"La semaine des deux Shylock." that is radically anti-Semitic.
Egervari's introduction notes that unlike the "orchestral organizations in Theresienstadt or elsewhere" no theatrical activities took place in Auschwitz.
Abella and Troper further document how Jewish quotas existed in various professions, universities, medical schools and industries.
Jews were restricted from buying property in some areas, from holidaying at some resorts, from joining many private clubs or using their recreational facilities and even from sitting on boards of various charitable, educational, financial and business organizations. There was even some violence as Jew and anti-Semite confronted one another on the streets of Toronto, Winnipeg and other Canadian cities .
I myself have never allowed that thought to be entertained for a moment or to have any feeling which would permit prejudice to develop, but I must say that the evidence is very strong, not against all Jews, which is quite wrong, as one cannot indict a race any more than one can a nation, but that in a large percentage of the race there are tendencies and trends which are dangerous indeed. 228) In such racist contexts, Egervari's play makes an important contribution to assimilating issues of national and international importance into a local Canadian theatrical context.
As a Shakespearean adaptation, the play engages with a genre flexible enough to reflect on the unspeakable horrors of Auschwitz from within a local cultural context.Egervari's work takes on Nazism, anti-Semitism, and the production contexts of , and used explicit materials and documents from the Nazi era to thicken the cultural critique of anti-Semitism it presents (including in one notable instance a negative image of the Jew as frightening, hook-nosed caricature with the caption "Jews are Messiah murderers").As a theatrical adaptation, then, Egervari's work compounds and collides multiple texts and influences with Shakespeare's ur -work within the multilinguistic and multicultural context of Canada, whose own legacy provides sobering reminders of Canada's long-standing restrictionist immigration policies towards Jews in the 20s and 30s.When Egervari's play was staged in Montreal in 1993, it opened on the same night (at the Salle Gésu, a church basement theatre in a building owned by Jesuits) as Théâtre du Nouveau Monde's French version of directed by Daniel Roussel.The simultaneous opening of a radical criticism of the play post-Auschwitz and of a more traditional translation of the play sparked a significant debate in Montreal among the Jewish community and in the local press.Egervari's work fuses his own experience as a Hungarian Jew with the unthinkable evil of Auschwitz filtered through Shakespearean theatrical contexts.A further important context for understanding the play is that in 1933, the Nazis staged 20 times.His mother and younger sister died there and his two older sisters survived.Wiesel also spent time in Buchenwald with his father, who died there shortly before liberation in 1945.Although every effort has been made to secure permission for materials uploaded on the CASP site, in some circumstances we have been unable to locate copyright holders.Links may be made to our site but under no conditions are the texts and images to be copied and mounted onto another site server.