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Gotowe bibliografie tematyczne / Nazi concentration camp theater

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Gotowa bibliografia na temat „Nazi concentration camp theater”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 31 lipca 2024

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Artykuły w czasopismach na temat "Nazi concentration camp theater"

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Kift, Roy. "Comedy in the Holocaust: the Theresienstadt Cabaret". New Theatre Quarterly 12, nr 48 (listopad 1996): 299–308. http://dx.doi.org/10.1017/s0266464x00010496.

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The concentration camp in Theresienstadt in the Czech Republic was unique, in that it was used by the Nazis as a ‘flagship’ ghetto to deceive the world about the real fate of the Jews. It contained an extraordinarily high proportion of VIPs – so-called Prominenten, well-known international personalities from the worlds of academia, medicine, politics, and the military, as well as leading composers, musicians, opera singers, actors, and cabarettists, most of whom were eventually murdered in Auschwitz. The author, Roy Kift, who first presented this paper at a conference on ‘The Shoah and Performance’ at the University of Glasgow in September 1995, is a free-lance dramatist who has been living in Germany since 1981, where he has written award-winning plays for stage and radio, and a prizewinning opera libretto, as well as directing for stage, television, and radio. His new stage play, Camp Comedy, set in Theresienstadt, was inspired by this paper, and includes original cabaret material: it centres on the nightmare dilemma encountered by Kurt Gerron in making the Nazi propaganda film, The Fuhrer Gives the Jews a Town. Roy Kift has contributed regular reports on contemporary German theatre to a number of magazines, including NTQ. His article on the GRIPS Theater in Berlin appeared in TQ39 (1981) and an article on Peter Zadek in NTQ4 (1985).

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Kaynar-Kissinger, Gad. "Shylock in Buchenwald". European Judaism 51, nr 2 (1.09.2018): 165–74. http://dx.doi.org/10.3167/ej.2018.510223.

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Abstract Can The Merchant of Venice be performed in Germany after the Holocaust, and if so, how? Is the claim that the play is a touchstone for German-Jewish relations, with a philosemitic tradition – and therefore eligible to be performed today – verifiable? The article begins by briefly surveying this tradition from the Jewish emancipation in the mideighteenth century, which, with a few relapses, continued – especially in productions directed by Jews and/or with Jewish actors in the role of Shylock – until the rise of the Nazi regime, to be resumed after the Second World War. The main part analyses a test case, staged by the Israeli director Hanan Snir at the Weimar National Theatre (1995), and intended rhetorically to avenge the Holocaust on the German audience: Merchant as a viciously antisemitic play with in a play, directed by SS personnel in the nearby Buchenwald concentration camp with eventually murdered Jewish inmates compelled to play the Jewish parts.

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Kaynar-Kissinger, Gad. "Shylock in Buchenwald". European Judaism 51, nr 2 (1.09.2018): 165–74. http://dx.doi.org/10.3167/ej.2017.510223.

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Can The Merchant of Venice be performed in Germany after the Holocaust, and if so, how? Is the claim that the play is a touchstone for German-Jewish relations, with a philosemitic tradition – and therefore eligible to be performed today – verifiable? The article begins by briefly surveying this tradition from the Jewish emancipation in the mid-eighteenth century, which, with a few relapses, continued – especially in productions directed by Jews and/or with Jewish actors in the role of Shylock – until the rise of the Nazi regime, to be resumed after the Second World War. The main part analyses a test case, staged by the Israeli director Hanan Snir at the Weimar National Theatre (1995), and intended rhetorically to avenge the Holocaust on the German audience: Merchant as a viciously antisemitic play-within-a-play, directed by SS personnel in the nearby Buchenwald concentration camp with eventually murdered Jewish inmates compelled to play the Jewish parts.

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Stahrenberg, Carolin. "‘Meine Heimat ist der Wagen’: Negotiation of mobility and settledness in two German post-war musicals". Studies in Musical Theatre 16, nr 3 (1.12.2022): 237–43. http://dx.doi.org/10.1386/smt_00106_1.

