre that would truly correspond with [. . .] values [. . .] [14] snobs and converts compromised the theatre cause, [by dividing the theatres?] into “Polish” and “Jewish” ones, and by further decreasing the already low level of the ghetto culture.
This is how the conditions in which the ghetto theatres [operate?] are worsening. The legal situation [. . .] clear. They have been operating on the basis of Community licences and registration [. . .] in the Department of Propaganda of the Warsaw District, which has files with names (stage names) [. . .] [15] [. . .] they do not chip in for ideological reasons [. . .] On the contrary, they make a profit. But [the thing is?] at whose expense? The talks [. . .] or directors did not bring [. . .], because they just [claim?] that, theatres can support themselves, [but?] actors’ [royalties?]—obviously—do eat up a significant percentage of the profit. It is possible to make general, imprecise conclusions on the basis of the balance of revenue and expenses. The average number of seats in a theatre is [. . .], and if 80 percent of them are occupied then the [. . .] box office takings are at least 700−800 zlotys. 30 percent of the takings [. . .] 16 the cost of typing up the script, promotion [. . .] connected with the staging of the play [. . .] zlotys per play. A play is usually staged for [. . .] let us divide this expense into [. . .] 30 zlotys per day.
[. . .] artistic personnel [. . .], who have their share of the profits. So how much money is left for [. . .]? As the salaries for the directors have to be
