John London: Le Théâtre pendant l’holocauste: théâtre interdit, théâtre clandestin ou théâtre de propagande nazie? Questions et directions de recherche

'Theatre during the Holocaust: Prohibited Theatre, Underground Theatre, or Theatre of Nazi Propaganda? Research Questions and Avenues'
Revue d’Histoire du Théâtre, nos. 221-22 (2004), 41-57. ISSN 1291 2530.

Having underlined the particular difficulties in this field of research, the present study attempts to define the kinds of peformance that can be considered as 'theatre during the Holocaust'. The different kinds of incarceration entailed different possibilities for theatrical performance. Forms of censorship and prohibition also varied according to the demands of the commandants of each labour, transit or concentration camp. Certain prisoners survived because of their artistic activity, while others considered it a form of resistance or opposition. Theatre was often a way of reinforcing national or religious identity. It also provided an opportunity to escape—at least spiritually—the terror of daily life. Nevertheless, many prisoners rejected the theatrical events altogether. Contrary to a widely held view, it now seems that the theatre performed during the Holocaust was not a way of reclaiming human self-awareness, but in fact an art that was controlled and even manipulated by the Nazis.

Many examples are studied to illustrate the range of material performed: songs composed in the camps, music by Verdi, original plays by Švenk and Kalmar and classics by Lessing, Goethe and Shakespeare. The result is a rich panorama of theatrical activity and a suggested basis for future research.

The sources employed are in German, Yiddish, Italian, Dutch and French. Material is included from an interview with a surviving performer.