Reviewed by:

• Open Wounds: Holocaust Theater and the Legacy of George Tabori ed. by Martin Kagel and David Z. Saltz
• Timothy B. Malchow

George Tabori (1914–2007) is best known for his career as a playwright and director in the Germanspeaking theatre, from 1969 to the end of his life. From a family of Jewish origin in Budapest, his mother a convert to Catholicism and his father an atheist, Tabori became a BBC journalist and broadcaster in the Middle East during World War II, a novelist in postwar London, a screenwriter in California, and a playwright and director in New York. Although successful in these ventures, his breakthrough came when German speakers, hungry to interrogate the ongoing implications of the prior generation's responsibility for genocide, encountered his unconventional Holocaust theatre. Tabori's plays broke taboos in Germany by presenting Jews as protagonists, unsettling boundaries between victims and perpetrators and employing humor and the grotesque to shock and evoke visceral responses. Grounded in an inclusive, cosmopolitan humanism, they aimed at a transformative, even therapeutic, shared experience for the audience, the actors, society at large, and not least Tabori himself. His own father murdered in Auschwitz, Nazism had taught Tabori to see himself as a Jew and an outsider.

Open Wounds: Holocaust Theater and the Legacy of George Tabori originated in a 2015 conference at the University of Georgia. Its editors, Martin Kagel and David Z. Saltz, bring together an international group of scholars and theatre practitioners to explore Tabori's influence from multiple angles. Each essay is compelling in its own way. Introducing the volume, Kagel rightly suggests that Tabori's theatre work and its legacy merit more attention in the United States, not least because of how his experiences here influenced his methods and aesthetics. Assessing Tabori's impact is a complex undertaking, so the diversity of approaches in Open Wounds is highly appropriate. Under a hodgepodge of influences, including Bertolt Brecht, Samuel Beckett, William Shakespeare, Lee Strasberg, and Gestalt therapy, he developed no systematic methodology, focusing instead on experiments intended to transform performers and spectators alike and to blur the line between them.

Following Kagel's insightful introduction, ten essays are grouped into four sections, the first of which, "Tabori Redux," consists of a single essay by the preeminent Tabori scholar Anat Feinberg. After a helpful overview of Tabori's life and work, she explores his most experimental and innovative [End Page 532] work as a director, explaining that he became better known as a playwright due to the timing of his Holocaust plays and the needs of superficially philo-Semitic German devotees who pigeonholed him as a "reconciliatory Jew" (30). The subsequent section on "Performance" opens with an essay by playwright, writer, director, and translator Laura Forti, recounting the challenges she faced directing The Cannibals (1968) in her native Italy. There, actors reportedly resisted embracing Tabori's emphasis on performance as transformation and identifying with Jewish characters and perpetrators. Alice Le Trionnaire-Bolterauer, in her essay that follows Forti's, examines how Tabori's work appropriates the power of religious rituals while nonetheless establishing ironic distance. Klaus van den Berg closes out this section by drawing on Walter Benjamin's concept of illumination to theorize Tabori's unique contribution to performance.

The third section focuses on "Ethics and Aesthetics," opening with an essay by Rebecca Rovit, who employs trauma studies to investigate ethical implications of theatrical Holocaust representations that cast spectators as witnesses. She compares Tabori's work, especially Weisman and Copperface (1990), to plays by Charlotte Delbo, Joshua Sobol, and Peter Barnes. Freddie Rokem then considers Tabori's 2006 production of Brecht's Antigone adaptation alongside Brecht's original 1948 production. He also examines René Pollesch's references to the Brecht production in his 2016 staging of a different play. Rokem's essay explores the implications and limitations of theatre that self-reflexively highlights a produced work's performance history. The section ends with an essay by Jack Davis. He focuses on Pollesch's Cappuccetto Rosso (2005), meaningfully relating...

