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Grzegorz Niziolek's The Polish Theatre of the Holocaust is a pioneering analysis of the impact and legacy of the Holocaust on Polish theatre and society from 1945 to the present. It reveals the role of theatre as a crucial medium of collective memory – and collective forgetting – of the trauma of the Holocaust carried out by the Nazis on Polish soil. The period gave rise to two of the most radical and influential theatrical ideas during work on productions that addressed the subject of the Holocaust – Grotowski's Poor Theatre and Kantor's Theatre of Death - but the author examines a deeper impact in the role that theatre played in the processes of collective disavowal to being a witness to others' suffering. In the first part, the author examines six decades of Polish theatre shaped by the perspective of the Holocaust in which its presence is variously visible or displaced. Particular attention is paid to the various types of distortion and the effect of 'wrong seeing' enacted in the theatre, as well as the traces of affective reception: shock, heightened empathy, indifference. In part two, Niziolek examines a range of theatrical events, including productions by Leon Schiller, Jerzy Grotowski, Tadeusz Kantor, Andrzej Wajda, Krzysztof Warlikowski and Ondrej Spišák. He considers how these productions confronted the experience of bearing witness and were profoundly shaped by the legacy of the Holocaust. The Polish Theatre of the Holocaust reveals how -- by testifying about society's experience of the Holocaust -- theatre has been the setting for fundamental processes taking place within Polish culture as it confronts suppressed traumatic wartime experiences and a collective identity shaped by the past.
Despite its international influence, Polish theatre remains a mystery to many Westerners. This volume attempts to fill in current gaps in English-language scholarship by offering a historical and critical analysis of two of the most influential works of Polish theatre: Jerzy Grotowski’s ‘Akropolis’ and Tadeusz Kantor’s ‘Dead Class’. By examining each director’s representation of Auschwitz, this study provides a new understanding of how translating national trauma through the prism of performance can alter and deflect the meaning and reception of theatrical works, both inside and outside of their cultural and historical contexts.
Poland is celebrated internationally for its rich and varied performance traditions and theatre histories. This groundbreaking volume is the first in English to engage with these topics across an ambitious scope, incorporating Staropolska, the Polish-Lithuanian Commonwealth, the Enlightenment and Romanticism within its broad ambit. The book also discusses theatre cultures under socialism, the emergence of canonical practitioners and training methods, the development of dramaturgical forms and stage aesthetics and the political transformations attending the ends of the First and Second World Wars. Subjects of far-reaching transnational attention such as Jerzy Grotowski and Tadeusz Kantor are contextualised alongside theatre makers and practices that have gone largely unrecognized by international readers, while the participation of ethnic minorities in the production of national culture is given fresh attention. The essays in this collection theorise broad historical trends, movements, and case studies that extend the discursive limits of Polish national and cultural identity.
September 1940. Polish Army officer Witold Pilecki deliberately walked into a Nazi German street round-up in Warsaw and became Auschwitz Prisoner No. 4859. He had volunteered for a secret undercover mission: smuggle out intelligence about the new German concentration camp, and build a resistance organization among prisoners. Pilecki's clandestine intelligence, received by the Allies in 1941, was among earliest. He escaped in 1943 after accomplishing his mission. Dramatic eyewitness report, written in 1945 for Pilecki's Polish Army superiors, published in English for first time.
This volume contains these four plays: Resort 76 by Shimon Wincelberg Will the relentless oppression of the starving workers in a ghetto factory destroy their faith in God? Their love of life? Their ability to resist? If a cat is more valuable than a human being, have hope and goodness been eliminated from the world? A moving and terrifying melodrama. Throne of Straw by Harold and Edith Lieberman Through the career of Mordechai Chaim Rumkowski, head of the Lodz, Poland Judenrat, we come to understand the horror of “choiceless choice,” of how giving up some to save others was the worst nightmare for those who sought the responsibilities of ghetto leadership. An epic play with music and song. The Cannibals by George Tabori The children of murder victims assemble to enact ritually the destruction of their fathers in the presence of two survivors. As the sons become their fathers, the most profound ethical questions of the Holocaust are raised concerning the limits of humanity in a world of absolute evil. A daring tragicomedy. Who Will Carry the Word? by Charlotte Delbo (translated by Cynthia Haft) In the austere, degraded setting of a concentration camp, twenty-two French women attempt to keep their sanity and hope as, one by one, they fall victim to the Nazi terror. Will anyone believe the story of the survivors? A poetic drama of resistance and witness.
Explores the representation of revenge from Classical to early modern literature
Contrary to the common notion that news regarding the unfolding Holocaust was unavailable or unreliable, news from Europe was often communicated to North American Poles through the Polish-language press. This work engages with the origins debate and demonstrates that the Polish-language press covered seminal issues during the interwar years, the war, and the Holocaust extensively on their front and main story pages, and were extremely responsive, professional, and vocal in their journalism. From Polish-Jewish relations, to the cause of the Second World War and subsequently the development of genocide-related policy, North American Poles, had a different perspective from mainstream society on the causes and effects of what was happening. New research for this book examines attitudes toward Jews prior to and during the Holocaust, and how information on such attitudes was disseminated. It utilizes selected Polish newspapers of the period 1926-1945, predominantly the Republika-Gornik, as well as survivor testimony.
This book charts and traces state-mandated or state-encouraged “patriotic” histories that have recently emerged in many places around the globe. Such “patriotic” histories can revolve around both affirmative interpretations of the past and celebration of national achievements. They can also entail explicitly denialist stances against acknowledging responsibility for past atrocities, even to the extent of celebrating perpetrators. Whereas in some cases “patriotic” history takes the shape of a coherent doctrine, in others they remain limited to loosely connected narratives. By combining nationalist and narcissist narratives, and by disregarding or distorting historical evidence, “patriotic” history promotes mythified, monumental, and moralistic interpretations of the past that posit partisan and authoritarian essentialisms and exceptionalisms. Whereas the global debates in interdisciplinary memory studies revolve around concepts like cosmopolitan, global, multidirectional, relational, transcultural, and transnational memory, to mention but a few, the actual socio-political uses of history remain strikingly nation-centred and one-dimensional. This volume collects fifteen caste studies of such “nationalizations of history” ranging from China to the Baltic states. They highlight three features of this phenomenon: the ruthlessness of methods applied by many state authorities to impose certain interpretations of the past, the increasing discrepancy between professional and political approaches to collective memory, and the new “post-truth” context. This book will be of interest to students and researchers of international politics, the radical right and global history. It was originally published as a special issue of the Journal of Genocide Research.