B. Miller's work on the stage of the Jewish Theater of Birobidzhan

Gamalei Sof'ya Yur'evna ORCID: 0000-0001-6401-1663 PhD in History Department of State Legal Disciplines, Far Eastern Law Institute of the Ministry of Internal Affairs of the Russian Federation 680030, Russia, Khabarovsk, lane. Dzerzhinsky, 20, of. 45 s.u.gamaley@mail.ru

Introduction

It is known that the face of the theater, its soul is the repertoire — the ideological and aesthetic program of the theater group, its creative platform. On the basis of substantial, sound ideological and artistic dramaturgical material, the director learns himself, teaches his performers — actors, and contributes to the improvement of their skills. The choice of a play is largely a matter of worldview. Choosing a repertoire, the director reveals his creative personality, and sometimes his civic position. But when making this choice, the director thinks about the audience for whom the theater exists.

The Jewish Autonomous Region, which appeared on the map of the RSFSR in 1934, was inhabited by Soviet citizens who loved their Jewish theater. Many qualitative studies have been written about the causes and features of the creation of the EAO, economic and cultural development ^{[1, 2, 3]}. Thus, the author V.S. Gurevich, in all his studies on the Jewish Autonomous Region, unequivocally speaks about the uniqueness of this region, in which Jewish culture has been developing quite successfully for many years ^{[4, 5]}.

Throughout the existence of the Jewish autonomy in Birobidzhan, Jewish theater groups that differed in their style worked in different periods: the L. Kaganovich Jewish State Theater (1934-1949), the Jewish Folk Musical Theater (1965-1991), the Chamber Jewish Musical Theater (1978-1995), the Kogalet Theater (1990-2000-ies. All these troupes, being part of the national autonomy, staged their performances in Hebrew and Russian; details about the history of their creation and activities can be found in the monograph by E. Kudish ^[6] and the works of a memoir character by B. Herzberg ^[7]. That is why the task of each director leading these collectives included the selection of plays written in Yiddish. In addition, during the Soviet period, the director was tasked to refer to works reflecting modern events in the country, and to actively cooperate with local authors, to include their literary works in his repertoire. The implementation of these tasks turned the creativity of collectives into an important element of national policy implemented in the Soviet country. After all, it was the theaters that, through their creativity, contributed to the cultural and ideological education of workers, as well as familiarization of the audience with the literary works of local poets and writers who were part of the cultural space of the region. For the Jewish Autonomous Region and for the Jewish theaters of Birobidzhan, such a writer, whose works were addressed by Jewish collectives, was a man who connected his life with the Jewish autonomy, in fact, from the moment of its formation – Ber Srulevich Mailer (Boris Israelevich Miller).

Boris Miller is the beginning of his creative career.

Boris (Buzi Israelevich) Miller, it is under this surname that he is known in literary circles, was born on April 21, 1913 in the town of Kopai, Vinnytsia region. After graduating from the age of seven, he worked as an apprentice, and then as a worker at one of the factories in Kharkov. In 1932, he entered the Moscow State Pedagogical Institute, after graduating from it, he came to work in Birobidzhan with a permit from the People's Commissariat of Education, where he lived until the end of his life ^{[8, p. 5]}.

But the Jewish Autonomous Region will become not only Boris Miller's place of residence, but also the central theme of his work. He linked his life and literary destiny with her.

The first collection of short stories by B. Miller was published back in 1931 in the Kharkov publishing house "Literature and Art", and six months later a second collection appeared in Moscow — "Under the Rainbow". In 1948, his first book, entitled "Birobidzhan", was published ^{[8, p. 8]}.

The whole life and work of this writer were a vivid reflection of the political events taking place in the country during the Soviet period, through the prism of the national policy implemented in the RSFSR in relation to the Jewish diaspora.

