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Volume 14, Issue 1
  • ISSN: 1750-3159
  • E-ISSN: 1750-3167

Abstract

The children’s opera received fame through performances by Jewish children in the Theresienstadt ghetto from 1943 to 1944. Since its revival in the 1970s, the work has been performed around the world in multiple languages and has been transformed into a best-selling book by Tony Kushner and Maurice Sendak. Used as a tool for Holocaust education, many modern productions emphasize a narrative of cultural resistance as a way of reading the work, transforming ’s Brechtian agitprop plot of collective action profoundly. In the Sydney production of 2014, a decision was made to stay faithful to the original motives of the composer and librettist, and the production was shaped by ethnographic testimony of those who had witnessed the original performances. This article examines how the historical narrative interacts with the ethnographic and personal encounters in the interpretation and realization of this work. Burdened by a responsibility to historical context, how does ethnography assist in bringing nuance and multi-vocality? In what way does an empathic imperative inform these processes?

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2020-04-01
2024-04-27
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Ethnography and the empathic imperative: Negotiating histories in the Sydney Brundibár Project
Studies in Musical Theatre 14, 23 (2020); https://doi.org/10.1386/smt_00016_1
/content/journals/10.1386/smt_00016_1
/content/journals/10.1386/smt_00016_1
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  • Article Type: Article
Keyword(s): children’s opera; Czech music; empathy; ethnography; Holocaust music; Terezín

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