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The “Brundibár” Project: Memorializing Theresienstadt Children’S Opera

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The “Brundibár” Project: Memorializing Theresienstadt Children’S Opera KU ScholarWorks | http://kuscholarworks.ku.edu Please share your stories about how Open Access to this article benefits you. The “Brundibár” Project: Memorializing Theresienstadt Children’s Opera by Rebecca Rovit 2000 This is the published version of the article, made available with the permission of the publisher. The original published version can be found at the link below. Rebecca Rovit. (2000). The “Brundibár” Project: Memorializing Theresienstadt Children’s Opera. PAJ: A Journal of Performance and Art 22(2):111-122. Published version: http://www.dx.doi.org/10.2307/3245896 Terms of Use: http://www2.ku.edu/~scholar/docs/license.shtml KU ScholarWorks is a service provided by the KU Libraries’ Office of Scholarly Communication & Copyright. The "Brundibár" Project: Memorializing Theresienstadt Children's Opera Author(s): Rebecca Rovit Source: PAJ: A Journal of Performance and Art, Vol. 22, No. 2, Berlin 2000 (May, 2000), pp. 111-122 Published by: Performing Arts Journal, Inc. Stable URL: http://www.jstor.org/stable/3245896 . Accessed: 16/07/2014 14:04 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Performing Arts Journal, Inc. is collaborating with JSTOR to digitize, preserve and extend access to PAJ: A Journal of Performance and Art. http://www.jstor.org This content downloaded from 129.237.46.100 on Wed, 16 Jul 2014 14:04:30 PM All use subject to JSTOR Terms and Conditions THE BRUNDIBARPROJECT MemorializingTheresienstadt Children'sOpera RebeccaRovit CHORUS: You have to count on friendship,go the way together,to trust in yourstrength (Music) and to standby one another.Then people willlook at you, call you smartand cleverbecause nothingcan (Music) separate you. We defeatedBrundibair, and now it is clearto all; no one can separate us. (Music.)' wordscome fromthe triumphantfinale of Hans Krisa's children's Theseopera, Brundibdr. The opera,written and composedin 1938 in Prague,was also performedthere by boys in an orphanageduring the winterof 1942. Rehearsalshad barelybegun when the opera's conductor,Rudolf Schaichter,was transportedto the Nazi's model ghettoin CentralBohemia, Terezin, also knownas Theresienstadt.Krnisa, the architect Frantisek Zelenka, some of theoriginal cast, the orphanagedirector Moritz Freudenfeld,and his son, Rudolf,arrived in Terezinon severaltransports between April and July,1943. In September1943, Schaichter initiateda Terezinproduction of Brundibdrdirected by RudolfFreudenfeld, who had directedthe orphanageperformance and broughtthe vocal scoreto the ghetto. Zelenka once moredesigned a stageset for the inmate boys and girlswho sang to the accompanimentof a harmonium.The followingyear, Kr isa rewrotethe operascore to includea varietyof musicalinstruments in whathas been describedas a "virtuoso ensemble"orchestra.2 The Czech-languageopera playedfifty-five times as part of the ghetto'sorganized "leisure time activity"or Freizeitgestaltung.Eventually, the Nazis exploited the popular opera by stage-managingits productionsfor an InternationalRed Cross visitto Terezinin Juneand a bogus propagandafilm in the fallof 1944, Der Fiihrer schenktden Juden eine Stadt. But the simpletale of the victoryof the innocentover evil may have providedTerezin audiences with an allegoryfor theirsituation. A brotherand sistersing for money so that theycan buy freshmilk for theirsick mother.With the help of singinganimals, they recover their stolen money from the nastyorgan-grinder, Brundibair. Existing production photos from Terezin show the boy in the role of Brundibairwearing a Hitlermustache. 8 111 This content downloaded from 129.237.46.100 on Wed, 16 Jul 2014 14:04:30 PM All use subject to JSTOR Terms and Conditions Fifty-sixyears later, the lyrics from this same story and itsfinale are being sung all over Germany.From Giessen to Mbinchengladbach,in Berlinand Erlangen auditoriums,in Wittlich'sold synagogue,German school children and teenagers havebeen performing Brundibdr in memoryof the Theresienstadt players. Last year, overseven hundred groups and institutionsproduced one hundredand thirty performancesofthe opera. For 2000, manymore productions have been scheduled by musicschools, church youth groups, and highschools, with the supportof Germany'sJewish community. The Germandelegation of an internationalcultural youthorganization, Jeunesses Musicales Deutschland, established the performance projectin 1995. The ensemblessee theirambitious plan as a pedagogicalstrategy. One of theirgoals