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Persecution and expulsion due to Nazi terror and the Second World War led to massive population shifts within Europe. First was the mass exodus from the German Reich, as a result of racist and political persecution. Then, after the end of the war, millions of German refugees and up to 12 million displaced persons – former forced labourers and foreign concentration camp prisoners – had to find new homes or be repatriated. These movements led to the discursive negotiation of wandering, mobility and settledness in German language musical theatre of the 1950s. This article analyses such relations by looking at the musicals Feuerwerk (1950) and Katharina Knie (1957) and focusing on their structures, receptions and evolutions; in both cases, special attention is paid to the dream ballets. Both musicals (at that time referred to as ‘musical comedies’ or ‘musical folk plays’) premiered at Munich’s Gärtnerplatztheater and, as part of their plots, thematize the nomadic life of circus people opposed to a settled existence.

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Chen, Chien-Cheng. "Post-Auschwitz Dramaturgy: Toward the Later Edward Bond". Modern Drama 65, nr 3 (1.10.2022): 429–48. http://dx.doi.org/10.3138/md-65-3-1121.

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Although British playwright Edward Bond is well known for his early plays during the 1960s–80s, his later works, from the late 1990s onward, have been relatively overlooked and underexplored. In this article, I aim to bridge these two phases and propose a theoretical framework to approach Bond’s evolution as a playwright. I will first examine Bond’s critical engagement with Brecht, and then I will proceed to analyse Bond’s evolving dramaturgy of the Holocaust, which will help to demonstrate how Bond has developed what we might call his post-Auschwitz dramaturgy. While criticizing Brecht’s theatre for being the “Theatre of Auschwitz,” Bond bases his post-Brechtian dramaturgy on his specific understanding of the infamous Nazi concentration camp. Bond regards Auschwitz as not only a localized historical event but also a trans-historical structure of biopolitics, manifested in both the camp and an ensuing neoliberal capitalist system. By drawing on two pivotal passages of the Palermo improvisation (which took place in 1983) and the Russian guard’s story, both of which Bond describes in “Commentary on The War Plays” (1991), I will elucidate how these examples herald a “post-Auschwitz” dramaturgical model that can be understood through Emmanuel Levinas’s ethics and Giorgio Agamben’s biopolitics. Building on this analysis, I will analyse Bond’s plays The Crime of the Twenty-First Century (1999) and Born (2006) to argue that it is the dissonance between the biopolitical paradigm exemplified in Auschwitz and the human subject’s fundamental creativity that defines Bond’s later works.

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Przewoźnik, Sylwia. "Korespondencja więźniów z obozu w Auschwitz w świetle akt Sądu Grodzkiego w Krakowie z lat 1946–1950". Czasopismo Prawno-Historyczne 70, nr 1 (12.10.2018): 335–44. http://dx.doi.org/10.14746/cph.2018.1.12.

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The Auschwitz concentration camp was established in 1940. It was the largest Nazi concentration camp situated on the territory of the occupied Poland. It was also an extermination camp of the prisoners incarcerated there. The Jews and the Poles were the largest national groups which were confined to the Nazi camp in Auschwitz. In January of 1945, the Auschwitz camp was liberated by the Red Army. The following article is based on the archives of Cracow Magistrate’s Court from 1946 until 1950 which are accompanied by the prisoner correspondence from the Nazi death camp in Auschwitz.

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Pukhovskaya, Natalia E. "Nazi Concentration Camps: Harsh Everyday Life and Survival Strategies". IZVESTIYA VUZOV SEVERO-KAVKAZSKII REGION SOCIAL SCIENCE, nr 4 (27.12.2023): 109–18. http://dx.doi.org/10.18522/2687-0770-2023-4-109-118.

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The article is devoted to the study of psychological aspects of survival in Nazi concentration camps. An analysis of camp everyday life practices, as well as behavioral and psychological strategies of both prisoners and camp management, is presented. Particular attention is focused on the phenomenon of depersonalization, and emotional reactions of people entrapped in extremely harsh life in the camp. As sources for the analyses there were taken the memoirs of famous psychiatrists Viktor Frankl and Bruno Bettelheim, which were based on their personal experiences, psychological observations and insights, since they themselves were prisoners of Nazi concentration camps. The article also refers to the memoirs of R. Hess, which allow us to comprehend the strategies of behavior of camp functionaries and their way of dealing with prisoners and everyday life in the concentration camp.