审核人：

• 开放的伤口：大屠杀剧院和乔治·塔博里的遗产编辑。Martin Kagel 和 David Z. Saltz
• 蒂莫西·B·马尔乔

乔治·塔博里（George Tabori，1914-2007 年）以其从 1969 年到生命终结期间在德语剧院担任剧作家和导演的职业生涯而闻名。塔博里来自布达佩斯的一个犹太血统家庭，他的母亲皈依了天主教，父亲是无神论者，二战期间成为 BBC 在中东的记者和广播员，战后伦敦的小说家，加利福尼亚的编剧，以及纽约剧作家和导演。尽管在这些冒险中取得了成功，但他的突破发生在德语演讲者渴望审问上一代人对种族灭绝的责任的持续影响时，遇到了他非常规的大屠杀戏剧。塔博里的戏剧打破了德国的禁忌，以犹太人为主角，受害者和肇事者之间令人不安的界限，并采用幽默和怪诞的方式来震惊和唤起本能反应。基于包容的、世界主义的人道主义，他们旨在为观众、演员、整个社会，尤其是 Tabori 本人提供一种变革性的、甚至是治疗性的、共享的体验。他自己的父亲在奥斯威辛被谋杀，纳粹主义教导塔博里将自己视为犹太人和局外人。

开放性伤口：大屠杀剧院和乔治·塔博里的遗产起源于乔治亚大学 2015 年的一次会议。它的编辑 Martin Kagel 和 David Z. Saltz 汇集了一批国际学者和戏剧从业者，从多个角度探索 Tabori 的影响。每篇文章都以自己的方式引人注目。在介绍这本书时，卡格尔正确地指出，塔博里的戏剧作品及其遗产在美国值得更多关注，尤其是因为他在美国的经历如何影响了他的方法和美学。评估 Tabori 的影响是一项复杂的工作，因此Open Wounds中方法的多样性非常合适。在贝托特·布莱希特、塞缪尔·贝克特、威廉·莎士比亚、李·斯特拉斯伯格和格式塔疗法等各种影响的大杂烩下，他没有开发出系统的方法论，而是专注于旨在改变表演者和观众并模糊他们之间界限的实验。

在 Kagel 富有洞察力的介绍之后，十篇论文分为四个部分，第一部分“Tabori Redux”由杰出的 Tabori 学者 Anat Feinberg 的一篇文章组成。在对 Tabori 的生活和工作进行了有益的概述之后，她探索了他作为导演最具实验性和创新性的[End Page 532]作品，并解释说由于他的大屠杀戏剧的时间安排和表面上 philo 的需求，他作为剧作家而更为人所知- 将他归类为“和解的犹太人”的闪族德国信徒 (30)。随后的“表演”部分以剧作家、作家、导演和翻译家劳拉·福尔蒂 (Laura Forti) 的一篇文章开篇，讲述了她在执导《食人族》时所面临的挑战(1968) 在她的祖国意大利。据报道，在那里，演员们拒绝接受塔博里对表演作为转变的强调，并拒绝认同犹太角色和肇事者。Alice Le Trionnaire-Bolterauer 在她紧随 Forti 之后的文章中探讨了 Tabori 的作品如何在建立反讽距离的同时挪用宗教仪式的力量。Klaus van den Berg 通过借鉴 Walter Benjamin 的照明概念来理论化 Tabori 对表演的独特贡献，从而结束了本节。

第三部分侧重于“伦理与美学”，以丽贝卡·罗维特 (Rebecca Rovit) 的一篇文章开篇，她使用创伤研究来调查将观众作为证人的戏剧大屠杀表演的伦理含义。她将 Tabori 的作品，尤其是Weisman 和 Copperface (1990)，与 Charlotte Delbo、Joshua Sobol 和 Peter Barnes 的戏剧进行了比较。Freddie Rokem 随后考虑了 Tabori 2006 年制作的布莱希特的《安提戈涅》与布莱希特 1948 年的原创作品一起改编。他还研究了 René Pollesch 在 2016 年上演的另一部戏剧中对布莱希特作品的引用。Rokem 的文章探讨了戏剧的影响和局限性，这些戏剧自我反省地突出了一部作品的表演历史。本节以杰克戴维斯的一篇文章结尾。他专注于 Pollesch 的Cappuccetto Rosso (2005)，有意义地与...