The October Revolution fostered the rise to prominence of two of the greatest Jewish art theatres of the twentieth century: the Hebrew-language Habima and the Yiddish-language Moscow State Yiddish Theater, the latter commonly referred to by its Russian acronym, Goset. The impetus for their creation predated the Revolution, with roots, respectively, in Bialystok and Petrograd; but it was only after they established themselves in Moscow that they spread their wings and attained artistic heights that would ensure a place in the annals of world theatre. Both were important participants in the great flowering of the Russian stage during the 1920s, a period that seethed with revolutionary fervor, as Moscow took the vanguard as the incubator for theatrical experimentation. It was here that the theories and artistic silhouette of the modern stage were examined, reshaped, and reinvented with an unwavering conviction that theatre matters, that it has the power to transform society.