Thus, in the 1920s, as part of the national policy pursued in the RSFSR, the creation of Jewish autonomy began, for this purpose it was decided to allocate part of the territory near the Bira and Bijan rivers in the Far East for the resettlement of Jews and providing them with a unique opportunity to live compactly in conditions of preserving their national culture ^{[4, p. 32]}. That is why in 1934, simultaneously with the creation of the EAO, the L. Kaganovich Jewish State Theater appeared in Birobidzhan. Throughout the 1930s, this theater group, the youngest of the Jewish collectives of the Soviet Union, successfully worked in the autonomy. B. Kotlerman explores his artistic style in detail in his works ^{[9, 10, 11]}. And in the same years, the formation of B. Miller's literary style took place. While working as a teacher of Russian and Hebrew at the Birobidzhan school, in 1938 B. Miller became a member of the editorial board of the Farpost magazine, and since 1940 — its executive secretary. Being an active propagandist of Jewish culture, supporting the creative intelligentsia of the city, B. Miller in 1940 created a small writing group that existed for eight years and actively worked in the creative direction. Thus, Jewish writers and poets, members of this group, held various literary events on the eve of celebrating important events in the country, and actively collaborated with the artistic directors of the L. Kaganovich Jewish State Theater.

Like the writers of Birobidzhan, the Jewish theater worked successfully during the 1930s and 1940s, and the confirmation of its creative success will be a tour organized in 1940 by the collective to Ukraine, where the creative team was able to acquaint residents of the Ukrainian SSR with their works, receiving extremely positive reviews. The basis of Birgoset's repertoire was the works of classics of Jewish literature — Sholom Aleichem, P. Markish and others ^[12].

However, in the 1940s, the Chief Executive Committee demanded that theaters include plays by local authors dedicated to current events taking place in the region in their repertoire. As a result, the Jewish theater decided to stage B. Miller's play "He is from Birobidzhan".

The play "He is from Birobidzhan" on the stage of Birgoset.

This play was written by the author after the Great Patriotic War. Her broadcast was the writer's wish to tell the audience about life in the EAO. The play was presented by B. Miller at a meeting of the Birobidzhan almanac in 1947. The story reflected the valiant workers (workers and collective farmers) who want to go to Birobidzhan and participate in the construction of a new autonomy, but the Great Patriotic War prevents them from carrying out their plans, and only after its end will they be able to realize their dreams of a "new life".

After reading it at the meeting of the almanac, as noted in an article published in the newspaper Birobidzhan Zvezda, it was discussed for a long time by the members present. Some of the participants pointed out a number of shortcomings in terms of the artistic and scenic persuasiveness of individual scenes. But the majority of those present gave her a positive assessment. Later, the play was approved by the Glavrepertkom and accepted for production by the L. Kaganovich State Jewish Theater. Her text was published in the Birobidzhan almanac in the same year (see: B. Miller's play "He is from Birobidzhan" // Birobidzhan Star. 1947. September 6. p. 4). This fact testified that creative teams, choosing a play for production, were guided not only by their own preferences, but also by the decision of higher authorities, who approved it.

It should be noted that this play was the first work by B. Miller, which he proposed to the chief director of the Jewish State Theater for production, in total there will be three of them over the years of cooperation.

The work on the play took place with the direct participation of B. Miller, who gave advice to the head of the team. The play was shown on the stage of the theater during the October holidays, staged by the artistic director A. Stein. The performance was designed by the artist Ts. Kipnis, the music was written by the composer S. Rabunsky (New productions of the State Birobidzhan Theater // Birobidzhan Star. 1947. October 28. p. 4).

However, its analysis by journalists in the media after the premiere testified to the beginning of changes in the national policy of the Soviet state, especially with regard to the Jewish diaspora. These changes are described in sufficient detail in the monographic study by T.V. Nosenko, N.A. Semenchenko ^[13], as well as in the original format edition by B.M. Sandler, I.B. Sandler ^[14]. Thus, in connection with the creation of the State of Israel, the Soviet authorities hoped to establish good diplomatic relations, but due to the beginning of active migration of Jews to the new state, relations between the two countries could not be formed on mutually beneficial terms. In 1949, the USSR terminated trade relations with Israel. The attitude towards Jews in the country has also undergone significant changes, they have been accused of nationalism, a desire to exalt only their own nation. Perhaps it was these changes that affected the journalists' analysis of the play "He is from Birobidzhan".

