This book explores how the women’s orchestra at Auschwitz-Birkenau has been remembered in both media and popular culture since the end of the Second World War. In particular it focuses on Fania Fenelon’s memoir, Playing for Time (1976), which was subsequently adapted into a film. Since then the publication has become a cornerstone of Holocaust remembrance and scholarship. Susan Eischeid therefore investigates whether it deserves such status, and whether such material can ever be considered reliable source material for historians. Using divergent source material gathered by the author, such as interviews with the other surviving members of the orchestra, this Pivot seeks to shed light on this period of women’s history, and questions how we remember the Holocaust today.
DIV With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. This groundbreaking book looks at the Jewish composers and musicians banned by the Third Reich and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany’s historic traditions and the ideals of German culture, the isolation, exile and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation. Michael Haas looks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position in Nazi Europe, their forced emigration before and during the war, their ambivalent relationships with their countries of refuge, such as Britain and the United States and their contributions within the radically changed post-war music environment. /div
In 1943, Fania Fénelon was a Paris cabaret singer, a secret member of the Resistance, and a Jew. Captured by the Nazis, she was sent to Auschwitz, and later, Bergen-Belsen. With unnerving clarity and an astonishing ability to find humor where only despair should prevail, the author charts her eleven months as one of "the orchestra girls"; writes of the loves, the laughter, hatreds, jealousies, and tensions that racked this privileged group whose only hope of survival was to make music.
The extraordinary story of the women's orchestra in Auschwitz, originally filmed for television with Vanessa Redgrave, and adapted for the stage by Miller himself. Fania Fénelon, a Parisian singer, is arrested by the Nazis and sent to Auschwitz. There, she finds herself swept into the orchestra, composed entirely of female prisoners and founded as entertainment for the camp commandants. As long as the orchestra continues to find favour, its members will be spared the gas chambers. But Fania is struggling with the corruption of what she holds most sacred in the world - her music - and the morals of the orchestra members are being ground down every day. They are, quite literally, playing for time. Arthur Miller's stageplay Playing for Time is adapted from the 1980 CBS television film, written by Miller himself, and based on acclaimed musician Fania Fénelon's autobiography The Musicians of Auschwitz. The television film starred Vanessa Redgrave as Fénelon. The stageplay was first staged at 1-Act Theatre, San Francisco, in 1985.
“I find it hard even now to get into focus all these horrors, my mind is really quite incapable of taking in everything I saw because it was all so completely foreign to everything I had previously believed or thought possible.” British Major Ben Barnett’s words echoed the sentiments shared by medical students, Allied soldiers, members of the clergy, ambulance drivers, and relief workers who found themselves utterly unprepared to comprehend, much less tend to, the indescribable trauma of those who survived at the Bergen-Belsen concentration camp. The liberation of Bergen-Belsen by the British in April 1945 was a defining point in history: the moment the world finally became inescapably aware of the Holocaust. But what happened after Belsen was liberated is still a matter of dispute. Was it an epic of medical heroism or the culmination of thirteen years of indifference to the fate of Europe’s Jews? This startling investigation by acclaimed documentary filmmaker and historian Ben Shephard draws on an extraordinary range of materials–contemporary diaries, military documents, and survivors’ testimonies–to reconstruct six weeks at Belsen beginning on April 15, 1945, and reveals what actually caused the post-liberation deaths of nearly 14,000 concentration camp inmates who might otherwise have lived. Why did it take almost two weeks to organize a proper medical response? Why were the medical teams sent to Belsen so poorly equipped? Why, when specialists did arrive, did they get so much of the medicine plain wrong? For the first time, Shephard explores the humanitarian and medical issues surrounding the liberation of the camp and provides a detailed, illuminating account that is far more complex than had been previously revealed. This gripping book confronts the terrifying aftermath of war with questions that still haunt us today.
A searing drama of the Holocaust—and the remarkable, moving story of the Auschwitz Women’s Orchestra Paris, 1942. Fania Fénelon, a popular Jewish nightclub singer, is arrested by the occupying Germans. Sent to Auschwitz in a packed freight-car, shorn of her hair, tattooed with an identifying number, starved, and subjected to harsh labor, she loses all traces of her former self. But her life at the camp changes dramatically when she is drafted into the Women’s Orchestra, a desperate little ensemble that marches the prisoners out to work and gives concerts for the German high brass. Led by Alma Rosé, a sternly ambitious German-Jewish conductor who knows that her job is a matter of life and death, Fania and her fellow musicians must confront the horror taking place around them while pushing themselves to create beauty in the midst of despair. Based on Fania Fénelon’s memoir of the same name, Arthur Miller’s Playing for Time was first produced as a CBS television drama starring Vanessa Redgrave before being adapted for the stage.
“Mesmerizing and inspirational.”—Judy Batalion, New York Times bestselling author of The Light of Days The incredible true story of two Holocaust survivors who fell in love in Auschwitz, only to be separated upon liberation and lead remarkable lives apart following the war—and then find each other again more than 70 years later. Zippi Spitzer and David Wisnia were captivated by each other from the moment they first exchanged glances across the work floor. It was the beginning of a love story that could have happened anywhere. Except for one difference: this romance was unfolding in history’s most notorious death camp, between two young prisoners whose budding intimacy risked dooming them if they were caught. Incredibly, David and Zippi survived for years beneath the ash-choked skies of Auschwitz. Under the protection of their fellow inmates, their romance grew and deepened, even as their brushes with death mounted and David’s luck in particular seemed close to running out. As the war’s end finally approached and the time came for them to leave the camp, David and Zippi made plans to meet again. But neither of them could imagine how long their reunion would take or how many lives they would live in the interim. They had no inkling, either, of the betrayals that would await them along the way. But David did suspect that Zippi harbored a secret—one that could explain the mystery of his survival all those years ago. An unbelievable tale of romance, sacrifice, loss, and resilience, Lovers in Auschwitz is a saga of two young people who found themselves trapped inside a waking nightmare of the Nazis’ creation, yet who nevertheless discovered a love that sustained them through history’s darkest hour.
