front cover of Child of a Turbulent Century
Child of a Turbulent Century
Victor Erlich
Northwestern University Press, 2006
Victor Erlich was born in 1914, at the threshold of what the great Russian poet Anna Akhmatova called "the real twentieth century," in Petrograd, a place indelibly marked by that century's violent dislocations and upheavals. His story, begun on the eve of the First World War and taking him through Russia, Poland, Lithuania, Germany, and the U. S. Army, is in many ways a memoir of that "real twentieth century," reflecting its lethal nature and shaped by the "fearful symmetry" of the age of totalitarianism. Erlich's grandfather, the legendary Jewish historian Simon Dubnov, was felled in December 1941 by a Nazi bullet; his father, Henryk Erlich, a leader of the Jewish Bund and a prominent figure in Russian and Polish socialism, took his life in Stalin's prison in May 1942. To read about Erlich's life growing up at the intersection of the century's darkest currents is to experience history firsthand from the Russian Revolution to the end of the Second World War-and to know what it truly is to be a child of the century.

Erlich conjures up what it was like to be a Bundist, the intensity of Socialist life at the time, the thinking after the Nazi invasion of Poland-before the pact between Hitler and Stalin became apparent. Figures such as Eleanor Roosevelt, Wendel Wilkie, Marc and Bella Chagall make appearances, as well as the famous logician Tarski, flunking Erlich in math. Throughout, despite the darkness, even the horror, of much of what he describes, the author maintains the beguiling tone and the warm manner of one who has reached the new millennium with rare and hard-won insight into the human comedy of his time.
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Embodied Memory
The Theatre of George Tabori
Anat Feinberg
University of Iowa Press, 1999

Making use of invaluable archival material, Feinberg's biographical account is followed by a study of Tabori's experimental theatre work. As did prominent avant-gardists such as Grotowski or Chaikin, Tabori sought to open up new vistas in an otherwise mainstream theatre system. Feinberg pays special attention to Tabori's theatrical innovations, most movingly found in his Holocaust plays. There Feinberg shows the ways in which Tabori's theatre becomes a locus of remembrance (Gedächtnisort) and of unique, engaging memory-work (Erinnerungsarbeit).

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front cover of Open Wounds
Open Wounds
Holocaust Theater and the Legacy of George Tabori
Edited by Martin Kagel and David Z. Saltz
University of Michigan Press, 2022
This volume collects original essays on Hungarian-German playwright and screenwriter George Tabori (1914–2007) and his remarkable contributions to the stage. Tabori, a Jewish refugee and a truly transnational author, was best known for his work in New York theater that irreverently explored the Jewish experience, particularly the Holocaust. Although his illustrious career spanned a century, two continents, several languages, and a variety of literary genres, Tabori’s work has received scant attention in American letters, in spite of its significance for U.S. theater and Holocaust studies.

Until Tabori, most dramas about the Holocaust were either rooted in American domestic realism, striving to create a strong empathetic connection between the audience and Holocaust victims, or featured an unembellished documentary style. Tabori staked out a third position, beyond realism and documentation. The volume brings together the voices of international scholars to provide a comprehensive introduction to Tabori’s theater as well as in-depth analyses of his work, discussing all of his major plays. Individual essays address Tabori’s postdramatic theater in relation to sacrificial ritual, performance studies, and post-humanist approaches to the contemporary stage, as well as performance aspects of his productions, questions of ethics and aesthetics raised by his theater, and his plays’ relation to Holocaust representation in popular culture.
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