Anne Frank Play Essay Questions

Anne Frank Play Essay Questions-46
Anne’s diary has now been published in more than fifty languages; the total number of copies printed amounts to almost twenty million.The stage version of the diary premiered on Broadway on October 5, 1955, and received a Pulitzer Prize and a Tony Award. The following bibliography was compiled to guide readers to materials on Anne Frank that are It is not meant to be exhaustive.

Anne’s diary has now been published in more than fifty languages; the total number of copies printed amounts to almost twenty million.The stage version of the diary premiered on Broadway on October 5, 1955, and received a Pulitzer Prize and a Tony Award. The following bibliography was compiled to guide readers to materials on Anne Frank that are It is not meant to be exhaustive.

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Her fault—her crime—was having been born a Jew, and as such she was classified among those who had no right to exist: not as a subject people, not as an inferior breed, not even as usable slaves. Let the end come, however cruel.” And on April 11, 1944; “We are Jews in chains.”The diary is not a genial document, despite its author’s often vividly satiric exposure of what she shrewdly saw as “the comical side of life in hiding.” Its reputation for uplift is, to say it plainly, nonsensical.

The military and civilian apparatus of an entire society was organized to obliterate her as a contaminant, in the way of a noxious and repellent insect. Anne Frank’s written narrative, moreover, is not the story of Anne Frank, and never has been.

as she called her manuscript, in Dutch—“the house behind,” often translated as “the secret annex”—was hardly intended to be Anne Frank’s last word; it was conceived as the forerunner work of a professional woman of letters.

Yet any projection of Anne Frank as a contemporary figure is an unholy speculation: it tampers with history, with reality, with deadly truth.

How much longer will this increasingly oppressive, unbearable weight press down on us? A deeply truth-telling work has been turned into an instrument of partial truth, surrogate truth, or anti-truth.

” And, several paragraphs on, “What will we do if we’re ever . The pure has been made impure—sometimes in the name of the reverse.

It speaks of “turning my heart inside out, the bad part on the outside and the good part on the inside,” and of “trying to find a way to become what I’d like to be and what I could be if . Her circumscribed world had a population of eleven—the three Dutch protectors who came and went, supplying the necessities of life, and the eight in hiding: the van Daans, their son Peter, Albert Dussel, and the four Franks. Even its report of quieter periods of reading and study express the hush of imprisonment. And because the end is missing, the story of Anne Frank in the fifty years since “The Diary of a Young Girl” was first published has been bowdlerized, distorted, transmuted, traduced, reduced; it has been infantilized, Americanized, homogenized, sentimentalized; falsified, kitschified, and, in fact, blatantly and arrogantly denied.

Five months earlier, on May 26, 1944, she had railed against the stress of living invisibly—a tension never relieved, she asserted, “not once in the two years we’ve been here. But the question won’t let itself be pushed to the back of my mind today; on the contrary, all the fear I’ve ever felt is looming before me in all its horror. Meals are boiled lettuce and rotted potatoes; flushing the single toilet is forbidden for ten hours at a time. Among the falsifiers have been dramatists and directors, translators and litigators, Anne Frank’s own father, and even—or especially—the public, both readers and theatregoers, all over the world.

As an international literary presence, she would be thick rather than thin. She had already intuited what greatness in literature might mean, and she clearly sensed the force of what lay under her hand in the pages of her diary: a conscious literary record of frightened lives in daily peril; an explosive document aimed directly at the future.

In her last months, she was assiduously polishing phrases and editing passages with an eye to postwar publication.

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