The Vilna Troupe (; ; ; ), also known as Fareyn Fun Yiddishe Dramatishe Artistn (Federation of Yiddish Dramatic Actors) and later Dramă şi Comedie, was an international and mostly Yiddish-speaking theatrical company, one of the most famous in the history of Yiddish theater. It was formed in and named after the city of Vilnius (Vilna) in the Russian Empire, later capital city of Lithuania. Distinctly Modernist, and strongly influenced by Russian literature and by the ideas of Konstantin Stanislavski, their travels in Western Europe and later to Romania played a significant role in the dissemination of a disciplined approach to acting that continues to be influential down to the present day. Early years Founded in 1915 or 1916 during World War I, the troupe began with the deserted Vilna State Theatre as their base, toured Kovno, Białystok and Grodno, and soon moved to Warsaw. Their repertoire epitomized the second golden age of Yiddish theater, with works by S. Ansky, Sholem Aleichem and Sholem Asch, as well as Molière, Maxim Gorky, Henrik Ibsen, plus some Jewish-themed plays by non-Jews, notably Karl Gutzkow's Uriel Acosta. Their uniform Lithuanian Yiddish stood in contrast to the mix of dialects often heard in Yiddish theater at the time. They were the first to stage Ansky's The Dybbuk. Early versions of the play were written variously in Russian and Yiddish, but Russian director and method acting pioneer Stanislavski (who first encountered the work in Russian) made several suggestions to Ansky. One of these was that for the sake of authenticity the piece should be in Yiddish. Stanislavski's death prevented the play from being produced at the Moscow Art Theater. At the time of Ansky's death, on November 8, 1920, the play was complete but had never been professionally produced. As a tribute to Ansky, the Vilna troupe, under the direction of David Herman, utilised the 30-day period of mourning after his death to prepare the play, which opened December 9, 1920, at the Elysium Theatre in Warsaw. Its unanticipated success established the play as a classic of modern Yiddish theater. They toured extensively; they played in New York City, London and Paris. Their 1923 London production of Sholem Asch's The God of Vengeance at the Pavilion Theatre, Whitechapel was shut down by the censor (who had originally passed it based on an English-language synopsis). The play includes a portrayal of a lesbian relationship, which is