But let's start with the plot, which was quite simple and understandable to any resident of the Jewish autonomy. The main character of the play, Nathan Raisman, is an enthusiast of a grandiose construction project that unfolded during the five—year period in the Far East. He lives in Birobidzhan and loves his city, region, his homeland, his feelings for the country are quite naive, but patriotic. The first action of the play takes place at the turn of peaceful and military life. In 1941, the main character comes to Ukraine to visit his fiancee Asa, who graduated from medical school. N. Raisman plans to go to the Far East with his beloved, and Asi's brother, a civil engineer, is also going to move there. In typical images of these three enthusiasts, the artistic director of the Jewish theater, A. Stein, depicted a happy and peaceful life. However, the outbreak of war changes people's plans. At the same time, the author of the play and the artistic director of the theater, as the journalists of the Birobidzhan Zvezda newspaper wrote, managed to show the drama of this situation, which did not cancel the plans of the young people, but only postponed them. The heroes of the play go to war and become warriors in order to defend their right to go their own way further (see: Mirny N. He is from Birobidzhan // Birobidzhan Star. 1948. January 18. p. 3). The plot of the play was particularly relevant, as it vividly recalled Sunday morning on June 22, 1941.

The period of the war, according to journalists, was depicted much weaker in the play. Sparingly, the combat situation was shown in only one scene of demining the front line of the enemy's defense, they wrote, therefore, the courage and bravery of the three friends could only be judged by the number of orders on their chests and by how they, while in the hospital, wish to return home (Mirny N. He from Birobidzhan // Birobidzhan Star. 1948. January 18. p. 3).

But critics attributed the main disadvantages of the performance to the lack of proportionality between the word and the actions of the main characters, who moved little on the stage, but talked a lot. Even "the scene of the night before the upcoming offensive takes place in conversations between the battalion commander and the colonel who arrived, who speaks of a sense of national pride, of the leading role of the Russian people in the fraternal family of the Soviet peoples. But this idea is only declared by the actors, but not embodied in artistic images" (see: Mirny N. He is from Birobidzhan // Birobidzhan Star. 1948. January 18. p. 3).

Revealing the creative approaches of individual artists, the journalists stated: "Actor G. Feigin performed the role of Nathan Raisman convincingly, temperamentally and at the same time with noble restraint. Just as successfully embodied by the actress Yu. Flaum has positive character traits of Asi, creating a thorough image of a Soviet woman with a gentle soul and a steadfast character." The actors were lucky to play the roles of engineer Mark (performer B. Gershman), Captain Zolotarev (actor M. Bengelsdorf), Mark's grandmother and Asi old lady Hana (actress B. Shilman).

However, critics noted that the artistic director did not use enough visual means to create more individual images of representatives of peoples fighting fascism. Some flaws were also noted in the composition of the play. The most significant of them is a lack of respect for a sense of proportion. So, for example, the main character performs songs, he composed the first one on the way from Birobidzhan to Ukraine, the second one in the first days of the war, and this second song was repeated several times during the course of the play performed by the main character and his bride. Moreover, journalists did not blame the main director, namely B. Miller, for repeating this not particularly high-quality musical composition, which is surprising, because the author of the play only advised the artistic director of the Jewish theater, who made his own decisions on the production.

In addition, journalists noted some acting failures. First of all, the performance of actor F.L. Arones, who played the role of Colonel Falkovsky's medical service, was negatively evaluated. Journalists wrote that "the gifted actor did not find inspiration in this role."

But the most important thing that they saw as the drawback of the play and the author's fault was in its title. "He is from Birobidzhan" symbolized the participation of Jews in the Great Patriotic War, while, as journalists wrote, "it is not the place of residence of the actors that determines the qualities of people, and Birobidzhan front-line soldiers fought in the same way as people not from Birobidzhan, but from any other city" (see: Mirny N. He is from Birobidzhan // Birobidzhan star. 1948. January 18. p. 3).

This article, as mentioned above, clearly symbolized the persecution of Jewish culture that had begun, so it is difficult to judge how much the critical remarks corresponded to reality, and why the Chief Executive Committee allowed the play to be staged if it was so nationalistic. It can only be stated that the struggle against cosmopolitanism that unfolded in the late 1940s led to the closure of Jewish organizations, Jewish schools and technical schools.

B. Miller's work in the 1950s and 1970s.

In 1947-1951, mass persecution of Jewish poets and writers began in the EAO, they were accused of turning Jewish literature into a "hotbed" of bourgeois nationalism. As a result of the unfolding mass repressions, L. Weisserman (poet and wife of actor Birgoset M. Bengelsdorf), G. Rabinkov (writer who collaborated with the theater during the 1940s), F. Arones (actor and director of Birgoset) and others were sent to the camps ^{[15, p. 11]}.

