Martin Kagel is A. G. Steer Professor of German and Associate Dean in the Franklin College of Arts and Sciences at the University of Georgia.David Z. Saltz is Professor and Head in the Department of Theatre and Film Studies at the University of Georgia.

“By situating Tabori critically within the ever-expanding landscape of what is called, for better or worse, ‘the theater of the Holocaust,’ this book offers a richer accounting of the genre’s history as well as thoughtful reflection on its current efficacy and future potential. The book fills a gap both in our understanding of Holocaust representation broadly conceived and in contemporary theater studies. It will be welcomed by scholars and students alike.”

• ContentsAcknowledgementsIntroductionMartin KagelI. Tabori Redux“Macht kein Theater”: George Tabori RevisitedAnat FeinbergII. PerformanceDigesting Tabori: On the Reception of a Jewish Playwright in ItalyLaura FortiMemory? No! Experience: Sacrificial Ritual in George Tabori’s TheatreAlice Le Trionnaire-BolterauerPerformance Illuminations: George Tabori and the Bildraum of the ShoahKlaus van den BergIII. Ethics and AestheticsParsing the Jewish Question: Ethical Witnessing, Tabori, and the TheatricalRepresentation of the HolocaustRebecca RovitFrom Tragedy to Farce: Tropes of Reappearance on the Stages of Historyand the TheatreFreddie RokemWho’s Afraid of Kommissar Rex? Postdramatic Ecology and the Theatreof the Holocaust in René Pollesch’s Cappuccetto RossoJack DavisIV. Holocaust Representation and Popular CultureOn the Legacy of the Performative Body: George Tabori and Robert SchindelJohanna ÖttlA Tale of Fruitful Failure: Urs Odermatt’s Film Adaptation of George Tabori’sMein Kampf as a Guide to Five Maxims of Tabori’s Holocaust TheatrePeter Höyng“Painted Laughter”: Cabaret, The People in the Picture, and the Paradoxof Holocaust MusicalsBarbara Wallace GrossmanContributorsIndex

Martin Kagel is A. G. Steer Professor of German and Associate Dean in the Franklin College of Arts and Sciences at the University of Georgia.David Z. Saltz is Professor and Head in the Department of Theatre and Film Studies at the University of Georgia.

“By situating Tabori critically within the ever-expanding landscape of what is called, for better or worse, ‘the theater of the Holocaust,’ this book offers a richer accounting of the genre’s history as well as thoughtful reflection on its current efficacy and future potential. The book fills a gap both in our understanding of Holocaust representation broadly conceived and in contemporary theater studies. It will be welcomed by scholars and students alike.”

• ContentsAcknowledgementsIntroductionMartin KagelI. Tabori Redux“Macht kein Theater”: George Tabori RevisitedAnat FeinbergII. PerformanceDigesting Tabori: On the Reception of a Jewish Playwright in ItalyLaura FortiMemory? No! Experience: Sacrificial Ritual in George Tabori’s TheatreAlice Le Trionnaire-BolterauerPerformance Illuminations: George Tabori and the Bildraum of the ShoahKlaus van den BergIII. Ethics and AestheticsParsing the Jewish Question: Ethical Witnessing, Tabori, and the TheatricalRepresentation of the HolocaustRebecca RovitFrom Tragedy to Farce: Tropes of Reappearance on the Stages of Historyand the TheatreFreddie RokemWho’s Afraid of Kommissar Rex? Postdramatic Ecology and the Theatreof the Holocaust in René Pollesch’s Cappuccetto RossoJack DavisIV. Holocaust Representation and Popular CultureOn the Legacy of the Performative Body: George Tabori and Robert SchindelJohanna ÖttlA Tale of Fruitful Failure: Urs Odermatt’s Film Adaptation of George Tabori’sMein Kampf as a Guide to Five Maxims of Tabori’s Holocaust TheatrePeter Höyng“Painted Laughter”: Cabaret, The People in the Picture, and the Paradoxof Holocaust MusicalsBarbara Wallace GrossmanContributorsIndex

Martin Kagel is A. G. Steer Professor of German and Associate Dean in the Franklin College of Arts and Sciences at the University of Georgia.David Z. Saltz is Professor and Head in the Department of Theatre and Film Studies at the University of Georgia.

“By situating Tabori critically within the ever-expanding landscape of what is called, for better or worse, ‘the theater of the Holocaust,’ this book offers a richer accounting of the genre’s history as well as thoughtful reflection on its current efficacy and future potential. The book fills a gap both in our understanding of Holocaust representation broadly conceived and in contemporary theater studies. It will be welcomed by scholars and students alike.”

• ContentsAcknowledgementsIntroductionMartin KagelI. Tabori Redux“Macht kein Theater”: George Tabori RevisitedAnat FeinbergII. PerformanceDigesting Tabori: On the Reception of a Jewish Playwright in ItalyLaura FortiMemory? No! Experience: Sacrificial Ritual in George Tabori’s TheatreAlice Le Trionnaire-BolterauerPerformance Illuminations: George Tabori and the Bildraum of the ShoahKlaus van den BergIII. Ethics and AestheticsParsing the Jewish Question: Ethical Witnessing, Tabori, and the TheatricalRepresentation of the HolocaustRebecca RovitFrom Tragedy to Farce: Tropes of Reappearance on the Stages of Historyand the TheatreFreddie RokemWho’s Afraid of Kommissar Rex? Postdramatic Ecology and the Theatreof the Holocaust in René Pollesch’s Cappuccetto RossoJack DavisIV. Holocaust Representation and Popular CultureOn the Legacy of the Performative Body: George Tabori and Robert SchindelJohanna ÖttlA Tale of Fruitful Failure: Urs Odermatt’s Film Adaptation of George Tabori’sMein Kampf as a Guide to Five Maxims of Tabori’s Holocaust TheatrePeter Höyng“Painted Laughter”: Cabaret, The People in the Picture, and the Paradoxof Holocaust MusicalsBarbara Wallace GrossmanContributorsIndex