nature and desires [. . .]for the Community and its personnel, [. . .] set the tone [. . .] our ghetto life. Polish [. . .], their number [much too high?] considering the needs of the district, develop [faster?] and easier.
There are many fewer Polish actors than Jewish actors. The latter—aside from the 1939 refugees—all remained [. . .] [22] Even though the repertoire is limited to plays by authors of Jewish origin, the Jewish scene in the ghetto is in a far better position than the Polish one, because it has more or less [. . .] repertoire as [. . .], at least the basic one.
Even though the Jewish theatre has [. . .] natural conditions for development, [. . .] better financial and artistic situation in the ghetto, it has been pushed into the background. The bourgeois and lower middle class regard Polish theatre as superior. A Polish play is “something better,” [. . .], “more artistic,” [. . .] [23] [. . .] (aside from Sztuka, which is completely “de-Jewified”) [. . .] some concession for [. . .], and act of decency, compromise, [. . .] patriotic sentiments of its [. . .] even though [there are?] four Yiddish theatres [. . .] they are smaller (less [. . .]), worse, on a lower [artistic level?]. Anyway, most cafés employ mostly Polish actors, while the amateur actors in smaller cafés stage political satires, żywe dzienniki,126 etc., in Polish. As for other events, [. . .]
The authorities control the theatres mostly through censoring the plays to be staged in the ghetto. It is not about—as [it is the case with?] [. . .] political or religious aspects [. . .] no director would dare stage a play containing [. . .] or even slightest allusions to politics or religion. It is about finding [. . .] repertoire by Jewish authors or adapting a non-Jewish play in such a way that the Jewish author of the adaptation has a right to sign the play with his name. There are no playwrights in the ghetto (only Jurandot wrote a musical comedy127
