Itinerant Jewish Yiddish theater troupes in the theatrical landscape of Transcarpathia (1920s-1930s): A cultural perspective

The relevance of this study was determined by the need for a scholarly understanding of the evolution of Jewish Yiddish theatre within the theatrical space of Transcarpathia during the 1920s-1930s. As of April 2026, the travelling Jewish theatre in Transcarpathia had not been systematically studied; therefore, this topic had remained insufficiently explored in academic research. The aim of the study was to investigate and systematise travelling Jewish Yiddish theatres, as well as to examine the origins and dynamics of theatrical performances within the theatrical culture of Transcarpathia in the 1920s-1930s. Jewish theatre remained an important component of Ukrainian cultural heritage, evolving from theatrical studios and state theatres. Yiddish theatre served as a centre of artistic life, transmitting Jewish culture through theatrical art. The research methodology was based on the application of dialectical, analytical, culturological, historical, biographical, and generalising methods. The study analysed the influence of travelling Jewish Yiddish troupes on the development of the region’s theatrical culture and established that theatre touring routes passed through the major cities of the region, including Uzhhorod, Mukachevo, Khust, and Berehove. The repertoire of these theatres was characterised by considerable genre and thematic diversity, encompassing all age groups of audiences. At the same time, in accordance with public preferences, musical performances were given particular prominence on stage. Alongside entertainment productions, the theatres staged plays based on national Jewish dramaturgy, which highlighted issues of Jewish identity and belonging. The creative staff of the theatres consisted of talented actors, directors, and musicians from Romania, Poland, Austria, Lithuania, and Ukraine. Their destinies coincided with the cultural flourishing of the theatre, but ultimately ended in repression, emigration, deportation to concentration camps, and extermination centres. The practical significance of the study lies in the possibility of using its findings for the study of theatre history and their application in theatre studies and cultural studies, particularly in preserving national identity through the investigation of regional theatrical art