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Performing Arts

Anna Appel

Anna (Khane) Appel, a highly acclaimed character actor, straddled the Yiddish- and English-language worlds of theater, film, and television. Excelling in both comic and dramatic roles, she was especially acclaimed for the versatility of her mimic art. A tall woman with an expressive round face, Appel became noted for her mother roles.

Eleanor Antin

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.

Gila Almagor

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.

Anouk Aimée

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)

Advertising and Consumer Culture in the United States

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.

Stella Adler

At Stella Adler’s death in 1992, Robert Brustein wrote in The New Republic, “Stella Adler’s death … represents a major loss in the pantheon of theater greats. Through the strength of her convictions, the integrity of her character, and the brilliance of her mind, Adler embodied the art of the dramatic profession and remained an influential figure throughout a career that spanned most of the century.”

Sara Adler

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.

Celia Adler

Celia Adler’s popularity as a Yiddish actor made her a force in the Yiddish art theater movement, where she succeeded despite her lack of a powerful male protector. She was acclaimed for her ability to combine pathos and charm, and those who witnessed her performances especially remember her talent for comedy.

Lina Abarbanell

Abarbanell’s success lay in lighter musical fare and operetta. Composers such as Oscar Straus, Franz Lehár, and Edmund Eysler wrote for her expressive soubrette voice. She made about twenty recordings in 1903 and 1904, only four of which appear to have survived. In 1905, Heinrich Conried, general manager of the Metropolitan Opera, invited her to sing the role of Hänsel and to perform at his Irving Place Theater, where she delighted his German-speaking audiences.

Vamping with Theda Bara (Who?!)

One of the highlights of our work at the Jewish Women’s Archive is uncovering hidden histories. In our This Week in History profile this week, we are looking back at silent film star Theda Bara.

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How to cite this page

Jewish Women's Archive. "Performing Arts." (Viewed on October 21, 2018) <https://jwa.org/topics/performing-arts>.

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