B. Miller, who was expelled from the party and dismissed from his job in 1948, was not spared the repression. The reason for the dismissal will be the printing of anti-Soviet articles by the bourgeois nationalist and cosmopolitan Der Nister on the pages of the Birobidzhaner Stern newspaper. After his arrest in 1949, as part of the trial, the writer was accused of being the executive secretary of the Birobidzhan writers' group, B. Miller did not take measures to develop Bolshevik criticism. At the same time, his literary works "Birobidzhan" and the play "He is from Birobidzhan" will be criticized. It is for the songs performed in Yiddish by the main character of the play that the author will be accused as a propagandist of the ideas of bourgeois nationalism, praising only one nation.

The investigation into the case of B. Miller lasted for a year, until May 1950; he was charged with spreading anti-Soviet nationalist views and participating in a criminal group that included L. Wasserman, I. Goldwasser, teacher G. Rabinkov, translator B. Slutsky. In order for the case to gain great resonance, the investigative authorities appointed an expert examination based on the materials of the Birobidzhaner Stern newspaper. As a result, it was found that the newspaper edited by B. Miller "tendentiously and unilaterally placed materials in which many issues of the country's culture were covered from the point of view of the participation of representatives of Jewish nationality in them, as well as the articles emphasized the need to develop Jewish culture and language," which was unacceptable in a multinational state (see: Drabkin A. Seven long years and one life // Birobidzhan star. 1989. January 8. p. 3). However, it was not possible to turn this case into a vivid indictment process. But in 1950, all members of the accused literary group were sentenced to ten years in prison under Article 58 part 2. The camp where the convicted writer was sent was located in Eastern Siberia, near the Chuguevka station. B. Miller never talked about this period in his memoirs. All that is known is that at first he worked in a sawmill, then in a quarry, and shortly before his release he became a teacher at a camp evening school.

Simultaneously with the arrests of Jewish writers in the autumn of 1949, the L. Kaganovich Jewish State Theater will also be closed due to financial debt and lack of demand. You can learn more about the history of the liquidation of this unique team from the scientific works of B. Kotlerman ^[16-19].

Buzi Miller returned home to Birobidzhan in 1956. Despite unfair accusations and difficult years in the camp, B. Miller did not lose the desire to write and work in the literary field. In the conditions of the "thaw" that has begun, Jewish culture is receiving a new round of development. Jewish writers and poets are starting to work again. And in 1965, a Jewish amateur theater group appeared at the Palace of Culture in Birobidzhan, the head of which was the former actor Birgoset, the husband of the Jewish poetess arrested with B. Miller (L. Weisserman) — M. Bengelsdorf. Two years later, the collective received the status of a national theater. This theater existed in Birobidzhan until 1991, when under the conditions of "perestroika" it will be completely transformed into a studio theater and will receive a new name - Kogalet.

But in the 1970s, continuing the theatrical traditions formed by the first Jewish professional collective, the Jewish People's Theater, as a sign of respect, will again turn to the work of B. Miller.

In 1972, the Jewish People's Theater showed a comedy play "Miracles do not Happen" based on the play of the same name by B. Miller. The performance was cheerful, cheerful and at the same time satirical, directed against hypocrisy and hypocrisy. The plot was simple. The chief accountant of one of their institutions, Solomon Markovich Greiser, mistakenly receives a telegram asking for consent to run in one of the electoral districts for the elections to the regional Council. Greiser is surprised and confused by the unexpected offer, realizing that he did not deserve it. But an ambitious nature takes over common sense. A humble person transforms into a pompous narcissistic and at the same time funny character. The main role in the play was played by the actor M. Shane, the role of his wife Ida Lvovna was played by the artist B. Shilman. These actors were also members of the creative team of the L. Kaganovich Jewish State Theater, after its closure they left for Sakhalin, where they continued their creative activities. After the revival of the Jewish folk Theater, the artists decided to return to Birobidzhan. After the death of M. Bengelsdorf, Bertha Schilman became the head of this Jewish collective. In addition to B. Shilman and M. Shein, non-professional artists took part in this performance, as was customary in folk theaters, which received small grants from the state for the maintenance of a staff of no more than 5 people. Despite this, such theater groups were popular in the country, especially in cities where there were no professional theaters. That is why amateur artists participated with great inspiration in the creation of each performance, especially since their number did not exceed two premieres during the year. In the case of the play "Miracles do not Happen", the main roles were performed by the artists B. Zhidovetsky, A. Liskovich, B. Mazo, H. Epstein, I. Tsiperman and others. The performance was tastefully decorated by artists B. Mizgulsky and G. Shtantko. The music of S. Rabunsky organically fit in. This work of the national theater was warmly received by the public (see: Premiere of the national Theater // Birobidzhan Star. 1972. December 10. p. 3). Thus, many residents of the EAO knew about the work of B. Miller.

