Jentl

A contemporary reading of Singer's text made famous by a film directed by Barbra Streisand. Her Hollywood interpretation is considered canonical, but Singer himself found it incompatible with the meaning and idea contained in his short story “Jentl, the boy from the yeshiva”.

The story of a Jentl girl who became a disciple of a yeshiva named Anszel is a poignant account of the struggle for freedom. Freedom understood as the right to make decisions in accordance with one's conscience and one's own vision of the world around us. “I wanted to be free, I have what I want,” Jentl sings in Robert Talarczyk's play. This declaration sounds bitter, but it has in it the strength and determination of a person who not only wants to change himself, but also the world, inscribed in the traditions and habits of others.

This world, perfectly known for canonical stage and film works such as “Fiddler on the Roof”, “Sztukmistrz z Lublin” or “Dybuk”, is put by Jentl-Anszel before the pawn of the struggle for individual freedom, and especially the struggle for women's self-determination.

Musical performance with original compositions created by Hadrian Filip Tabęcki with live music.

After reading the text of Sinjera, the jacket stood out thanks to the film director Barbara Streisand. The Hollywood interpretation is considered to be canonical, but Singer himself perceived the unspoken sense of the work that is embodied in the yoga novel “The One, the Bell of Shiva”.

The story of the people of the United who became the student body of my Anchel, is a creative description of the struggle for freedom. The freedom to understand that it is right to receive the gift that is ripe for its own sake and manifests itself in the world at large. “I want you to go home, I can do what I want,” says Robert Talarchica, a guest. This declaration sounds harsh, but in its power and strength it inspires people who want to live not only in themselves, but in their world, inscribed in the traditions and traditions of others.

This world, home to its canonical stage and guilt-making robots, such as “Skripal na dahu”, “Lyublinski charivnik” or “Dibuk”, Yentl-Anchel set a hundred times before the storm the struggle for freedom of character, especially the struggle for the sake of self-expression.

Musical view with original compositions created by Adriano Filippo Tabetsky, with live music.

Trivalent views: 165 hryvnia in one transfer.

Performance in Polish. Subtitles in Ukrainian and English.

Letter from director Robert Talarczyk to Gołda Tencer and the Jewish Theatre Ensemble

Beloved,

I wanted to thank you once again, this time on this road, for these few weeks of hard work, trust, creativity and belief that we can create a show that can successfully compete with Barbra Streisand's Oscar-winning film. Working together turned out to be a fascinating journey in search of Jewish tradition and culture, as well as an entry into the psyche of a woman who, searching for the truth about herself, believed that she could become a man, and in fact her destiny was freedom. I bow in low esteem to all the women with whom I have had the honor and pleasure of making this journey into the heart and soul of Jentl. Dear friends, this is your story. I admire your pride and strength.

But Jentl also had a different name. Let me also thank you gentlemen for your journey into the mind of the man, Anszel.

Thank you to everyone individually, but also to all together. Each of you contributed to the success that is being talked about and written about after the premiere of our “Jentl”. From the inspector, stage workers, acoustics, lighting designers, dressing rooms, hairdressers, those responsible for production, advertising, promotion, ticket sales, coordination and many others, which I did not mention, to the wonderful actresses and actors thanks to whom the characters created by Singer and thanks to an excellent translation endowed with the ability to express emotions in Polish, appeared so beautifully and convincingly on the stage of the Jewish Theater. Scenography, costumes, choreography and phenomenal music are the components of this performance, for which I thank my dear Friends, and which is now yours, my wonderful actors. Take care of them, because now they are your child, girl or boy, Jentl or Anszel, as you prefer. And may he come of age in health.

And finally, thanks to the person without whom Jentl would not be on the stage of the Jewish Theater and my humble person, as the director of this performance. Gołdo, you are wonderful, thank you for your huge heart, trust, wisdom and creativity. Working with you is something special and fantastic.

Jewish Theatre, may your good streak go on forever. Thank you for being a part of it.

Robert Talarczyk