The talented singer Lina Abarbanell had a gift for lighter musicals and operettas with complicated, Viennese flourishes, and several composers wrote parts specifically for her distinct soprano. Following her successful international performance career, Abarbanell became a well-known casting director, Broadway producer, and occasional director.
Celia Adler’s popularity as a Yiddish actor made her a force in the Yiddish art theater movement, where she was loved for her ability to combine pathos and charm. In 1918, she joined Maurice Schwartz’s Yiddish Art Theater, and in 1919 she founded the Jewish Art Theater with several other actors. Her successful performance career lasted until her last film, Naked City, in 1948.
In her powerful performances of plays ranging from Shakespeare’s tragedies to Ibsen’s A Doll’s House, Sara Adler helped elevate the possibilities of Yiddish theater. Although her reputation as an artist must have benefited from the association with her husband, Jacob P. Adler, Sara Adler was an admired actor and a strong presence on the Yiddish stage.
As an actress, director, and teacher, Stella Adler transformed a generation of American actors. After achieving stardom in films and on stage, Adler traveled to Paris to rethink the possibilities of Method acting with Stanislavsky. She transmitted the new acting techniques to her students and energized a generation of younger actors who shared her passion for the theater.
In the twentieth century, Jewish women played a disproportionate role in the development of American consumer culture because of a combination of factors. For one, American industry became increasingly consumer-oriented, and consumer industries were comparatively open to small entrepreneurs. For another, Jewish immigrants and their children tended to display strong entrepreneurial tendencies.
Anouk Aimée is perhaps best known for her remarkable presence as an icon of cool, sophisticated beauty in more than seventy films across seven decades, including such classics as Alexandre Astruc’s Le Rideau Cramoisi (The Crimson Curtain, 1952), Federico Fellini’s La Dolce Vita (1960) and 8 1/2 (1963), Jacques Demy’s Lola (1963), André Delvaux’s Un Soir, un Train (One Evening, One Train, 1968), George Cukor’s Justine (1969), Bernardo Bertolucci’s Tragedy of a Ridiculous Man (1981), Robert Altman’s Prêt à Porter (Ready to Wear, 1994) and, most unforgettably, Claude Lelouch’s Un Homme et une femme (A Man and a Woman, 1966)
Chava Alberstein is a singer-songwriter who by the end of 2020 had recorded over 60 albums (including eight albums in Yiddish but not including singles and song collections), more than any other Israeli singer. Alberstein has toured globally and is considered one of the most important female performers of Hebrew music, Yiddish folk songs, and children’s songs.
She has appeared in approximately forty Israeli feature films, dozens of stage plays and television dramas. Her starring roles in films include Siege, 1969; Highway Queen, 1971; House on Chelouche Street, 1973; My Mother the General, 1979; Summer of Aviya, 1988; Life According to Agfa, 1992; Sh’chur, 1994; and Passover Fever, 1995.
A seminal figure in the history of performance art, Eleanor Antin is one of the most prolific artists of the last three decades, moving freely in many forms of media, including live and installation art, independent film, photography, video, drawing, painting and writing.
Anna Appel was known for her performance of motherly characters in Yiddish and English roles and had a successful career in Yiddish vaudeville, film, and on Broadway. Appel had her big break in 1918 in Morris Schwartz’s popular Yiddish Art Theater; she performed there for ten years, before moving to Yiddish film. In 1928 she made her Broadway debut and performed until 1959.
A woman and a kibbutznik, Chaya Arbel embodied two under-represented sectors on the Israeli musical composition scene.
Eve Arnold was a groundbreaking photographer and writer, known for photographing fashion in Harlem, the McCarthy hearings, the civil rights movement, and Marilyn Monroe, as well as life in China, England, and the Soviet Union. Arnold was the first American woman accepted into Magnum Photos and is credited with making a remarkable artistic contribution to twentieth-century photography.
Under Arnon’s direction the Kibbutz Contemporary Dance Company toured throughout Israel, the United States, Europe and the Far East. In 1996 she became the director emerita of the Kibbutz Dance Company.
Arthur will probably always be best known for portraying liberal Maude Findlay, the “women’s libber” who stuck it to Archie Bunker on television’s All in the Family and then dominated her own situation comedy, Maude, throughout the 1970s. Arthur’s imperious and controversial Maude left a lasting imprint on American television and feminism.
By focusing on Jewish women artists working in Britain today, whose Jewishness and gender are central to their artistic output, it offered valuable insights into the diverse ways in which women perceive their Jewishness in contemporary Britain. Aware of their complex “otherness” as women, Jews and artists, they put that awareness to good creative use; and in so doing, proved that art has a crucial role to play in exploring—and perhaps crystallizing—issues of identity.
The 1970s were a conceptual and political period in Israeli art. Art during these years expressed the plural form—of the nation, the society and of modern art.
The life of Ellen (Rosenberg) Auerbach was a constant journey of self-discovery and, in her photographic work, a search for the essence that lies behind people and things. Her curious mind, her keen and intuitive eye and her sense of humor permeated her photography, which was re-discovered in the late 1970s, along with that of other avant-garde photographers and artists of the Weimar Republic. Auerbach belonged to the generation of New Women who sought to break with traditional female roles and become independent through their work.
Since the beginning of British colonialization of New South Wales in 1788, when between eight and fifteen Jews were among the convicts who arrived with the First Fleet, several waves of immigration have brought the Jewish population up to its present size.
Lauren Bacall’s 1944 Hollywood debut in To Have and Have Not catapulted this young Jewish actress into instant stardom. Costarring with her husband-to-be, Humphrey Bogart, Bacall soon became known for “The Look”—downturned head, eyes looking up, suggestive of a young woman sexually wise beyond her years. She and Bogart were one of Hollywood’s most famous couples, both on screen and off, and Bacall was famous for her characterizations of women whose strong will complemented, rather than detracted from, their sexual attraction.
The “Baghdadis,” referring to Jews coming mainly from Baghdad, Basra and Aleppo, but also from other Arabic speaking parts of the Ottoman Empire, arrived in India in the late eighteenth century and ultimately formed important diaspora trading communities in Bombay and Calcutta.
Cora Baird was half of the world-renowned Bil & Cora Baird Marionettes.
Belle Baker has been described as a famed torch singer and vaudeville star, as well as a Yiddish, Broadway, and motion picture actor.
In Hungary, Zsófia Balla is considered one of the greatest women poets. Her lyricism is mixed with grotesque playfulness along with fragmented, ironic, prose-like sequences. Due to her outspoken and down-to-earth character, she plays a large role in shaping contemporary Hungarian literature.
“Astrith Baltsan is an incomparable phenomenon on the musical scene in Israel,” wrote the judges who awarded her the Tel Aviv Municipality 2001 Rosenblum Prize for the Stage Arts. Her original lecture-concert series—multimedia events—became the largest classical chamber music series in Israel, attracting thousands of individuals to attend their first non-symphonic concerts.