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Kogan, Ilany. "“PLAYING WITH REALITY” IN A NAZI CONCENTRATION CAMP". American Journal of Psychoanalysis 82, nr 1 (8.02.2022): 144–54. http://dx.doi.org/10.1057/s11231-022-09337-y.

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Williams, Robert L., Jack H. Medalie, Stephen J. Zyzanski, Susan A. Flocke, Shlomit Yaari i Uri Goldbourt. "Long term mortality of NAZI concentration camp survivors". Journal of Clinical Epidemiology 46, nr 6 (czerwiec 1993): 573–75. http://dx.doi.org/10.1016/0895-4356(93)90130-s.

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B. Oster, Sharon. "The Female Muselmann in Nazi Concentration Camp Discourse". Journal of Holocaust Research 34, nr 3 (2.07.2020): 198–219. http://dx.doi.org/10.1080/25785648.2020.1779502.

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Rozprawy doktorskie na temat "Nazi concentration camp theater"

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Jeff, List. "“From Hidden to (Over-)Exposed”: The Grotesque and Performing Bodies of World War II Nazi Concentration Camp Prisoners". Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1191601326.

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List, Jeff. ""From hidden to (over-)exposed" the grotesque and performing bodies of World War II Nazi concentration camp prisoners /". Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1191601326.

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Penet, Eric. "Architecture concentrationnaire et idéologie national-socialiste". Thesis, Lille 3, 2012. http://www.theses.fr/2012LIL30043.

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Ce travail part d'une interrogation : comment expliquer ce qu'est un camp de concentration nazi sans prendre en compte un de ces constituants, la pierre. Sans oublier pour cela l'Homme, la présente recherche s'est attachée à définir le camp de concentration comme espace architectural à travers l'étude de six camps : Dachau, Sachsenhausen, Buchenwald, Mauthausen, Auschwitz I et le camp de Natzweiler. Trois axes d'analyses furent choisis : le lieu, les formes et les matériaux employés dans le but de mettre en lumière une éventuelle continuité architecturale. A partir du constat qu'il existait bien une architecture véritable, l'auteur s'est demandé dans une dernière partie si des liens avec l'idéologie national-socialiste étaient possibles, comme cela est le cas avec l'architecture officielle du Troisième Reich. C'est ainsi qu'à partir des données collectées furent adjointes trois spécificités à l'architecture concentrationnaire : le camp de concentration nazi peut être perçu comme une cité idéale national-socialiste, une mise en place architectonique du Führerprinzip et le reflet de la Blut-und- Boden Doktrin
This work is based on a questioning : how to explain what a nazi concentration camp is without taking into account one of its components, i.e. stone. Without overlooking the human dimension for all that, the following research aims at giving a definition of the concentration camp as an architectural space through the analysis of 6 camps : Dachau, Sachsenhausen, Buchenwald, Mauthausen, Auschwitz I and the Natzweiler concentration camp. Three main lines were chosen : the sites, the shapes and building materials, with a view to bringing into light a possible architectural continuity. Once the existence of an architectural structure was established, the author finally wondered whether links with the national-socialist ideology did exist as it is the case with the official architecture of the Third Reich. Thus, thanks to the collected data, three specificities of concentration camps architecture were added : the nazi concentration camp can be seen as a national-socialist perfect city, as the architectonical setting up of the Führerprinzip and as the reflection of the Blood and Soil ideology
Die folgende Arbeit erwächst aus einer Fragestellung : Wie lässt sich ein Konzentrationslager erklären, ohne eines seiner Bestandteile - den Stein - in Betracht zu ziehen ? Ohne den Menschen außer Betracht zu lassen, hat sich die vorliegende Studie bemüht, ein Konzentrationslager als einen architektonischen Raum zu definieren. Es werden sechs Konzentrationslager analysiert : Dachau, Sachsenhausen, Buchenwald, Mauthausen, Auschwitz I und das KZ Natzweiler. Es werden drei Blickrichtungen gewählt : der Ort, die Formen und die verwendeten Materialien, um herauszufinden, ob es etwa eine architektonische Kontinuität gibt. Ausgehend von der Feststellung, dass tatsächlich von einer bestimmten Architektur die Rede sein konnte, hat sich der Autor in einem letzten Teil gefragt, ob Beziehungen mit der NS-Ideologie möglich waren - wie es eben der Fall bei der offiziellen Architektur des Dritten Reiches ist. Auf diese Weise wurden mit den vom Verfasser gesammelten Daten den Konzentrationslagern drei Eigenschaften zugeschrieben : das NS-Konzentrationslager kann als eine ideale NS-Stadt, als die architektonische Verwirklichung des Führerprinzips und als die Wiederspiegelung der Blut-und-Boden Doktrin betrachtet werden

