Hugendubel.info - Die B2B Online-Buchhandlung 

Merkliste
Die Merkliste ist leer.
Bitte warten - die Druckansicht der Seite wird vorbereitet.
Der Druckdialog öffnet sich, sobald die Seite vollständig geladen wurde.
Sollte die Druckvorschau unvollständig sein, bitte schliessen und "Erneut drucken" wählen.

Theresienstadt. The Girls of Room 28. Play

Play
BuchKartoniert, Paperback
120 Seiten
Englisch
Edition Room 28erschienen am28.06.2021First English Edition
The experiences of a group of Jewish children who once lived in Room 28, Girls' Home L 410 in the Theresienstadt ghetto along with the songs they sang together are brought to life in this music-theatre and screenplay. The story is known internationally through the book and exhibition The Girls of Room 28 and through the authentic diary of 12year old Helga Pollak written in Room 28 and published in German in 2014 by under the title Mein Theresienstädter Tagebuch 1943-1944mehr

Produkt

KlappentextThe experiences of a group of Jewish children who once lived in Room 28, Girls' Home L 410 in the Theresienstadt ghetto along with the songs they sang together are brought to life in this music-theatre and screenplay. The story is known internationally through the book and exhibition The Girls of Room 28 and through the authentic diary of 12year old Helga Pollak written in Room 28 and published in German in 2014 by under the title Mein Theresienstädter Tagebuch 1943-1944
Details
ISBN/GTIN978-3-9819140-3-0
ProduktartBuch
EinbandartKartoniert, Paperback
FormatUngenäht / geklebt
ErscheinungsortBerlin
ErscheinungslandDeutschland
Erscheinungsjahr2021
Erscheinungsdatum28.06.2021
AuflageFirst English Edition
Seiten120 Seiten
SpracheEnglisch
Gewicht300 g
IllustrationenDocuments and photos of 'The Girls of Room 28' and drawings by the Theresienstadt artist Bedrich Fritta.
Artikel-Nr.49910549
Rubriken
GenreRomane Hardcover

