Seite - 72 - in Entangled Entertainers - Jews and Popular Culture in Fin-de-Siècle Vienna

72 | Entangled Entertainers 15. For example, see IWE 245 (6 September 1900): 14. 16. IWE 300 (1 November 1900): 4. 17. IWE 284 (16 October 1901): 2. 18. Schäff er, “Th eater,” 51. 19. Das Variété 6 (29 November 1902): n.p. 20. Josef Armin (Rottenstein) (1858–1925) was born in Budapest and came to Vienna in 1873, where he got his start in a textiles company. He soon joined a traveling Volkssänger troupe. Along with his wife, Armin performed with various groups, including the Hirsch Society and the Folies Comiques. He also worked as a comedian at Danzer’s Orpheum, the Gartenbau variety, and Venice in Vienna. He attained his greatest fame with the farces that he composed for the Budapest Orpheum Society. See Josef Koller, Das Wiener Volkssängertum in alter und neuer Zeit: Nacherzähltes und Selbsterlebtes (Vienna: Gerlach & Wiedling, 1931). 21. Ulrike Spring, “Der Himmel über Wien. Franz Schubert, sein Körper und Alt-Wien,” in Alt-Wien: Die Stadt, die niemals war, ed. Wolfgang Kos and Christian Rapp (Vienna: Verlag, 2004), 151–58. 22. Louis Taufstein, Familie Pschesina, Niederösterreichisches Landesarchiv [NÖLA in sub- sequent citations] (Th eaterzensur), Box 37/12 (1903). Newspapers also announced the play Familie Pschesina variously as Familie Brzezina (IWE 35 [3 February 1903]: 18). Th e spelling of Pschesina likely corresponded to how the name was pronounced. 23. Das Variété 1 (15 October 1902): n.p. 24. During a performance of the opera Th e Bartered Bride by Bedrich Smetana in February 1903, an ensemble member is said to have proclaimed the words “Waclav Brzezina” during the performance. A Czech newspaper reported this occurrence and interpreted it as an insult to the “Czech nation” (IWE 45 [15 February 1903]: 5). 25. IWE 287 (19 October 1901): 14. 26. Doris A. Karner, Lachen unter Tränen. Jüdisches Th eater in Ostgalizien und der Bukowina (Vienna: Edition Steinbauer, 2005), 118. 27. Brigitte Dalinger, “‘Verloschene Sterne’: Geschichte des jüdischen Th eaters in Wien” (PhD dissertation, Vienna, 1995), 21. 28. Siegler, “Der Soldat von Plewna,” NÖLA (Th eaterzensur), Box 14/10 (1903). 29. See Daniel Wildmann, Der veränderbare Körper: Jüdische Turner, Männlichkeit und das Wiedergewinnen von Geschichte in Deutschland um 1900 (Tübingen: Mohr Siebeck, 2009). 30. S. Larescu, “Jüdaly mit dem Wandersack: Realistisches Bild mit Tanz und Gesang,” NÖLA (Th eaterzensur), Box 14/17 (1904). 31. Dalinger, “Sterne,” 23. 32. David Biale, Eros and the Jews: From Biblical Israel to Contemporary America (New York: Basic Books, 1992), 159–60. 33. On this, also see the footnotes in Dalinger, “Sterne,” 20–27. 34. IWE 194 (18 July 1901): 15. 35. Dalinger, “Sterne,” 21. 36. Dalinger, “Sterne,” 21. 37. Yiddish theater did not gain prominence in Vienna until the end of the fi rst decade of the twentieth century. See Dalinger, “Sterne,” 28. 38. Th e play is actually called Gimpel Is here! (See Albert Hirsch, Der Gimpel ist da!, NÖLA [Th eaterzensur], Box 21/20 [1901].) However, the newspapers announced the piece as This open access edition has been made available under a CC BY 4.0 license thanks to the support of Knowledge Unlatched.