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In an abridged translation that retains the grace and passion of the original, Klots and Ufberg present the stunning memoir of a young woman who became an actress in the Gulag. Tamara Petkevich had a relatively privileged childhood in the beautiful, impoverished Petrograd of the Soviet regime's early years, but when her father—a fervent believer in the Communist ideal—was arrested, 17-year-old Tamara was branded a \"daughter of the enemy of the people.\" She kept up a search for her father while struggling to support her mother and two sisters, finish school, and enter university. Shortly before the Russian outbreak of World War II, Petkevich was forced to quit school and, against her better judgment, she married an exiled man whom she had met in the lines at the information bureau of the NKVD (People's Commissariat of Internal Affairs). Her mother and one sister perished in the Nazi siege of Leningrad, and Petkevich was herself arrested. With cinematic detail, Petkevich relates her attempts to defend herself against absurd charges of having a connection to the Leningrad terrorist center, counter-revolutionary propaganda, and anti-Semitism that resulted in a sentence of seven years' hard labor in the Gulag. While Petkevich became a professional actress in her own right years after her release from the Gulag, she learned her craft on the stages of the camps scattered across the northern Komi Republic. The existence of prisoner theaters and troupes of political prisoners such as the one Petkevich joined is a little-known fact of Gulag life. Petkevich's depiction not only provides a unique firsthand account of this world within a world but also testifies to the power of art to literally save lives. As Petkevich moves from one form of hardship to another she retains her desire to live and her ability to love. More than a firsthand record of atrocities committed in Stalinist Russia, Memoir of a Gulag Actress is an invaluable source of information on the daily life and culture of the Soviet Union at the time. Russian literature about the Gulag remains vastly underepresented in the United States, and Petkevich's unforgettable memoir will go a long way toward filling this gap. Supplemented with photographs from the author's personal archive, Petkevich's story will be of great interest to general readers, while providing an important resource for historians, political scientists, and students of Russian culture and history.

Between the Wires tells for the first time the history of the Janowska camp in Lviv, Ukraine. Located in a city with the third-largest ghetto in Nazi-occupied Europe, Janowska remains one of the least-known sites of the Holocaust, despite being one of the deadliest. Simultaneously a prison, a slave labor camp, a transit camp to the gas chambers, and an extermination site, this hybrid camp played a complex role in the Holocaust. Based on extensive archival research, Between the Wires explores the evolution and the connection to Lviv of this rare urban camp. Waitman Wade Beorn reveals the exceptional brutality of the SS staff alongside an almost unimaginable will to survive among prisoners facing horrendous suffering, whose resistance included an armed uprising. This integrated chronicle of perpetrators, victims, and bystanders follows the history of the camp into the postwar era, including attempts to bring its criminals to justice.

Two scripts were created in 2017 from the same source materials: preserved song lyrics from a performance created in 1943 in the Terezin Ghetto called Prince Bettliegend (the Bedridden Prince), the popular 1930s jazz melodies to which those lyrics were set, and fragments of testimony by survivors who performed in or witnessed that production. The development processes took place under the auspices of the £1.8 million AHRC-funded project Performing the Jewish Archive. PtJA co-investigator Lisa Peschel has spent the past two decades researching theatrical performance in Terezin, and the project's planned performance festivals in Australia and South African in the summer of 2017 afforded a unique opportunity to allow Prince Bettliegend to speak to our present. Peschel synthesized the existing materials into a rough plot outline, then collaborated with local production teams at the University of Sydney (produced by Joseph Toltz, directed by Ian Maxwell) and Stellenbosch University (directed by Amelda Brand) to reconstruct/recreate/re-imagine the play. Both teams were extraordinarily sensitive to questions of trauma and pleasure in the original performance, and those questions manifested themselves in different underlying themes that emerged with each production. During the first, month-long development process at the University of Sydney (July 2017), Peschel, Maxwell and Toltz worked together to refine the plot outline, Toltz and musical director Kevin Hunt explored the 1930s music with the entire production team, then the actors, recruited from Sydney's alternative theatre scene, developed the performance through improvisation. Due to fortuitous accidents of casting, a theme soon emerged that dovetailed with the historical reality of the ghetto: the desire of the older prisoners to protect the youth. While the Australian production was still in development, the South African team at Stellenbosch University, led by Amelda Brand, began creating their own version. Their performance was based on the same plot outline and, to some extent, the same text developed by the Sydney performers, but their production diverged radically due to their interest in addressing issues of more immediate interest to the multi-racial student case: race and power. Their musical approach also diverged: music director Leonore Bredekamp created a hybrid of 1930s jazz and klezmer music. Part I of the book is composed of a series of essays about the original material and about each production. The essays, written by Peschel and key collaborators on each development team, explore the Terezin production and both reconstructions. Part II comprises the scripts. Although the texts themselves are similar, detailed stage directions and illustrations make clear how each manifested its own themes. Part of Intellect's Playtext [https://www.intellectbooks.com/playtext]series.

