Rosa Rapoport: My name is Rosa Rapoport. The Irish Film Theatre (IFT) was a cinema dedicated to showing art films in Dublin in Ireland from 1977 to 1984.. Campbell House is an 1822 Palladian Style Georgian residence that represents the height of colonial rule in Canada.

Some of the institutions of the Jewish community made a kherem to the IFT. [3][6], St. Stephen's Green House, site of the former cinema, https://en.wikipedia.org/w/index.php?title=Irish_Film_Theatre&oldid=937635653, Infobox mapframe without OSM relation ID on Wikidata, Creative Commons Attribution-ShareAlike License, St. Stephen's Green House, Earlsfort Terrace, This page was last edited on 26 January 2020, at 07:07. In this excerpt, Rosa shares her memories from the 1950s. This was the best experience for our theatre education, because it permitted the youth to come into contact with experienced actors, and with the mystery that surrounded the IFT and its stage.

What I want to tell you about is that there were two strands of theatre that almost did not cross. 284858 I was fourteen years old. “Rosa Rapoport and Teatro IFT in Buenos Aires.” Digital Yiddish Theatre Project, April 2018, https://web.uwm.edu/yiddish-stage/rosa-rapoport-and-der-yidisher-folks-teater-in-buenos-aires, Markenson, C. Tova. We hope that the memories of her life that this interview captures serve as blessings for all who knew and loved her. These were our first experiences on stage. Rosa Rapoport in her study. For this reason the debut of The Diary of Anne Frank was so strong, and it was so important that the entire community went, because the communal institutions had prohibited going to the IFT, but everyone went to The Diary of Anne Frank.

Ipswich Film Theatre is an independent cinema in the heart of the Ipswich Corn Exchange.It was founded in 1975 and has been at the forefront of independent cinema ever since. Showing posts with label IFT Theatre. Today, April 11, 2018, is Rosa’s shloyshim, the 30 day anniversary of her passing. Both in Spanish and in Yiddish? CTM: Can you say more about the IFT’s transition from performing in Yiddish to performing in Spanish? I’m the daughter of a woman who was an actress in Teatro IFT. Registered in England No. My mom worked in these various itinerant groups. When they organized the theatre school, I went to the theatre school.

Eventually all of us at some point—for circumstances relating to the organization and of life—we all left to make our artistic life elsewhere. It was a community that was large, a community with many layers, growing in its economic aspects but with a strong Jewish working class that spoke Yiddish, and separate from that which was educated. Rosa Rapoport grew up alongside Der yidisher folks teater (Jewish People’s Theatre, also known as Teatro IFT), the first independent Yiddish theatre in Buenos Aires. I teach history classes, and it is incredibly lovely this kind of work, it’s just incredible, because the people who come are history. Because it was the The Diary of Anne Frank, because the discovery of The Diary of Anne Frank was all around the world a moment of incredible emotion, and because it was in Spanish, and because the entire Jewish community—young people, older people—everyone went to see it. Not all of the people in this group were actors—many were directors, others were designers, others were musicians—but we always participated in the works of the IFT. Many foreign language and independent films that were radically forthright, and that would otherwise have been cut or banned by the Irish censor, were shown in their complete forms, including Pasolini's Salò, Oshima's Ai No Corrida, Bertolucci's Last Tango in Paris, and a great many other films whose portrayals of nudity and sexuality would have triggered bans or cuts in Ireland at that time.[3][5]. Rosa Rapoport grew up alongside Der yidisher folks teater (Jewish People’s Theatre, also known as Teatro IFT), the first independent Yiddish theatre in Buenos Aires.In this excerpt from Rosa’s oral history, she shares her memories performing on stage at Teatro IFT, and the theatre’s eventual transition from Yiddish to a Spanish-language repertoire. The IFT had a political and cultural legacy that was very, very strong and well developed up until the 1950s. Tova conducted the interview in Spanish and translated it into English.

It was people like these who were the founders of the IFT, the initial ensemble that was so, so important, and I had the privilege of seeing it. We were saddened to learn that Rosa Rapoport passed away on March 12, 2018, before she was able to see the final version of this interview. This was an incredibly difficult moment, with much internal debate as you can imagine, and with great pain for many people, above all the founders of the theatre, the creators of the theatre, but reality intervened. DYTP member C. Tova Markenson, a doctoral candidate at Northwestern University conducting research for her dissertation on Yiddish theatre in Latin America, recently interviewed Rosa about these experiences. It was not only a phenomenal success but also a work of incredible emotion. Nightmare Dream at Campbell House. Politics is very much mixed in to the history of these two types of theatre. I was always known as Rosa Vaserman when I acted in the theatre. Excommunicated. I am a teacher of social history. RR: First we participated in the performances of the IFT as extras in mass scenes.

One of the people I met there later became my husband, Manuel Iedvabni. The IFT had a repertoire not only of long works, but also of shorter works, because smaller groups of actors traveled throughout Argentina, including the provinces, the agricultural colonies where there were Jewish colonies, performing theatre.

Almost at exactly the same time, Joseph Buloff performed it in Yiddish in Buenos Aires. They considered themselves Jews, and they considered themselves part of the community, but theatre in Yiddish did not appeal to them. Email: info@ift.org.uk, Registered as a charity No. Or they very rarely crossed, because one was theatre in the Yiddish language, whose objective was commercial theatre or professional theatre.

In the 1950s and 1960s people started leaving the IFT, for a variety of reasons, and after that the majority of them stopped acting, some of them performed a little bit in the professional Yiddish theatres, but for a very short time. The IFT was a theatre of the left. After that, each one of us took on small roles, and later ones of greater importance. London, [3][4] The cinema screened mostly non-mainstream work usually unavailable elsewhere in Ireland including Irish film, independent film, and foreign language film from around the world. More or less, the IFT maintained relationships with the rest of the community. Even though its objective was to be a professional theatre of paid actors, still its structure and its ideology was an independent ideology. The Irish Film Theatre (IFT) was a cinema dedicated to showing art films in Dublin in Ireland from 1977 to 1984. ( Breaking Bad ) , an episode of Breaking Bad Federal Telecommunications Institute (Spanish: Instituto Federal de Telecomunicaciones ), a government agency of Mexico It seems we can’t find what you’re looking for. Saturday, 23 February 2013. Show all posts. CTM: What kinds of performances did you put on in the theatre? Ms. Rapoport’s mother, Eva Vaserman (right), in a 1961 IFT production of Peter Karvas’s La Familia Kubich (The Kubich Family). And the person who played the role of Anne Frank in that production, Ilita Eisenberg, was an actress that came from the IFT. IFT may refer to: "I.F.T." The cinema operated as a film club where members paid a fee to join. Not in Stanislavski’s method, Stanislavski had not yet arrived on these shores. They aren’t debates, they’re political ruptures.