Starting from the representation of the hunger motif in Primo Levi’s If This Is a Man (It. 1947, Engl. 1959) and its variation in George Tabori’s “black mass” The Cannibals (Engl. 1968, Germ. 1969), ...the contribution aims to re-interpret the complex relationship of autobiographical, historical and fictional elements in the celebrated drama of the Jewish romancier and dramatist (1914-2007), who famously had “a mother tongue, Hungarian, a father tongue, English, and an uncle tongue, German”. The metadramatic structure, combined with the focus on emotional, active memory, is thus related to the intertextual medley of the play as a sign for Tabori’s search of a ‘third way’ in representing the Holocaust on the stage, moving away both from documentarian realism and sentimental celebration of the victims
L’anello che manca. E quello che non torna in Nathans Tod di Georg Tabori propose a modern rereading of Lessing’s play Nathan the Wise (Nathan der Weise): Georg Tabori’s Nathans Death (Nathans Tod). ...The paper aims for a comparative analysis of the famous ring parable. Asked by the Sultan to decide which of the three religions owns the truth, Nathan narrates the fable of a magic ring that has been passed from generation to generation and finally lost, when a father with three sons makes two copies of the original one. The ring symbolises the tyranny of a unique truth that has to be overcome, in order to achieve tolerance. My interest focuses on two moments of Tabori’s rewriting of this fable. On the one hand, I analyse the way in which Tabori glosses over the ring parable in the dialogue between Nathan and Saladin thanks to Horkheimer’s and Adorno’s Dialectic of Enlightement (Dialektik der Aufklärung) and to Arendt’s Man in Dark Times (Von der Menschlichkeit in finsteren Zeiten). In the economic and social paradigm of the modern Totalitarianism there is no more place for tolerance. On the other hand, I reflect on the new context in which Tabori places the ring fable narrated by Nathan just before his death in front of the bodies of his dead sons. I consider that choice to be a parody: The contrast between the original context of enunciation and the modern one is the way in which Lessing’s tolerance is finally checkmated.
George Tabori (1914-2007), playwriter, stage director and Georg Büchner Prize recipient in 1992, is considered to be one of the most emblematic figures of German theater from the 1980s and 1990s. ...Brought up in a bilingual Jewish family of Budapest, Tabori wrote however almost exclusively his work in English and therefore achieved his first breakthrough in America. Contrary to other protagonists of the German intercultural literature, Tabori, who fled the Nazi terror, didn’t (re)find his way back in German language even though he moved in the Federal Republic of Germany in the beginning of the 1970s. This paper aims to analyze the unusual linguistic position of this important author from the German theatre’s recent history. For this purpose, we propose to contextualise Tabori’s career among other comparable cases of multilingualism in the 20th century German literature. Elias Canetti (1905-1994) and Klaus Mann (1906-1949), two renowned writers whose literary works and biographies are also shaped by prolonged exiles in the English-speaking world as well as translingual writing, will serve in this respect as points of comparison.
Signs of difference Balme, Christopher
Orbis litterarum,
December 2021, 2021-12-00, 20211201, Letnik:
76, Številka:
6
Journal Article
Recenzirano
Shylock and Othello are the characters in the Shakespearean oeuvre with the clearest racial markers. However one interprets the ethnic characteristics of ‘the Moor’—as a light‐skinned Arab or as a ...darker ‘African’—he seems to be a character marked by clear racial distinctions vis‐à‐vis the other figures. Shylock also has an iconographic history of racial marking. In this paper I shall examine how both figures can be read as tokens of ethnic or racial anxiety. Shakespeare’s African play is one of the works seldom performed in the contemporary German repertoire system. The Merchant of Venice is more frequently performed but poses different problems in terms of visual representation. It will be argued that German director’s theatre, with its love of experimentation and above all bold metaphoric images, is uncomfortable with the metonymic representation implied by ethnic casting. The discussion draws on Othello and The Merchant of Venice in productions by Fritz Kortner, Peter Zadek, George Tabori and Luk Perceval. Whereas Kortner, Zadek and Tabori stage the alterity figures in a mode of hypertrophic blackness or Jewish stereotyping bordering on (or indeed transgressing) overt racism, Perceval’s Othello is white and the alterity conflict seems to be one of age and gender not race.
The present contribution outlines George Tabori s career as a playwright and a director in the time span between 1947 and 2007 in American and European theatre, emphasizing his position as a wise ...stranger in German post-war culture. Then, the intertextual and metaphorical presence of the Holy Scriptures in his plays The Cannibals (1969), Mein Kampf (1987), and especially The Goldberg Variations (1991) is examined with respect to the key issues of his production: anti-Semitism before, during and after the Holocaust and its representation on the contemporary stage
In 1978 Jewish-Hungarian director and playwright George Tabori created a performance with the elaborate title I would my daughter were dead at my foot, and the jewels in her ear: Improvisations on ...Shakespeare's Shylock. Based on Shakespeare's The Merchant of Venice, the piece, produced by the Munich Kammerspiele, was performed in a former boiler room in a cellar by a cast of twelve actors and a musician. Tabori framed his adaptation as therapeutic memory-work, as a personal and collective attempt to come to terms with the trauma of the Holocaust in post-war (West) Germany.
Das Buch Mein Kampf ist wie keine andere Schrift zu einem Symbol des Nationalsozialismus und der nationalsozialistischen Herrschaft geworden. Gleichzeitig hält sich bis in die Gegenwart hartnäckig ...die Fehleinschätzung vom ungelesenen und unbeachteten Bestseller. Die Ergebnisse von Othmar Plöckingers Studie stellen derartige Klischees über Mein Kampf in Frage. Plöckinger zeichnet die komplexe Entstehungsgeschichte des Buches nach, die keineswegs von Willkür geprägt war er entfaltet die weit verzweigte Publikationsgeschichte und verfolgt das schwer zu überblickende Nach- und Nebeneinander der verschiedenen Ausgaben und Auflagen. Sehr deutlich analysiert er schließlich die intensive Auseinandersetzung mit dem Buch in Deutschland vor und nach 1933 und in den Staaten der späteren Alliierten.
Provider: - Institution: - Data provided by Europeana Collections- Three months to live - that's what the doctors gave Peter Radtke, who was born with brittle bone disease. Today he is 70 years old, ...has a PhD in Romance languages and has performed on stage and screen. As a member of the German Ethics Council he is an advocate for the rights of people with disabilities. On Talking Germany he tells us about his combative life.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
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