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Alloy, Phillip C. "The Role of Jewish Women as Primary Organizers of the Minsk Ghetto Resistance During the World War II German Occupation". University of Toledo / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1372291273.

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Metje, Heather. "The Stories They Told - German Language Theater in Buchenwald Concentration Camp". 2017. https://ul.qucosa.de/id/qucosa%3A17211.

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NOSKOVÁ, Miloslava. "Ztvárnění tématu války v české próze let 1948 - 1956". Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-153457.

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The diploma thesis is The Theme of the War in Czech Prose Published in 1948-56. Following significant changes after the 1948 war, several thematic forms of Czech prose that are analyzed. After the 1948 war began to be interpreted as a precursor to a future socialist revolution, which had to be the "correct" stories - there were used books M. Pujmanové - Život proti smrti (1952) and B. Březovského - Lidé v květnu (1954). They were compares with dilogií A. Brandalda, Severní nádraží (1949) and Lazaretní vlak (1950). Another section is devoted to prose since 1954, when the artistic treatment of the subject of the war reflected their own experiences of war, concentration camps and life in the Protectorate - K. Ptáčník - Ročník jedenadvacet (1954), F. Burian - Osm odtamtud (1954), N . Frýd - Krabice živých (1956), E. Valenta - Jdi za zeleným světlem (1956). The aim of this thesis is to analyze war themes in the works of these authors in the designated time.

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Książki na temat "Nazi concentration camp theater"

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Catherine, Temerson, red. The Sonderberg case: A novel. New York: Alfred A. Knopf, 2010.

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Petrovskai︠a︡ akademii︠a︡ nauk i iskusstv. i Komi (Russia). Ministerstvo obrazovanii︠a︡ i vyssheĭ shkoly., red. Khudozhestvennoe voploshchenie temy GULAGa v russkoĭ literature Respubliki Komi vtoroĭ poloviny XX veka. Syktyvkar: Izd-vo "Ėskom", 2006.

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Saldinger, Anne Grenn. Life in a Nazi concentration camp. San Diego: Lucent Books, 2001.

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Roozeboom, Ton. De nazi moordfabrieken: Chelmno - Belzec - Treblinka - Sobibor. Ede: De Lantaarn, 2017.

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Friedrich-Ebert-Stiftung, Historisches Forschungszentrum der, red. Rettende Augenblicke: Überleben im Nazi-KZ. Bonn: Friedrich-Ebert-Stiftung, Historisches Forschungszentrum, 2007.

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Vree, Frank, Hetty Berg i David Duindam, red. Site of Deportation, Site of Memory. Tłumacz Vivien Collingwood. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462985575.

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The Hollandsche Schouwburg is a former theatre in Amsterdam where, during the Nazi occupation of the Netherlands, tens of thousands of Jews were assembled before being deported to transit and concentration camps. Before the war, the theatre had been an example of Jewish integration in the Netherlands, and after the war it became a memorial for the Jewish victims of Nazi persecution. This book is the first international publication to address all the historical aspects of the site, putting it in a broader European and historical context.

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1958-, Mussmann Olaf, i KZ-Gedenkstätte Mittelbau-Dora, red. Homosexuelle in Konzentrationslagern: Vorträge : wissenschaftliche Tagung, 12./13. September 1997, KZ-Gedenkstätte Mittelbau-Dora, Nordhausen. Berlin: Westkreuz, 2000.

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MacLean, French L. The camp men: The SS officers who ran the Nazi concentration camp system. Atglen, PA: Schiffer Pub., 1999.