Inhalt/Kritik

Inhaltsverzeichnis
CastThe play can be cast in a variety of ways depending on the company size available.The Girls1 Helga (Helga Pollak). She keeps a diary and is the chronicler of the play and leading character.2 Flaska (Anna Flach). Musical, affectionate, imaginative.3 Ela (Ela Stein). Spirited. She plays the "cat" in Brundibár.4 Eva (Evelina Landa). Beautiful girl. She has a boyfriend, Harry.5 Lenka (Lenka Lindt). Intellectual, oppositional. Everyone admires her.6 Helena (Helena Mändl). Artistically talented, at times a prickly girl.7 Judith (Judith Schwarzbart). A fine, quiet, reflective and reserved girl.8 Maria (Maria Mühlstein). Daughter of the social worker Margit Mühlstein. She is very musical.9 Handa (Handa Pollak). Daughter of Karel Pollak. She is very reflective and poetically talented.10 Fiska (Eva Fischl). She has a poetic soul.11 ZajiÄek (Ruth Schächter). Tender, timid, a girl loved by everyone.12 HolubiÄka (Hana Epstein). She is slightly handicapped. The girls like to tease her.13 Poppinka (Ruth Popper). Shy and reserved girl.14 Erika (Erika Stransky). Quiet girl. Artistically talented.15 Hanka (Hanka Wertheimer). Strong personality, ardent Zionist.16 + 17 Voices of Hana Lissau and Milka (Bohumila PoláÄek).18 - 20 Pavla, Zdenka, Olile. Silent roles.The Caretakers (female)1 Tella (Ella Pollak). Strict and loving at the same time. 2 Margit Mühlstein. Social worker in the Girls Home. Mother of Maria Mühlstein.3Friedl Dicker-Brandeis. Artist. art educator. The children appreciate her very much.âMale roles1 Otto Pollak. Father of Helga Pollak. He is invalid of WW I where he lost one leg.2 Tomy. The boy who delivers bread.3Harry. Boy-friend of Eva Landa.4 + 5 Hanus und JiÅi. (Brundibár-scene)6Paul. (Paul Rabinowitsch). Danish boy who plays the trumpet in Brundibár.7Karel (Karel Pollak). Father of Handa Pollak and close friend of Tella.mehr
Vorwort
From the PrefaceThis play is based on the true story of The Girls of Room 28 , Jewish girls who once lived together in the Girls Home L410 in the Theresienstadt ghetto. It is the result of many conversations with survivors of this group mainly between the years 1996 and 2003, but also after.I came across the story of these girls during my research for a radio-feature on the children s opera "Brundibár" in the US, Czech Republic and Austria. In November 1996 I visited Anna Hanusová in Brno and Helga Kinsky in Vienna for the first time, and after that, we agreed to join forces to create what we set out to be a Book of Remembrance , a compilation of documents and recollections in memory of the girls of Room 28 and the children of the ghetto who did not survive the Holocaust. It was also intended as a tribute to the adults in the ghetto who lovingly took care of the children and taught them values that became fundamental to their lives.From September 1998 we met every year in early autumn for several days in the Czech resort of Spindlerův Mlýn, in the Krkonose Mountains. There, during our conversations while walking along the Elbe river or over the mountains, and during the workshops we held in order to bring together whatever available documents and memories the participants could contribute, I was both witness to and a participant in a work of remembrance that became more and more intense and vibrant with every meeting. A passage from Helga's diary, words from Flaska's scrap-book, a poem from Handa's notebook, a photograph, a child's drawing, a song - all of a sudden the past would come alive for the women, tangibly close even for me, the outsider, who was swept along by this stream of consciousness into the very centre of a story that would not let me go, even today.Most of the scenes and dialogues woven into this play originated in these first annual meetings and are from our conversations which I recorded. The play I created was the first step towards giving the story an artistic form. The first version, called Ghetto Tears 1944.The Girls of Room 28 was finished in 2002, two years before the book The Girls of Room 28 was published by the German publishing house Droemer, Munich. (...)While writing, music kept sounding in my mind which, of course, is not surprising at all. Thanks to the caretaker Ella Pollak, whom the girls called Tella, music played an important role in Room 28. Tella was a passionate pianist and music teacher. With her protégés she founded a choir, and with three of the girls - Flaska, Ela and Maria - she formed a trio. Often the girls singing was heard outside and it is said that passers-by stopped to listen to their voices.Sometimes, in the evening, powerful singing was audible all the way up to Room 28. It came from the old vaulted cellar of the Girls Home. All the inmates knew that Rafael Schächter, the multifaceted musician - conductor, pianist, composer - was rehearsing with his choir - Mozart's Bastien and Bastienne, Smetana's Bartered Bride, or the unforgettable Requiem by Verdi.In mid-summer 1944 the music came from the pavilion set up on the main square directly in front of the Girls' Home. The reason for this was the so-called Beautification of the Town measures ordered by the SS Kommandantur in preparation for the visit of a delegation from the International Red Cross in June 1944. It was also on command of the SS that the Stadtkapelle (Town Band) had to play from now on at specific times as well as the Ghetto Swingers , an orchestra that played in the style of American swing and jazz, music which was forbitten throughout the Third Reich but admitted in the ghetto.Music also echoed in my heart whenever I read Handa s wonderful poems that she jotted in her notebook, or when I imagined specific scenes. And then of course, there was Brundibár! This children s opera by Hans Krása and Adolf Hoffmeister is an essential part of the story of these girls and the very reason that led me to them, and one of the reasons why I finally told their story. In short, I always felt that the play needed music. (â¦)And now, in May 2021, I am preparing the English edition with the help of the wonderful Maris Lyons, a performer and musical theatre producer who has worked extensively for Welsh National Opera (WNO) and Wales Millennium Centre in Cardiff and who I got to know in June 2019 during WNO s Freedom Season. WNO presented Brundibár as part of this Summer Season, conducted by its Music Director Tomás Hanus, who is the son of one of the main protagonists of this play, Anna Hanusová, née Flachová, called Flaska. In the frame of the Freedom Season, WNO also presented our exhibition The Girls of Room 28 at Wales Millennium Centre, and it was here where Maris and I met, and she became interested in this work. Thank you so much Maris for editing the text of this play!May this play which I also see as a basis for a film-script, inspire many people and may the story of these girls continue to be told in the medium of theatre, music and film today, in all corners of the world, and long into the future.Hannelore Brennermehr