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A Holocaust Cabaret - Re-making Theatre from a Jewish Ghetto
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A Holocaust Cabaret - Re-making Theatre from a Jewish Ghetto
Series: Playtext
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Two scripts were created in 2017 from the same source materials:
preserved song lyrics from a performance created in 1943 in the
Terezin Ghetto called Prince Bettliegend (the Bedridden Prince),
the popular 1930s jazz melodies to which those lyrics were set, and
fragments of testimony by survivors who performed in or witnessed
that production. The development processes took place under the
auspices of the £1.8 million AHRC-funded project Performing the
Jewish Archive. PtJA co-investigator Lisa Peschel has spent the
past two decades researching theatrical performance in Terezin, and
the project’s planned performance festivals in Australia and
South African in the summer of 2017 afforded a unique opportunity
to allow Prince Bettliegend to speak to our present. Peschel
synthesized the existing materials into a rough plot outline, then
collaborated with local production teams at the University of
Sydney (produced by Joseph Toltz, directed by Ian Maxwell) and
Stellenbosch University (directed by Amelda Brand) to
reconstruct/recreate/re-imagine the play. Both teams were
extraordinarily sensitive to questions of trauma and pleasure in
the original performance, and those questions manifested themselves
in different underlying themes that emerged with each production.
During the first, month-long development process at the University
of Sydney (July 2017), Peschel, Maxwell and Toltz worked together
to refine the plot outline, Toltz and musical director Kevin Hunt
explored the 1930s music with the entire production team, then the
actors, recruited from Sydney’s alternative theatre scene,
developed the performance through improvisation. Due to fortuitous
accidents of casting, a theme soon emerged that dovetailed with the
historical reality of the ghetto: the desire of the older prisoners
to protect the youth. While the Australian production was still in
development, the South African team at Stellenbosch University, led
by Amelda Brand, began creating their own version. Their
performance was based on the same plot outline and, to some extent,
the same text developed by the Sydney performers, but their
production diverged radically due to their interest in addressing
issues of more immediate interest to the multi-racial student case:
race and power. Their musical approach also diverged: music
director Leonore Bredekamp created a hybrid of 1930s jazz and
klezmer music. Part I of the book is composed of a series of essays
about the original material and about each production. The essays,
written by Peschel and key collaborators on each development team,
explore the Terezin production and both reconstructions. Part
II comprises the scripts. Although the texts themselves are
similar, detailed stage directions and illustrations make clear how
each manifested its own themes. Part of Intellect's Playtext
series.
General
Imprint: |
Intellect Books
|
Country of origin: |
United Kingdom |
Series: |
Playtext |
Release date: |
July 2023 |
Editors: |
Lisa Peschel
|
Dimensions: |
244 x 170mm (L x W) |
Pages: |
230 |
ISBN-13: |
978-1-78938-814-5 |
Categories: |
Books
|
LSN: |
1-78938-814-7 |
Barcode: |
9781789388145 |
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