The Gift of Happy Memories: A World War II Christmas Puppet Play in Ravensbrück

IF 0.3 0 HUMANITIES, MULTIDISCIPLINARY
Cynthia Lisa Dretel
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引用次数: 0

Abstract

Szopki, Polish musical nativity puppet plays, were a widespread but relatively unstudied artistic response to Nazi occupation among Polish Catholics in Nazi concentration camps. Polish inmates used the szopki as an opportunity to subvert censorship, as the nativity story is only a small portion of a szopki production. The artist Maja Berezowska and Varsovian actress Jadwiga Kopijowska wrote and performed the Szopka Polska in Ravensbrück in 1942, 1943 and 1944. This article examines the adaption of traditional carols and puppets to facilitate a purposeful recreation of happy and comforting prewar memories in the play. Framing the sharing of positive memories as a form of caretaking builds on scholarship that focuses on less visible resistance, as these activities, especially communal activities led by women, are often overlooked in scholarship in favor of more overt or dramatic actions. The Szopka Polska writers drew strength from representations of childhood and motherhood. Parodied traditional songs and stock szopki scenes promoted Polish heritage and normalcy, using Poland's past triumphs as hope for future liberation. Three puppets, the Soldier, Polish Mother, and Inmate, who attend the nativity, directly address the inmates' World War II experiences, a phenomenon that rarely occurred in other forms of concentration camp theater. These three puppets, the nineteenth-century puppet Wiarus, and a skit for two children who address the puppets on stage promote survival and resistance by modeling productive reactions to oppression.  @font-face{font-family:"Cambria Math";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:-536870145 1107305727 0 0 415 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:"";margin:0in;mso-pagination:widow-orphan;font-size:12.0pt;font-family:"Times New Roman",serif;mso-fareast-font-family:"Times New Roman";}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-size:11.0pt;mso-ansi-font-size:11.0pt;mso-bidi-font-size:11.0pt;font-family:"Arial",sans-serif;mso-ascii-font-family:Arial;mso-fareast-font-family:Arial;mso-hansi-font-family:Arial;mso-bidi-font-family:Arial;mso-ansi-language:EN;}.MsoPapDefault{mso-style-type:export-only;line-height:115%;}div.WordSection1{page:WordSection1;}
快乐回忆的礼物:在ravensbrck的第二次世界大战圣诞木偶剧
Szopki,波兰音乐耶稣诞生木偶剧,是纳粹集中营中波兰天主教徒对纳粹占领的广泛但相对未经研究的艺术回应。波兰囚犯利用szopki作为颠覆审查制度的机会,因为耶稣诞生故事只是szopki制作的一小部分。艺术家Maja Berezowska和Varsovia女演员Jadwiga Kopijowska于1942年、1943年和1944年在Ravensbrück创作并表演了《Szopka Polska》。本文探讨了对传统颂歌和木偶的改编,以便于有目的地再现剧中快乐和安慰的战前记忆。将分享积极记忆视为一种照顾形式建立在关注不太明显阻力的学术基础上,因为这些活动,尤其是由女性领导的社区活动,在学术上往往被忽视,而倾向于更公开或戏剧性的行动。绍普卡·波尔斯卡的作家们从童年和母性的表现中汲取力量。模仿传统歌曲和怀旧的绍普基场景促进了波兰的传统和常态,将波兰过去的胜利视为未来解放的希望。参加耶稣诞生仪式的三个木偶,士兵、波兰母亲和囚犯,直接讲述了囚犯的二战经历,这一现象在其他形式的集中营剧院中很少发生。这三个木偶,19世纪的木偶Wiarus,以及一个为两个孩子准备的短剧,他们在舞台上对着木偶讲话,通过塑造对压迫的富有成效的反应来促进生存和抵抗。@font face{font-family:“Cambria Math”;panose-1:24 5 3 5 4 6 2 4;mso字体字符集:0;mso通用字体家族:罗马;mso字号:可变;mso字形签名:-53687015073270 415 0;}p.MsoNormal,li.MsoNormal,div.MsoNormal{mso-styleunhide:no;mso-styleqformat:yes;mso-ststyleparent:“”;margin:0in;mso-pagination:寡妇孤儿;font-size:12.0pt;font-family:“Times New Roman”,衬线;mso-fareast font-family:,无衬线体;mso-ascii字体家族:Arial;mso-fareast字体家族:Arial;mso-hansi字体家族:Arial;mso-bidi字体家族:Arial;mso-ansi语言:EN;}。MsoPapDefault{mso样式类型:仅导出;行高:115%;}div.WordSection1{page:WordSection1;}
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来源期刊
Open Library of Humanities
Open Library of Humanities HUMANITIES, MULTIDISCIPLINARY-
CiteScore
1.30
自引率
20.00%
发文量
24
审稿时长
15 weeks
期刊介绍: The Open Library of Humanities is a peer-reviewed, open-access journal open to submissions from researchers working in any humanities'' discipline in any language. The journal is funded by an international library consortium and has no charges to authors or readers. The Open Library of Humanities is digitally preserved in the CLOCKSS archive.
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