is to uniteinternational youth through music to "contributeto understandingamong countries."3 The Germanbranch is particularlysensitive to "recentsocio-political developments," such as xenophobia. The Brundibdrproject belongs to what may be a nationalobsession: how to cometo termswith the Holocaust and transmit the memory for future generations. Attempts to memorializethe Holocaustare takingplace in Germanyon severallevels of society.On thefederal level, cultural and politicalleaders have been embroiled in a noisycontroversy about Germany'spast and Germanmemory. The designand constructionofa Holocaustmemorial for Berlin lies at thecore of this controversy. Meanwhile,locally, the nation-wide phenomenon of touringBrundibdr perform- ancesto Germancommunities suggests a needby teachers and communityleaders to guidethe "innocent" generation of German youth in acknowledgingpublicly the systematicmurder of millionsof Jews. As ChancellorGerhard Schrdder leads the countryinto the twenty-first century, Germans still wrestle with their tainted past, ambivalentabout the degree to whichthey are accountable to theircountry's Third Reichhistory and responsiblefor its future.Even while Germany reinforces its allianceswith its neighbors and embracesideas of a multiculturalsociety, its citizens seem unable to decide how to commemoratethe specterof Auschwitz.The hesitancywith which leadersdebate the Holocaust memorial-itsshape, its funding,even its site-and the waveringresponse to the Brundibdrproject demonstratesthe differingviewpoints of Germanson the Holocaustand the explosivetopic of what Auschwitz means to Germany'syoung and old. The still-unbuiltBerlin memorial and the Brundibdrperformance project-as- memorialrepresent powerful efforts by Germans to remembertheir past. It is useful to considerthe atmosphere in whichthese types of remembranceare developing. Disagreementsamong culturalleaders in Germany,for example,provoked a lingeringpublic debate on theHolocaust and Germany's legacy, suggesting the need to developa "language"to discussthe German past without misunderstanding. It remainsto be seen what kind of "language"may develop. Given the war of words waged in 1998 and 1999 by two prominentspokespeople in Germany,this language mightbe best expressed,however, in a non-verbalform, as in a memorial,perhaps, or throughmusic recoveredfrom the Holocaust. The disputelast yearbetween the late Ignatz Bubis, the formerpresident of the Jewishcommunity in Germany,and Martin Walser,a respectedpost-war writer, demonstrated that issues of memory, 112 n PAJ65 This content downloaded from 129.237.46.100 on Wed, 16 Jul 2014 14:04:30 PM All use subject to JSTOR Terms and Conditions atonement,and Germany'sfuture will dominate the cultural agenda well into this newcentury. It was actuallythe yet undefinedand emptyspace reservedfor the Holocaust memorial-severalfootball fields wide near Berlin'sBrandenburg Gate-that provokedWalser's criticism and spurreda feuilletondebate that months later still demandsresolution.4 As he acceptedthe 1998 Peace Prizefor Literature at the FrankfurtBook Fair,Walser referred to the "instrumentalizationof Auschwitz," executedwith a "moralcudgel" (Moralkeule). He claimedthat "instead of being gratefulfor the "unceasing presentation ofour [German] shame," he was "beginning to lookaway." This incited Bubis to respondpublicly as he spokein memoryof the November1938 pogroms,charging Walser with "intellectual arson" for suggesting the need to "look away"from the Holocaustby the majorityof non-Jewish Germans.The debategained in fervordaily, then weekly, while other leaders sought to diffusethe angry tone among Germany's intelligentsia. ByDecember 1998, Bubis hadpronounced Walser a latentanti-semite. And the Frankfurter Allgemeine Zeitung arrangedfor a meetingbetween Bubis and Walser to reconciletheir feelings publicly, whileseeking clarity and understanding.5Such attemptsat publicreconciliation regardingGermany's wartime infractions are whatprompted the idea to builda memorialto theHolocaust in Berlin. Over the past ten years,cultural boards, politicians, and juriesdiscussed and acceptedan architecturaldesign for a Holocaustmemorial in Berlin.The founda- tion stonewas to be laid on January27, 1999, Germany'sofficial "Holocaust RemembranceDay." But thisritual was delayedby a yearand uncertaintystill prevailsabout its actualform. Only recentlydid the chosenAmerican architect, PeterEisenman, negotiate the ultimate dimensions for his much-criticized 4.9 acre fieldof approximately two thousand seven hundred concrete pillars. Over the past yearand a half,government officials, including the CulturalMinister,
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