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Voraussetzungen Für Die Gründung Des Lagers Theresienstadt

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Voraussetzungen Für Die Gründung Des Lagers Theresienstadt DIPLOMARBEIT Titel der Diplomarbeit „Musik von und für Kinder im Konzentrationslager Theresienstadt“ Verfasserin Alexandra Haumer angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, im August 2009 Studienkennzahl lt. Studienblatt: A 316 Studienrichtung lt. Studienblatt: Musikwissenschaft Betreuerin: Prof. Dr. Martha Handlos 1 Inhaltsverzeichnis 1. VORWORT ....................................................................................................................................................... 6 2. VORAUSSETZUNGEN FÜR DIE GRÜNDUNG DES LAGERS THERESIENSTADT ........................ 10 2.1. GESCHICHTE DER STADT .......................................................................................................................... 10 2.2. DIE LAGE IM PROTEKTORAT BÖHMEN UND MÄHREN VON 1939-1941 .................................................. 10 2.3. VORGESCHICHTE UND GRÜNDUNG DES LAGERS THERESIENSTADT ...................................................... 12 3. ALLGEMEINE INFORMATIONEN ZU THERESIENSTADT ............................................................... 16 3.1. PROBLEME BEI DER BEGRIFFLICHEN EINORDNUNG THERESIENSTADTS ............................................... 16 3.2. DIE VERWALTUNG DES LAGERS .............................................................................................................. 19 3.3. HÄFTLINGE ............................................................................................................................................... 21 3.3.1. Transporte ......................................................................................................................................... 21 3.3.2. Lebenssituation der Häftlinge .......................................................................................................... 23 3.4. KINDER ...................................................................................................................................................... 25 3.4.1. Demographische Übersicht .............................................................................................................. 25 3.4.2. Der Bialystoker Kindertransport ...................................................................................................... 25 3.4.3. Die Jugendfürsorge .......................................................................................................................... 27 3.4.4. Die Arbeitssituation .......................................................................................................................... 28 3.4.5. Die Ernährungssituation ................................................................................................................. 29 3.4.6. Die Heime ......................................................................................................................................... 30 3.4.7. Der Unterricht ................................................................................................................................... 35 3.4.8. Die Organisation „Jugend hilft“ ...................................................................................................... 38 3.5. BEFREIUNG ............................................................................................................................................... 39 3.6. DIE ROLLE THERESIENSTADTS IM NAZIREGIME .................................................................................... 41 4. MUSIK IN THERESIENSTADT .................................................................................................................. 42 4.1. VORRAUSSETZUNGEN FÜR DAS ENTSTEHEN EINES KULTURELLEN LEBENS IM LAGER ......................... 42 4.2. DIE ANFÄNGE ............................................................................................................................................ 43 4.2.1. Die Freizeitgestaltung ....................................................................................................................... 44 4.2.1.1. Die Zeit vor der offiziellen Gründung ......................................................................................................... 44 4.2.1.2. Die Gründung der Freizeitgestaltung ........................................................................................................... 45 2 4.2.2. Die erste Opernaufführung .............................................................................................................. 47 4.3. DIE ZEIT DES ERLAUBTEN MUSIZIERENS ................................................................................................ 49 4.3.1. Das Kaffeehaus ................................................................................................................................. 49 4.3.2. Die „Normalisierungsaktion“ der Nazis .......................................................................................... 50 4.3.3. Die Hochblüte der musikalischen Entwicklung .............................................................................. 51 4.3.4. Die erste Verschönerungsaktion ...................................................................................................... 52 4.3.5. Der Besuch des IKRK ....................................................................................................................... 54 4.4. SCHLUSSPHASE ......................................................................................................................................... 56 4.4.1. Propagandafilm über Theresienstadt ............................................................................................... 56 4.4.2. Die zweite Verschönerungsaktion .................................................................................................... 57 4.4.3. Das Verstummen der Musik ............................................................................................................. 58 5. MUSIK FÜR KINDER IN THERESIENSTADT ........................................................................................ 59 5.1. DAS TANZSPIEL „BROUČČI“ .................................................................................................................... 59 5.2. DIE KINDEROPER „BRUNDIBÁR“ ............................................................................................................. 64 5.2.1. Die Autoren ....................................................................................................................................... 64 5.2.1.1. Hans Krása .................................................................................................................................................. 64 5.2.1.2. Adolf Hoffmeister ........................................................................................................................................ 72 5.2.2. Die Handlung der Kinderoper .......................................................................................................... 73 5.2.3. Die Entstehung ................................................................................................................................. 73 5.2.4. Der Charakter der Musik ................................................................................................................. 76 5.2.5. Die erste Aufführung in Prag .......................................................................................................... 77 5.2.6. Die Kinderoper in Theresienstadt .................................................................................................... 77 5.2.6.1. Vorbereitungen und Proben in Theresienstadt ............................................................................................. 77 5.2.6.2. Die Premiere ................................................................................................................................................ 82 5.2.6.3. Bedeutung der Oper für die Mitwirkenden .................................................................................................. 82 5.2.6.4. Einsatz der Kinderoper „Brundibár“ in der SS-Propaganda ........................................................................ 85 5.2.6.5. Die Wiederentdeckung des „Brundibár“ ...................................................................................................... 86 5.2.7. Analyse .............................................................................................................................................. 86 5.2.7.1. Die Struktur der Oper .................................................................................................................................. 87 5.2.7.2. Musikalische Charakterisierung der Hauptfiguren ...................................................................................... 90 5.2.7.3. Harmonische Prinzipien ............................................................................................................................. 100 3 5.3. SONSTIGE MUSIKALISCHE BETÄTIGUNG VON KINDERN ....................................................................... 102 5.3.1. Der Mädchenchor und das Trio von Zimmer 28 ........................................................................... 102 5.3.2. Singen bei Ritualen und besonderen Anlässen ............................................................................. 103 5.3.3. Das Mitwirken und die Anwesenheit bei in Theresienstadt aufgeführten Werken und deren Proben ......................................................................................................................................................
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