Editing Vilna Troupe (section)

==''Dramă şi Comedie''==
"The wandering troupe from Vilna will stay put... after an era of prolonged touring", reported ''Integral''. "They will fix on a program, which will no longer oscillate between melodrama and an expressionist mural. Apparently, the prospect launched today is precise: a new group tending to go along the route of modern innovation. 'No compromise with lack of taste—no compromise with bad taste': a shout that justifies an existence and would be worthy of realization."<ref>''Integral'' nr. 6-7/1925, quoted in {{Harvnb|Bercovici|1998|pp=132–33}} Partly rendered in {{Harvnb|Cernat|2007|p=275}}</ref>

The "no compromise" slogan came from the statement of program, really more of an artistic [[manifesto]], with which the reconstituted group launched itself. The same document also declared the troupe's intent "to offer the masses and intellectuals simultaneously an institution of culture". The new troupe included such actors as Braz, Kadison, Lares, Orleska, Stein, Buloff, Kamen, Waislitz, Sheftel, and the Kadisons from the 1923 roster, plus Noemi Nathan, Yokheved Waislitz,<!--I presume this is a different person from Benjamin Ehrenkrantz --> Jehuda Ehrenkranz, Samuel Iris, Simkhe Natan, Sholom Schönbaum, Henry Tarlo, and Simi Weinstock.<ref name=Bercovici>{{Harvnb|Bercovici|1998}}</ref>

However, Dramă şi Comedie would play only one full season of theater (1925–26), with some remnants struggling on another year. Their productions, beginning with [[Alter Kacyzne]]'s ''Der dukus'' ("The Duke") and including [[Nikolai Gogol]]'s ''[[Marriage (play)|Marriage]]'',<ref name="Zylbercweig-VilnerTrupe"/> were critically acclaimed, but never matched the commercial success of ''Der zinger fun zayn troyer''.<ref name=Bercovici /> Directed by Sternberg, and endorsed by writers Arghezi, [[Felix Aderca]] and [[Alfred Hefter|Alfred Hefter-Hidalgo]], the ''Marriage'' production was also at the center of a dispute in the literary community, due to its innovative aesthetics. ''Integral'' reacted when some spoke of it as an example of the [[Constructivism (art)|constructivist]] "pure theatre" guidelines theorized by ''Contimporanul'', and instead explained it as an example of "synthetic" theatre.<ref name=pc276/> 

During that period, the staging of ''Ger tzedek'' was criticized by ''Contimporanul'' chronicler [[Sergiu Milorian]], who saw in it proof that traditional "Yiddishist" plays were "unperformable", while arguing that the contribution of painter Arthur Kolnik in "the science" of scenic design was the show's only merit.<ref name=pc279>{{Harvnb|Cernat|2007|p=279}}</ref> After the sudden and unexpected death of actress [[Judith Lares]], director Mazo left for Warsaw, and then Vilna. The troupe continued briefly with [[Luigi Pirandello]]'s ''Man, Beast, and Virtue'' in the 1926–27 season.<ref name=Bercovici />