Abstracts:

From a theatre's protest against losing their space, to a themed restaurant, to a shabbat ceremony, Skrzypek na dachu (Fiddler on the Roof) appears in Poland in unexpected places. This essay explores the performance's many iterations from its prewar context as Tevye the Dairyman, to the postwar translation of the American musical in the turbulent early 1980s, to Anatewka Restaurant established in 2000, and beyond, to examine how elements of the piece have come to encapsulate certain intangibles of Polish cultural heritage stemming from its Jewish past. In examining its history of performance in Poland, this essay theorizes how Skrzypek as a performance and cultural touchstone comes to stand in for engagement with Polish-Jewishness in Poland today, mapping out Skrzypek and its earlier iterations as they perform a transhistorical bridge spanning pre- through postwar eras. Contextualizing the narrative's historical appearances and collective impact, this essay traces how Jewishness, vis-à-vis Tevye to Skrzypek, has been taken up over time and in changing political contexts to redefine Polishness in various moments. The musical is an important entry into a broader field of inquiry into performances of Jewishness in Poland that collectively perform a broadened Polish narrative that includes the country's now-lost multiethnic past.

摘要：

从剧院抗议失去空间，到主题餐厅，再到安息日仪式，Skrzypek na dachu（屋顶上的提琴手）出现在波兰意想不到的地方。本文探讨了该剧的多次迭代，从战前《奶牛场老板 Tevye》的背景，到战后动荡的 20 世纪 80 年代初美国音乐剧的翻译，再到 2000 年成立的 Anatewka 餐厅，以及更久远的时间，以探讨这部作品的元素是如何演变的。概括了源自犹太历史的波兰文化遗产的某些无形资产。在考察其在波兰的表演历史时，本文理论化了Skrzypek如何作为表演和文化的试金石，今天的波兰成为了与波兰犹太文化接触的标杆，勾画出斯克兹佩克及其早期版本，他们表演了一座跨越战前和战后时代的跨历史桥梁。本文将叙事的历史面貌和集体影响置于背景中，追溯了从特维耶到斯克兹佩克，犹太性如何随着时间的推移和不断变化的政治背景而被人们所接受，从而在不同时刻重新定义波兰性。这部音乐剧是对波兰犹太表演进行更广泛调查的重要切入点，这些表演共同演绎了更广泛的波兰叙事，其中包括该国现已失落的多民族历史。