[. . .] Mr Symcha Ryba got a licence to [. . .] December 1940), while [. . .] [9] Finally, Samberg opened the only Jewish dramatic theatre, Azazel, in the theatre on Nowolipki Street [. . .] 1941.
[He applied to?] the authorities on the basis [. . .] district Department of Propaganda,124 where [. . .] their own file with their personal data, history [. . .] repertoire, etc. A certain Mrs Judtowa125 acted as an agent in those applications (Mr Marek was the only one to apply through a different channel). Work could finally begin. Licence, [. . .] investments of private [. . .]—these are the bases on which the ghetto [Jewish theatre?] has based [its?] [. . .] and the feeble life [. . .] [10] substitute production. I will discuss separately the extent to which the entrepreneurs themselves lowered the level of [the performances]. Anyhow, it was known from the outset that the theatres would have the following limitations: 1) curfew: the performances are [. . .] from 5:30 to 8:30 p.m. 2) lack of technical facilities: electricity, fuel, [stage?] setting depended on the existence [. . .] in the winter of 1941/2 there was not much [. . .] due to the lack of proper [stage?] setting [. . .]: only [. . .] plays that required only one or two changes of the stage setting could be staged. The plays that were staged the most often [. . .] [11] [. . .]. There were no costumes or historical props as the [. . .] rentals burned down [. . .] storerooms on the other side of the ghetto wall [. . .] 5) repertoire: the authorities permitted only the staging of plays by Jewish playwrights [. . .]. There are no theatre archives. Neither books, manuscripts, nor scripts can be imported [. . .]. The same is true for translations. Only the plays that were in the ghetto, usually in private hands, could be staged. Music had to be reconstructed [. . .] texts had to be [. . .], censored, updated, castrated [. . .] at one’s own initiative. [. . .] [12] In such conditions all aspects of our theatres bring to mind the times a century ago [. . .] we have regressed to the amateur [. . .] provinces. Carbide lamps, a small stage, long intermissions [. . .] set design,
