Yiddish theatre consists of plays written and performed primarily by Jews in Yiddish, the language of the Central European Ashkenazi Jewish community. The range of Yiddish theatre is broad: operetta, musical comedy, and satiric or nostalgic revues; melodrama; naturalist drama; expressionist and modernist plays. At its height, its geographical scope was comparably broad: from the late 19th century until just before World War II, professional Yiddish theatre could be found throughout the heavily Jewish areas of Eastern and East Central Europe, but also in Berlin, London, Paris, Buenos Aires and New York City. Yiddish theatre's roots include the often satiric plays traditionally performed during religious holiday of Purim (known as Purimshpils); other masquerades such as the Dance of Death; the singing of cantors in the synagogues; Jewish secular song and dramatic improvisation; exposure to the theatre traditions of various European countries, and the Jewish literary culture that had grown in the wake of the Jewish enlightenment (Haskalah). Israil Bercovici wrote that it is through Yiddish theatre that "Jewish culture entered in dialogue with the outside world," both by putting itself on display and by importing theatrical pieces from other cultures. Themes such as immigration, poverty, integration, and strong ancestral ties can be found in many Yiddish theatre productions. Sources in traditional Jewish culture Noah Prilutski (1882–1941) noted that Yiddish theatre did not arise simultaneously with theatre in other European "national" languages; he conjectured that this was at least in part because the Jewish sense of nationality favored Hebrew over Yiddish as a "national" language, but few Jews of the period were actually comfortable using Hebrew outside of a religious/liturgical context. Nonetheless, various types of performances, including those of cantors, preachers, jesters, and instrumental musicians, were a part of Eastern European Jewish life long before the formal advent of Yiddish theatre. Bercovici suggests that, as with ancient Greek drama, elements of dramatic performance arose in Jewish life as an artistic refinement of religious practice; he highlights references in the Bible to dance, music, or song, especially in the Psalms (Hebrew tehillim, or songs of praise), where some of the headings refer to musical instruments, or to singing in dialogue, either between parts of the choir, or between the choir and the leader of the ritual (Hebrew menatseach). Also, traditional dances were associated with certain holidays, such as Sukkot. Purim plays – the skits performed by amateur companies around the time of