In his production of The Dybbuk , staged in 1922 at the Hebrew Habima Studio in Moscow, Vakhtangov created a working model for the contemporary Hebrew Theatre. 1 One can agree or disagree with this model, fi nd it fi tting or unfi tting, accurate or inaccurate. At the same time, no one can argue that Vakhtangov’s model determined the future of the Hebrew Theatre for generations to come.