@article{oai:nagoya.repo.nii.ac.jp:00028102, author = {河野, 哲子 and Kono, Tetsuko}, journal = {IVY}, month = {Nov}, note = {In 1976, Fania Fénelon, a Jewish Frenchwoman, wrote a memoir of her own life as a musician in a women's orchestra in Auschwitz-Birkenau. The English translation was published both in Britain and in America, though with different titles, in 1977. The memoir was accepted in America just when the public became dramatically interested in the historical facts and meaning of the Holocaust for the first time after WW2. The American playwright Arthur Miller adapted it both into a documentary drama, which was broadcast on CBS in 1980, and into a play for the theatre. They both represent the American idea of what the Holocaust is like. This paper intends to find the original voice of Fania Fénelon, which lies hidden in Miller's two versions, by comparing variations of Playing for Time. It also hopes to demonstrate a certain urge which trapped both the memoirist and the playwright when they were working on their representations of the orchestra in the extermination camp. While Fania said that she wrote her memoir because she discerned some signs of the revival of Nazism, her covert intention is explicit in the dedication, Preface and some passages in her memoir. According to Marcelle Routier in the Preface, Fania suffered from the memory of the Holocaust and wanted to "exorcise the orchestra". By writing the memoir, she was hoping to be liberated from her traumatic memories. Fania dedicated her book to the survivors of the Birkenau extermination camp, many of whom had cast hostile looks at members of the orchestra. Musicians were definitely part of a privileged class in the camp and had greater possibility of survival than other prisoners. Fania expected and was afraid of severe denunciation from her former inmates, who had not played in the orchestra, after liberation. She sought their forgiveness and reconciliation with them by describing the conditions she faced and her experience as a musician in Birkenau, and by dedicating her book to them. When Arthur Miller adapted Fania's memoir for CBS, he tried to make Fania more appropriate as a Holocaust survivor by covering up her insensitivity towards the other victims. He also changed the date of her entry in the orchestra, arranged the sequence of the episodes in a completely chronological order, and invented an upbeat and clear ending. Finally, he suppressed the horrifying tones of the original memoir by omitting the most hideous scenes. The grip of Playing for Time can be attributed to the representation of the orchestra in the extermination camp, which is included in various media from Night and Fog to the graphic novel Maus. Inevitably, it entails the representation of the Nazis as music lovers. The image embodies the impossible compatibility of savagery and sophistication. Its striking contrast stimulates the imagination and curiosity of creators and readers or audience. In the case of both Fania Fénelon and Arthur Miller, the urge to describe the Nazis as music lovers is sometimes so strong that they fail to adhere to facts. The image of the Nazis as music lovers can be easily exaggerated into that of the Nazis as music abusers, who must have used music as a tool to humiliate the victims. Exactly when and where the camp orchestras were forced to play music or what actually happened during the concerts should be definitely the most sensitive topic to deal with for the former orchestra members, while the outsiders are more liable to believe that the camp musicians were forced to perform in the most humiliating situations for the victims. Fania remains ambiguous or elusive about this topic, which is the proof of her agony over her role as a participant or collaborator in the atrocities of the Nazis. Miller is hardly truthful to the original memoir in his two adaptations on this point. He instead refers explicitly to the abuse of music by the Nazis. The insertion of the episodes of using music as a humiliating tool has left an undetectable but irretrievable blot on Miller's elaborate Americanization of Playing for Time.}, pages = {23--52}, title = {死者の靴をはいた音楽家 : Playing for Time 三つのテキスト}, volume = {43}, year = {2010} }