[. . .] [25] (Moje żony mnie zdradzają—the title [. . .] Kłopoty Bourrachona).128 Turkow [. . .] Cwojdziński’s Freuda teoria snów129 [. . .] Teoria snów, [. . .] adaptations of dramas, comedies, or [. . .] without the authors’ names (e.g. Księżniczka Czardaszka,130 etc.). The Department of Propaganda of the Warsaw District did not use to cause any difficulties—all thanks to a Polish clerk that approved all plays. There has been a reorganisation in the sense that the Community hired its own censor (Czerwiński),131 whose opinion, by the agency of the Kulturstelle, goes [. . .] [26] every theatre.
But does the repertoire fulfil [. . .] even taking these conditions and limitations into consideration? We need to answer this question [. . .] First of all, the classical Jewish actor has been neglected on the Jewish scene. As we have complained, even though the Jewish language [. . .] has perfect natural conditions in the ghetto it has been pushed into the background for various reasons. As for the repertoire, it has to be said with even greater regret that the Jewish theatre directors themselves do not use their very many opportunities while completing [. . .] [27] Aleichem,132 while “Eldorado” stages plays on the margin of [real] literature. It feeds its audience with vaudevilles, [. . .], and pseudo-folk rubbish. [. . .] once for a performance of [. . .] a pitiful adaptation [. . .] it did not fulfil its task, even in the most elementary sense, of [promoting] artistic Jewish folk culture, which has conditions and a right to exist in the ghetto, where it is needed, too. As smugglers and speculators eagerly buy theatre tickets, the [level of performances?] is radically lowered for their pleasure [. . .] [28] both classical and modern; [. . .] artists such as Diana Blumenfeld [. . .] do not want to degrade themselves [. . .] neither in Eldorado
