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    PRIMO—a stageplay: Auschwitz through the lens of time
    PRIMO—a stageplay: Auschwitz through the lens of time
    PRIMO—a stageplay: Auschwitz through the lens of time
    Ebook108 pages1 hour

    PRIMO—a stageplay: Auschwitz through the lens of time

    By Ed Davidson

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    About this ebook

    Viewing Auschwitz from Today's Perspective

    In 1987, Primo Levi, the Italian writer renowned for his autobiographical Survival in Auschwitz and other writings about the Holocaust, died after falling down the stairwell of his apartment house.

    The stage play Primo is a fictional account of Levi's last day. In it, he questions the relevance of his writings to the new generation while journeying into the dreamscape of his memory to a day in Auschwitz. Each step forward draws him further into his memories, blurring the distinction between past and present. He moves into the mist of timelessness, drifting through its shadows and currents, sensing the faint whisperings of distant voices, beckoning.

    The play emerges as a timeless depiction of Auschwitz driven by the prisoner's experience, defined by the survivor's memory. Primo creates an innovative way of staging a theatrical production by combining dialogue with choreographic movement. This brings a new realism to the performance by enhancing the unimaginable reality of the concentration camp environment, while displaying its devastating impact and illuminating the darkness that lingers in the human soul.

    "A debut play about the horrors of the Holocaust, the weight of memory, and the compulsion to remember . . . demanding, essential theater."  - Kirkus Reviews

    LanguageEnglish
    PublisherEd Davidson
    Release dateApr 14, 2019
    ISBN9781732969810
    PRIMO—a stageplay: Auschwitz through the lens of time

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      Book preview

      PRIMO—a stageplay - Ed Davidson

      INTRODUCTION

      THE STORY

      In 1987, Primo Levi, the Italian writer renowned for his autobiographical Survival in Auschwitz, his novels, and other writings about the Holocaust, died after falling down the stairwell of his apartment house. This play is a fictional account of Levi’s last day. In it, Levi questions the relevance of his writings to the new generation while journeying into the dreamscape of his memory to a day in Auschwitz.

      Primo’s aim is defining Auschwitz to the emerging generations.

      Written as a screenplay, it was adapted for stage readings, and then developed into a stage play. Transitioning to the stage was problematic: Primo has fifty characters, more than thirty scenes, and a strong visual interpretation of the storyline with rapid scene changes. Changing any of these elements would destroy the work as it was conceived and written. The only option was to create a new, unique way of staging a theatrical production.

      Primo projects a very different interpretation of movement, rhythm, and pace in a stage play. It is more akin to a movie on stage, yet it relies entirely on the power of live performance, building on the actors’ ability to convey the storyline through the experiences of the characters. Fusing the power that the actors bring to the performance with the successful integration of all the other elements in the production creates a chemistry encapsulating Primo’s essence that transcends the boundaries of the stage. This transports the audience into an imaginary world, disrupting the viewers’ complacency by awakening their inner spirits.

      THE STAGING

      Choreographic Movement

      Dialogue alone cannot portray Auschwitz. Choreographic movement, similar to dance but different in structure, is essential in creating the reality of the concentration camp’s environment, while displaying its emotional and debilitating impact. Created without music, working in conjunction with the dialogue or separately on its own, this movement is an integral part in depicting the camp experience that brings a visual intensity and fluidity to the realism of the performance. It brings another dimension to the piece, similar to a painter unlocking the potential of a canvas’s two-dimensional surface by invigorating the flatness with the power of perspective, creating a third dimension.

      A choreographer will create a visual narrative from segments of the action, through movement or mime, and then integrate that narrative with the other elements of the scene to move the story forward. Choreographic movement is not used in every scene, but is present throughout the work.

      Bending Time

      The present is experienced through Levi’s eyes as he moves through the day unaware of his impending fate. Simultaneously, the past is perceived through the dreamscape of his memory, reconstructing the world of the concentration camp. Each step forward draws him further into his memories, blurring the distinction between past and present as their boundaries vanish. He moves into the mist of timelessness, drifting through its shadows and currents, sensing the faint whisperings of distant voices as they beckon. The play emerges as a timeless depiction of Auschwitz driven by the prisoner’s experience, defined by the survivor’s memory.

      Ensemble

      There are twelve actors playing fifty characters. They are supported by eighteen dancers who perform the visual aspects of the story, either separately or in conjunction with the actors. Most of the characters only appear once or in a few scenes, while a small number appear throughout the play.

      In the present, each character is dressed differently according to the part they are playing. In the past, every character is wearing a uniform, making it difficult for the audience to separate and recognize individual prisoners from the nameless, shapeless bodies moving around the stage. The only way they can be identified is by recognizing their particular situation. Each situation represents a unique problem which defines the prisoner, setting him apart from the others until his dilemma is resolved (usually requiring several scenes). The challenge confronting the actor is defining the predicament their character experiences while maintaining their individuality, through the turbulence of their plight. In most situations the protagonist interacts with the same prisoners and frequents recurring locations, enhancing the viewer’s ability to follow each situation to its conclusion.

      Even though the prisoners seem identical, they represent two distinct groups: the veterans who have been in camp long enough to understand how the system works, and the Hungarian prisoners who have just arrived, confused and in shock. The disparity between these two groups brings them into conflict while, individually, each prisoner struggles to endure the constant perils of the camp.

      Every situation develops chronologically. All situations flow to the camp’s rhythm, and all prisoners move to its cadence. Everything revolves around the camp experience and the place, Auschwitz, is the main character.

      Staging

      Props are highlighted against a dark background, bringing an openness to the stage sets. This liberates the audience from the artificial boundaries that scenery creates while enhancing a sense of timelessness. A high platform extends across the back third of the stage. The stage will be set with a minimum number of props, augmented by the actors bringing additional props onto the stage when they can seamlessly be incorporated into the scene. There are certain situations when the stage is set with multiple locations that work independently. The lighting moves from one highlighted area to another, sequencing the action as the scene unfolds. There is a basic duality to the structure of the play, yet

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