Today or tomorrow, I shall be taken to the camp.
May God help me to overcome this too.
—Regina Kandt, Last Letters from the Holocaust: 1941
The theatre’s nature is one of bringing people together, which makes it an apt medium to fuel collective memories. The type of theatre that best depicts the Holocaust is one that can provoke mourning for the victims and, at the same time, force the spectator to look within himself and ask himself if there is in him something of an executioner or of his accomplice. This is what George Tabori beautifully accomplishes in his plays The Cannibals, Mein Kampf and My Mother’s Courage.
Hungarian by birth, a writer in English, and a director (with occasional spouts of acting in German), Tabori combined his experience of British and American life with the cultural traditions of central Europe. What makes him so exceptional is not his widely known work as a translator and adapter of Bertolt Brecht, nor is it his screenplays of several Hollywood films, including the ones directed by Alfred Hitchcock—it is his experience. Would-be writers are often advised to rely on their own experiences when looking for a fresh subject matter. But there are a few writers that have as much rich material to draw on as George Tabori. His father was a prominent journalist who was arrested by the Nazis and was later killed in Auschwitz. His mother, however, managed to talk her way out of deportation to Auschwitz. Her story is told in Tabori’s play My Mother’s Courage and in the fiction film with the same name, directed by Michael Verhoeven (in which Tabori appears on screen through much of the film). Read More