itself. The same document also declared the troupe's intent "to offer the masses and intellectuals simultaneously an institution of culture". The new troupe included such actors as Braz, Kadison, Lares, Orleska, Stein, Buloff, Kamen, Waislitz, Sheftel, and the Kadisons from the 1923 roster, plus Noemi Nathan, Yokheved Waislitz, Jehuda Ehrenkranz, Samuel Iris, Simkhe Natan, Sholom Schönbaum, Henry Tarlo, and Simi Weinstock. However, Dramă şi Comedie would play only one full season of theater (1925–26), with some remnants struggling on another year. Their productions, beginning with Alter Kacyzne's Der dukus ("The Duke") and including Nikolai Gogol's Marriage, were critically acclaimed, but never matched the commercial success of Der zinger fun zayn troyer. Directed by Sternberg, and endorsed by writers Arghezi, Felix Aderca and Alfred Hefter-Hidalgo, the Marriage production was also at the center of a dispute in the literary community, due to its innovative aesthetics. Integral reacted when some spoke of it as an example of the constructivist "pure theatre" guidelines theorized by Contimporanul, and instead explained it as an example of "synthetic" theatre. During that period, the staging of Ger tzedek was criticized by Contimporanul chronicler Sergiu Milorian, who saw in it proof that traditional "Yiddishist" plays were "unperformable", while arguing that the contribution of painter Arthur Kolnik in "the science" of scenic design was the show's only merit. After the sudden and unexpected death of actress Judith Lares, director Mazo left for Warsaw, and then Vilna. The troupe continued briefly with Luigi Pirandello's Man, Beast, and Virtue in the 1926–27 season. Return to Poland After the financial failure of the society that supported Dramă şi Comedie, the troupe returned to calling itself the Vilna Troupe, continuing at first in Bucharest, where Joseph Buloff directed his adaptation of "Shabtsi Tsvi" (Sabbatai Zevi; based on Sholem Asch's play of the same title and Jerzy Żuławski's The End of the Messiah), and then embarking on a tour of the Romanian provinces. In mid 1926 Buloff and Luba Kadison left the troupe and, at the invitation of Maurice Schwartz, emigrated to the United States, where they joined Schwartz's Yiddish Art Theatre in New York. The rest of the troupe returned to Bucharest, and then went to Cernăuți (Czernowitz; Chernivtsi), where A. Stein directed a production of Leonid Andreyev's play "Der gedank" (Thought). Shortly later Stein and other members left the troupe, and the remaining members returned to Poland, where they first toured the