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Theatrical Performance, Survivor Testimony and the Terezín Ghetto, 1941-1963

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Theatrical Performance, Survivor Testimony and the Terezín Ghetto, 1941-1963 The Prosthetic Life: Theatrical Performance, Survivor Testimony and the Terezín Ghetto, 1941-1963 A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Lisa A. Peschel IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Margaret Werry Associate Professor of Theatre Arts and Dance Advisor October 2009 © Lisa A. Peschel, October 2009 i Acknowledgements I would like to express my thanks to many people and organizations who helped make this dissertation a reality. My greatest debt of thanks is due to the survivors of the Terezín ghetto. Although in the dissertation itself I have analyzed only a fraction of the testimony I have collected, I am grateful to all of those who have testified to their experience and look forward to engaging with their narratives in more depth as this project continues to unfold. I am especially grateful to those survivors and their contemporaries who have granted me personal interviews in recent years, for they have shaped my interpretation in fundamental ways: Shulamit Amir, Edna and Arie Amit, Hilda Arnsteinová, Ziv Bacharach, Věra Bednářová, Michal (Maudka) Beer, Kitty Berger, Jiří Schmuel Bloch, Ruth Bobek, Miloslava Dohnalová, Michal Efrat, Zdenka Ehrlich-Fantlová, Walter Fantl-Brumlík, Marianna Foltýnová, Rudi Gelbard, Helena Glancová, Martin Glas, Eva Gross, Doris Grozdanovičová, Anna Hanusová-Flachová, Eva Herrmannová, Jarmila Horálková, Margarethe Horowitz-Trentini, Helga Hošková, Anna Hyndráková, Zuzana Justman, Helga Kinsky, Greta Klingsberg, Dita Kraus, Grete Lendvay, Dagmar Lieblová, Anna Lorencová, Eva Lukash, Leo Luster, Max Mannheimer, Evelyna Merová, Miriam Merzbacher-Blumenthal, Bernhard Morgenstern, Bohumil Porges, Irena Ravelová, Eva and Jan Roček, Eva Roubíčková, Zuzana Růžičková, Marietta Ryba, Alisah Schiller, Margit Silberfeld, Alice Sommer-Herz, Ruth Stein, Věra Steinerová, Edith Stern, Alena Sternová, Pavel Stránský, Věra Vrbová, Suzie and Freddie Weiss, Ela Weissberger, and Raja Žádníkova. ii Several witnesses who played key roles in this project did not live to see the completion of the dissertation. I would like to remember them here: Rahel Ardon, Karel Berka, Gavriel Dagan, Ruth Elias, Jiří Franěk, Petr Herrmann, Kurt Jiří Kotouč, Marianna Müllerová, Eva Musilová, Alena Munková, Hana Pravdová, and Alisa Scheck. During the final research and writing of the dissertation I focused mainly on a small group of survivors who gave testimony in multiple postwar periods, most of whom I was able to interview personally. Although not all of their testimony is included in this final draft, I am grateful for the depth of perspective that they provided me and also for their friendship and the help of their spouses and family members: Luděk Eliáš, his daughter Martina Eliášová and his late wife Eva Eliášová, his sister-in-law Kate Elias and his niece Dorothy Elias; Jan Fischer and his daughter Taňa Fischerová (I am grateful to Jan Fischer as well for his essay, which appears in the Foreword); Hana Lojínová, her sister and fellow survivor Lilka Trojanová and brother- in-law Jindřich Trojan; František Miška; Hana Reinerová, whom I was fortunate to interview several times before her death in 2007, her late husband Karel Reiner, who is a living presence in this work, and their daughters Kateřina Reinerová and Michaela Schleifová. The testimony of two more survivors who passed away before this project began has been tremendously influential, and thanks to their friends and family they have become vivid personalities for me: Kamila Ronová (Rosenbaumová), whose daughter Kate Rys has generously provided me with information and access to family documents, and Jana Šedová (Truda Popperová), whom all her fellow actors described with great affection. iii Several organizations have supported this project financially in various ways. The J. W. Fulbright Commission provided the grant for my first research year in the Czech Republic and I am grateful to the whole staff of the Fulbright office in Prague for their support and friendship. A fellowship from the Institute for Czech Literature of the Academy of Sciences of the Czech Republic and South Bohemian University enabled me to stay in the Czech Republic and conduct additional research for this project and two others regarding the plays written in the ghetto and also provided me with a network of congenial colleagues with whom I look forward to working for years to come. A P.E.O. Sisterhood Scholar Award and a Shevlin Fellowship from the University of Minnesota provided me with vital financial support during the writing of the dissertation. Additional grants from the University of Minnesota (The Alexander Dubček Fund through the Office of International Programs, a Doctoral Dissertation International Research Grant from the Graduate School, a Center for Jewish Studies Jerome Joss Graduate Student Research Grant, and several Foreign Language and Area Studies Fellowships administered through the Institute for Global Studies) supported my