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Ralph, Mandel, red. Chelmno: A small village in Europe : the first Nazi mass extermination camp. Jerusalem: Yad Vashem, 2009.

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Wetterwald, François. Les morts inutiles: Un chirurgien français en camp nazi. Paris: L'Harmattan, 2009.

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Części książek na temat "Nazi concentration camp theater"

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Berner, Margit. "Nazi anthropology and the taking of face masks". W From Clinic to Concentration Camp, 121–37. Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315583310-6.

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Peschel, Lisa. "Laughter in the Ghetto: Cabarets from a Concentration Camp". W Theater unter NS-Herrschaft, 271–84. Göttingen: V&R unipress, 2018. http://dx.doi.org/10.14220/9783737006422.271.

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Sommer, Robert. "Camp Brothels: Forced Sex Labour in Nazi Concentration Camps". W Brutality and Desire, 168–96. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230234291_7.

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Schmaltz, Florian. "Chemical Weapons Research on Soldiers and Concentration Camp Inmates in Nazi Germany". W One Hundred Years of Chemical Warfare: Research, Deployment, Consequences, 229–58. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-51664-6_13.

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Tippner, Anja. "Worlds Apart? Cross-mapping Camp Literature from the Gulag and Nazi Concentration Camps". W Narratives of Annihilation, Confinement, and Survival, redaktorzy Anja Tippner i Anna Artwińska, 30–48. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110631135-003.

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"The Nazi Concentration Camp". W Immigrants on the Threshold, 79–103. Routledge, 2017. http://dx.doi.org/10.4324/9780203789063-8.

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"The concentration camp personnel". W Concentration Camps in Nazi Germany, 56–69. Routledge, 2009. http://dx.doi.org/10.4324/9780203865200-8.

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Dalton, Derek. "Concentration camp tourism in Germany". W Encountering Nazi Tourism Sites, 105–30. Routledge, 2019. http://dx.doi.org/10.4324/9781315104935-6.

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Sprigge, Martha. "Concentration Camp Memorials". W Socialist Laments, 192–250. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197546321.003.0005.

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Concentration camps were a central part of East Germany’s commemorative politics. National antifascist memorials opened at three former concentration camps between 1958 and 1961. The narrative visitors encountered at these memorial sites valorized the camps political prisoners and devoted little—if any—attention to other victims of the Holocaust. Running corollary to these antifascist memorials were efforts to memorialize political victims of the camps in music. This chapter considers two forms of musical activity involved in concentration camp remembrance: collecting songs from the camps as part of the nation’s antifascist heritage, and composing new works about the Holocaust. Both forms of musical activity involved engaging with the memorial traces and spaces of the camps, which inadvertently facilitated more complicated narratives of the Nazi genocide to be voiced in music.

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"Two Strands of Concentration-Camp Literature:". W Gulag Literature and the Literature of Nazi Camps, 48–87. Indiana University Press, 2019. http://dx.doi.org/10.2307/j.ctvpb3xrw.6.

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Streszczenia konferencji na temat "Nazi concentration camp theater"

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Wilk-Słomka, Beata, i Agnieszka Szymanowska-Gwiżdż. "RESEARCH ON OBJECTS WITHIN COOPERATION WITH THE AUSCHWITZ-BIRKENAU MUSEUM, FORMER GERMAN NAZI CONCENTRATION AND EXTERMINATION CAMP". W 12th annual International Conference of Education, Research and Innovation. IATED, 2019. http://dx.doi.org/10.21125/iceri.2019.1208.

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Turpin, Joe. "Uncovering the History of the Nazi Holocaust in Senegal Through Artistic and Historical Research". W Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35899.

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This paper describes the author’s residency in Dakar, Senegal, where he created artworks in response to the history of anti-Semitic laws and the Sébikhotane concentration camp, established by the Vichy French Colonial Regime in West Africa. The artworks aim to inform audiences about this littleknown history and use symbolism that Senegalese people can relate to. The paper discusses the research conducted, the positive reception of the artworks, and the author’s role as an artist, researcher, and performer. The paper also provides descriptions and explanations of some of the artworks created during the residency.

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