By Gene A. Plunka
The Holocaust - the systematic tried destruction of ecu Jewry and different 'threats' to the 3rd Reich from 1933 to 1945 - has been portrayed in fiction, movie, memoirs, and poetry. Gene Plunka's learn will upload to this chronicle with an exam of the theatre of the Holocaust. together with thorough serious analyses of greater than thirty performs, this e-book explores the seminal twentieth-century Holocaust dramas from the U.S., Europe, and Israel. Biographical information regarding the playwrights, construction histories of the performs, and pertinent old info are supplied, putting the performs of their old and cultural contexts.
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Additional info for Holocaust Drama: The Theater of Atrocity
14 Halder fondly recalls that the marble hall and fancy chandeliers of the Nazi Party headquarters reminded him of the fantasy world of The Student Prince: “It was a wonderful feeling–joining. You have no idea, the emotional heights it lifted me to” (29). Enlisting in the Nazi Party gave the relatively alienated Halder a feeling of common brotherhood (29). 15 Throughout the play, Halder, a great music lover, hears dance bands playing songs that d istract him from his descent into evil. 16 Halder organizes the book-burning ceremony at the university where he teaches, is active during Kristallnacht, lectures his students about the dangers of the highly self-centered philosophy of Judaism, aids the Nazis in their plans for euthanasia, and winds up as an adjutant in Auschwitz.
Robert Skloot discusses Eichmann’s mentality: “As a good bureaucrat, he is all absence. ’”7 As a bureaucrat, Eichmann hid behind the euphemisms the Nazis adopted for their policies on genocide. Eichmann admits to conforming to the Party language in which code words, such as “Final Solution,” “evacuation,” “special handling,” “resettlement,” and “labor in the East” (31), could be deciphered by any Nazi bureaucrat. Baum tries to penetrate this vast network of Nazi bureaucracy: “Your bureau, sir, was Roman Numeral IV-B-4.
Bernhard realizes that his German–Austrian audience will see through this sarcastic incongruity of German history and, through their long-term memory, will separate the idyllic from the realities of the concentration camps and the Russian front, implicating them through their own knowledge of history. Coinciding with the Hoellers’s glorification of their Nazi past is the notion that National Socialism is morally righteous through its veneration of the great German cultural tradition. Vera claims, “My love for the theatre comes from father/ my love for music from mother” (142).