In 1979, another premiere based on B. Miller's play "Thirty-three Heroes" took place. This story was first published on the pages of the Soviet Geimland magazine in December 1978, in which the author reminds readers about the work of Sholom Aleichem "Tevye the Milkman". The main character of B. Miller's comedy is also called Tevye, and he himself, talking about himself, compares himself with his famous Sholem Aleichem namesake. But the similarity of the names did not turn the comedy into a repetition of the work of the great Jewish writer Sholom Aleichem. B. Miller again told readers about his favorite city - as in the work "He is from Birobidzhan", the author urged everyone to come to the EAO.

The scene from which the play begins takes place in an ordinary apartment, from the windows of which the city of Birobidzhan is visible. The main character Tevye comes out to the audience, he tells about his life, in which the elements of the life of the Sholem Aleichem hero are repeated, but still his life is different, brighter and happier. Next, Tevye— Gold's wife appears, who tells about her granddaughter Laura, a weaver and student, a participant in amateur performances. It is with Laura that an amazing case will happen when, after showing her on television, she will begin to receive letters from different cities, will answer people's various questions sent by them and even invites them to come to her hometown, live and work in the Jewish autonomy.

This was the mundane but important realities of the play and the performance. And as if the poetic dream of old Tevye about thirty-three heroes who descend from a clear sky and take Laura with them to unknown worlds rose above these realities. The main role of Tevye was played by the artist M. Shane. His hero is a veteran of labor, a hard worker and a soldier of the Great Patriotic War. The image of Golda was created by B. Shilman, she also acted as the director of the play. Max Epstein in the role of Isaac Markovich created the image of a cheerful, cheerful man, composer and enthusiast. Haya Epstein also found peculiar touches for her character in the role of Efimovna. A. Zhoga, I. Weissman, S. Ardina performed well in the performance (see: K. Semenov This is how we live // Birobidzhan star. 1979. December 23. p. 3).

In this performance, according to journalists, there was humor. The success of the production was facilitated by the work of the artist S. Bobylev, who created high-quality scenery, and music written by Max Epstein.

It should be noted that in addition to three performances based on the works of B. Miller, his literary works were used as small sketches, when organizing concerts and evenings of Jewish culture. For example, in 1982, a concert of the Jewish Folk Theater was held at the Palace of Culture in Birobidzhan, which showed an extensive program with excerpts from performances where the Epstein couple showed sketches "Ah, there will be a wedding" (B. Miller) and "The Happy Couple" (M. Garshenzon) (see: Roitman B. When the heart is Young // Birobidzhan star. 1982. March 31, p. 4). Thus, the work of the writer B. Miller was part not only of the literary, but also of the theatrical culture of the Jewish autonomy.

Conclusion.

For more than half a century, B. I. Miller's life was connected with the Jewish Autonomous Region. The years of repression affected many destinies, but the difficulties did not break the author, and from 1956 to 1988 he successfully worked for the newspaper Birobidzhaner Stern. He was the executive secretary, deputy editor, and editor. All his books were dedicated to the city on the Bir: "Native Land", "At full speed", "Clarity". The writer also dedicated his novel "While man is Alive" to Birobidzhan (see: Rabinovich A. His books are alive // Birobidzhan Star. 1988. April 20. p. 3). His novels and short stories were published in the magazine Sovetish Geimland, of which he was a member of the editorial board since the founding of the magazine, as well as in the magazine Far East, in various almanacs and collections published by the publishing house Soviet Writer and Khabarovsk Book Publishing House.

While on well-deserved rest, B. Miller continued to engage in creative activities, worked on works dedicated to the development of his city. He rejected offers to move to Israel, remaining forever in the history of his city on Bir ^[20] and in the repertoire of Jewish theaters. Today, the revival of performances based on B. Miller's plays, especially "He is from Birobidzhan", could become a new milestone in the development of Jewish culture in the Jewish Autonomous Region.