research. I have very much appreciated support from the Department of Theatre Arts and Dance, including the Oscar Firkins Scholarship, Elsie Kelley Lindquist Scholarship and Century Council Theatre History/Theory Award and additional tuition and travel grants that have enhanced my scholarship. Several institutions in the Czech Republic eased my stay. I would like to thank all my advisors and colleagues at Charles University and the Theater Institute in Prague, Masaryk University and the theater department of the Janáček Academy of Musical Arts in Brno. Special thanks to the Institute of the Terezín Initiative, the Terezín iv Memorial, the Jewish Museum in Prague and the National Archives for making their expertise and their libraries and collections available to me. The Educational and Cultural Center of the Jewish Museum in Prague and its branch in Brno provided invaluable opportunities for me to present the early results of my research to the survivor community, and the Terezín survivor organization, the Terezín Initiative, provided invaluable assistance at several points in this project. I beg the indulgence of my colleagues at the above institutions for not mentioning them all by name, and I look forward to thanking them in person soon. Here I will mention just a few who have been incredibly generous with their time and scholarship in ways that were essential to my work. I would like to thank PhDr. Jaroslava Milotová, CSc. of the Institute of the Terezín Initiative for our many conversations about Czech and US views of the history of Terezín, prof. PhDr. Bořivoj Srba, DrSc. for his extensive scholarship on a wide range of Czech theatrical performance during World War II, and PhDr. Eva Šormová, CSc . of the Theater Institute, for her groundbreaking work on Terezín theater and for generously providing me with her notes from 1963 as well as with invaluable advice on interpreting the testimony. I would also like to thank PhDr. Dagmar Lieblová of the Terezín Initiative for her long friendship and for all her help in gaining me access to the survivor community, Mgr. Blanka Kynclová and her whole family for brilliant transcriptions of my interview tapes, and Petr Brod, for supplying me with an unending stream of hard- to-find resources and invaluable advice. I am grateful to my dissertation committee for their knowledge and support. Leslie Morris and Cindy Garcia provided invaluable advice during the defense and I v look forward to incorporating their comments as I expand this manuscript into a book- length study. I am grateful to Sonja Arsham Kuftinec for all her feedback, as well as for asking a key question at a critical point in my writing. My heartfelt thanks to Gary Cohen for a thorough grounding in the history of Central Europe, for reading extremely rough drafts, and for providing valuable insight on the historical context of the testimony. Finally I would like to thank my advisor, Margaret Werry, for reading even more and even rougher drafts, for pushing me to read more deeply into the testimony, for guiding me back to the emotional core of the project, and for telling me, at an early but fraught point in the process, "We'll get you through." At the University of Minnesota I would also like to thank all the staff of the Department of Theatre Arts and Dance, everyone in the Center for Austrian Studies, and professor emeritus Josef Mestenhauser for his academic and consular support. I am grateful to Professor Jindřich Toman at the University of Michigan for uttering a particular sentence at a critical juncture. At the University of Texas, Suzan Zeder constantly challenged me to question my own relationship to this material, and Stacy Wolf shepherded my thesis play about the ghetto through the final phases of development onto the stage. At the University of Wisconsin I extend my thanks to Professor Donald Woolston for his unflagging support over many, many years, and finally, I am glad to be able to express my gratitude to Standish Henning, professor emeritus, for everything I have learned from him about writing, about academia, about being an educator, and about being a friend. Finally, to all my friends in Europe and the US who have listened to me talk and talk and talk about this project, and to all my fellow graduate students and researchers vi who have struggled along with me as we have pursued our various scholarly missions: I am honored to be your friend and colleague and I could not have done it without you. vii Dedication This dissertation is dedicated to my family. viii Abstract During all periods in postwar Czechoslovakia when the World War II Jewish ghetto at Terezín (in German, Theresienstadt) could be discussed in the public sphere, Czech- Jewish Holocaust survivors created and circulated narratives about the cultural life of the ghetto and their own experience of agency and pleasure while engaged in theatrical performances. Focusing on two periods, the immediate postwar years (1945-47) and an early point in the political thaw leading to the Prague Spring (1963), I examine testimony that survivors addressed to their fellow Czechs in the public sphere as a rhetorical performance in its own right.
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