what remains? There are no theatres with decorations, wings, or props, but [. . .] cinema113 closed even before the war due to [. . .], very spacious, [. . .] and a modern [. . .], but there is no stage, [. . .], etc. On Nowolipie Street too [. . .] small premises well adapted [. . .], and on Nowolipki Street [. . .] bombed building of the former Jewish theatre [. . .] closes the list of all [. . .] better or worse locations [. . .] theatres: Femina, Azazel,114 [. . .] [6] [. . .]. Turkow,115 Samberg,116 Diana Blumenfeld,117 Marek,118 Znicz,119 Minowicz120 and a few others who have [. . .] or a better position in the field of [. . .] were sufficient to create four [. . .] theatre [. . .]. [. . .] there is not one creative and [. . .] director, who would be able to [. . .] keep the performances on the level of [. . .]. Turkow, Minowicz, Samberg, Marek [. . .] or have gone astray, [. . .] [7] can be replaced with the unqualified. The situation is worse when it comes to more fundamental obstacles: the attitude of the authorities and funding. The former is connected with the latter because you will always find some middlemen, [. . .], to invest, but will it [. . .]—it will surely pay off, because there is too little competition, [. . .] reduce to a minimum [. . .] [8] (in Yiddish) and Grodzieńska,121 Minowicz, Włast,122 Jurandot123 and Samberg (in Polish). Besides the Jewish Social Welfare, or in fact the Event Commission of the Social Labour Section [. . .] headed by Jonas Turkow) [. . .] it associated actors, offered them legal and material assistance and did its best to engage all artists by organising a series of events with various repertoires, [. . .], in Yiddish, Polish, Hebrew, and as there was no stage it tried to [. . .] create [. . .] artistic [. . .].
