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Apr 8, 2016 · Vakhtangov’s participation in the creation of the Jewish national theatre (a Hebrew language theatre) in the Habima grew from his production of The Dybbuk in 1922. Based on ancient ritual, on national myth, on metaphysical consciousness, Malaev offers detailed descriptions of this Studio work and of its wonderful metaphoric performance (set ...
Dec 5, 2011 · His production of "The Dibbuk" at the Habima Jewish Studio in 1922 is no less historic.
- John Freedman
As director, simultaneously, of the Habima Theatre, Vakhtangov found in Jewish folklore a further field for the exercise of whimsy and grotesquerie. The Dybbuk, S. Ansky’s tale of demoniac possession, was a particular success (1922).
- The Editors of Encyclopaedia Britannica
This article focuses on the three-year period of work on the "Dybbuk" by Evgeny Vakhtangov in Habima (1919-1922) and on the processes occurring during this period in the history and in the private lives of the director and the actors.
- Elena Tartakovsky
Between 1920 most students of theatre as one of the and 1922 he worked as a teacher of early Soviet directors who, along acting with at the Moscow Art Theatre's Tairov, Meyerhold, and Stanislavsky, Second Studio, the Gunst Studio, the made the Russian theatre of the Armenian 192o's Studio, the Habima, the the most exciting in the world.
Vakhtangov’s method, which was an endless process of refining, came to its perfect expression in the beggars’ dance in Act II. In 1926, Habimah left Soviet Russia and went on a tour abroad. The Dybbuk was hailed as an unusual phenomenon.
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Vakhtangov worked with Habima’s actors for a year, mounting a production of four one-act plays called Neshef Bereshit (“Genesis all”). The production was enthusiastically received.
