Abstract
Anne Frank is the most famous Holocaust victim in the world. However, epitomized by stage adaptations such as those of Meyer Levin, and Frances Goodrich and Albert Hackett, the real Anne has been obfuscated and appropriated to suit adapters’ agendas. To what extent can any adaptation claim to speak ‘for’ or represent Anne? This chapter interrogates Jessica Durlacher and Leon de Winter’s 2014 adaptation, Anne, through Julie Sanders’ observation that ‘it is usually at the very point of infidelity that the most creative acts of adaptation and appropriation take place’. It explores how the playwrights use often-overlooked locations and people from the Diary to create a fresh, dynamic perspective, allowing the spectator to re-locate the heroine within the proper context of the Holocaust—and finally find Anne Frank.
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Mitschke, S. (2018). Have We Found Anne Frank? A Critical Analysis of Theater Amsterdam’s Anne . In: Reilly, K. (eds) Contemporary Approaches to Adaptation in Theatre. Adaptation in Theatre and Performance. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-59783-0_7
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DOI: https://doi.org/10.1057/978-1-137-59783-0_7
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