Located in the melting pot of the world's vibrant mixed-race milieu known as Los Angeles, Robey offers an encouraging environment of understanding and support where multicultural theater advances and stimulates discussions about universal themes that reflect life as seen through the eyes of Black characters on stage struggling to survive, advance and simply maintain\" Robey theatrical productions have been embodied in various plays such as For the Love of Freedom (2001, 2003, 2004, a three-part trilogy about the Haitian Revolution), Knock Me a Kiss (2014, about the marriage between Countee Cullen and Yolande Du Bois), and the Magnificent Dunbar (2014, which tells the history of the Black-owned Dunbar Hotel located on Central Avenue in Los Angeles during the first half of the twentieth century). BABP is concerned with developing a Black public sphere that \"is a transnational space whose violent birth and diasporic conditions of life provide a counternarrative to the exclusionary national narratives of Europe, the United States, the Caribbean, and Africa\" Through research, pedagogy, creative practice, and community engagement, BABP is a platform dedicated to exploring, organizing, sustaining, and disseminating information around Black artistic, cultural, and political practice. The critical historical performance of racial regimes in Bronzeville unearths the juncture between the denial of citizenship, property, and personhood by demonstrating how the state, in conjunction with private business interests, colluded to structure race-class inequity by controlling the development of residential neighborhoods through racially restrictive housing covenant laws, limiting access to capital, incarcerating families, extrajudicial violence, and denying citizenship to Black Americans and Asian Americans. According to Peterson: \"By any criterion of good citizenship that we choose, the Japanese Americans are better than any other group in our

Artykuł omawia tom Było, minęło…Wspomnienia, zawierający dwanaście tekstów Bohdana Korzeniewskiego, z przedmową Anny Kuligowskiej-Korzeniewskiej i posłowiem Andrzeja Kruczyńskiego (Warszawa 2020). Porządek tej publikacji, otwartej na autobiograficzną wielogatunkowość, wyznacza chronologia przywoływanych zdarzeń, a jej wielkim metatematem jest genealogia polskiej inteligencji, obraz pokolenia, dla którego I wojna światowa, rewolucja, odzyskanie niepodległości były doświadczeniami formacyjnymi, wchodzącego w dorosłe życie w Polsce niepodległej, wychowanego w poczuciu misji. Bohdan Korzeniewski (1905–1992) opisuje swoją młodość w okresie międzywojennym, doświadczenia wojenne i okupacyjne (w wybitnym „dyptyku oświęcimskim”), lata powojenne. Tom, choć zbiera rzeczy znane, napisane w drugiej połowie ubiegłego wieku, wart jest ponowionej lektury, przyciąga przede wszystkim swoją wartością literacką. Wspomnienia Korzeniewskiego czyta się jak pasjonującą autobiografię (i autokreację) polskiego inteligenta, świadka dwudziestowiecznej historii zmagającego się ze światem i z samym sobą.

Abstract The World War II Jewish ghetto at Theresienstadt, forty miles northwest of Prague, was the site of an uncommonly active cultural life. Survivor testimony about the prisoners’ theatrical performances inspired a question: why were almost all of the scripts written in the ghetto comedies? The recent rediscovery of several scripts has made possible a detailed analysis that draws from recent research on the psychological effects of different types of humour. This analysis reveals that, regardless of age, language or nationality, the Theresienstadt authors universally drew upon two potentially adaptive types of humour (self-enhancing and affiliative humour) rather than two potentially maladaptive types (aggressive and self-defeating humour). Perhaps instinctively, they chose the very types of humour that have a demonstrated association with psychological health and that may have helped them preserve their psychological equilibrium in the potentially traumatising environment of the ghetto.

Manzanar National Historic Site, which is now a museum and national park, was constructed as a concentration camp where over 10,000 Japanese American people were illegally incarcerated by the United States government. 1 It was one of ten such sites that, all told, imprisoned over 120,000 Japanese Americans from 1942 to 1945, most of them U.S. citizens. 2 Nomura, who was born in Los Angeles and imprisoned at the age of sixteen, was one of those individuals. Camp Dance makes its research process and source materials visible within the show, weaving quotes from published primary and secondary sources into the narrative with verbal attribution. Unlike Camp Dance, however, Allegiance was written for a much broader, non-Japanese American audience and takes much greater pains to persuade its audience of the horrors and injustices of the camps, sometimes to the point of distorting the facts of camp life. 8 Camp Dance assumes an audience that experienced these hardships firsthand or sees the incarcerated Japanese Americans as family members and loved ones. [...]the broader injustice of the experience is often treated as a well-understood background, rather than a lesson that the show must teach.

“From the ovens we rise with our fists in the air. Now is the time.” My grandfather, Dovid Zisman, was a Yiddish playwright and poet, writing and performing while in the Łódz´ Ghetto and Buchenwald concentration camp. Poetry, song, and performance were his way to speak the unspeakable. A messy assemblage of theories, memoirs, verses, images, and recordings reveal what we can inherit through writing as resistance and through the creative mappings of space and time.

The Stolpersteine (‘stumbling stones’) memorial project commemorates victims of Nazi violence and the Holocaust through an individual marker installed outside the last willing residence before deportation and execution. The Stolpersteine project has spread throughout Europe, providing an urban topography of sites where traumatic events occurred. Because Stolpersteine are placed in public streets, they create performance possibilities, inviting passing pedestrians to engage in past history and trauma. As the project grows throughout Europe, however, the universality of the stones abuts with the specificity of local history and memory. This article considers the Stolpersteine installed in the Catalan city of Manresa. These stones, representing twenty-eight Spanish Republicans who were interned at the Mauthausen-Gusen concentration camp, are framed by a Catalan-language audio guide that directly points to the collaboration of the Francisco Franco dictatorship with Nazi Germany. In so doing, the stones in Spain also stand for violence meted out during the Spanish Civil War and the Franco dictatorship.