A complex person (novelist, playwright, screenwriter, translator), George Tabori, pen name of György Tábori, born in Budapest in 1914, was little acclaimed in North America where he spent twenty years of his life and left a mark on the German culture of the 20th century. Due to his cathartic black humour, he overcame the tragic experience of the Holocaust that took away from him almost all his family. Known in post-war drama especially by means of his anti-Hitler farce Mein Kampf (1987) which he authored, directed and acted in, Tabori even took the East-German public by surprise with his special, yet less familiar perspective on history.1Mein Kampf was the first play that had a Romanian staging, at Cluj; however, Die Goldberg-Variationen (1991), a real international success2, became known to our public at the theatre Radu Stanca in Sibiu under the same title and as Goldberg Show at the National Theatre of Iasi (TNI). Our aim, in this paper, is to analyse the biblical events in the play from a postmodern perspective as homage to the author’s contribution to the philological sub-field of Bible and literature, already consecrated by N. Frye’s Great Code and more recent studies.
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Crowe, Sinéad, Religion in Contemporary German Drama: Botho Strauß, George Tabori, Werner Fritsch, and Lukas Bärfuss, Camden House, Rochester, New York, 2013.
Kowzan, Tadeusz, Théȃtre miroir. Métathéâtre de l’Antiquité au xx-eme siècle, L’Harmattan, 2006.
Lev-Aladgem, Shulamith, “Auschwitz: George Tabori’s Short Joke”. Amos Goldberg, Haim Hazan (ed.) Marking evil: Holocaust Memory in the Global Age, Berghahn Books, New York/Oxford, 2015, pp. 266-284.
Lilian Friedberg, “Mule minus Forty Million Acres: Topographies of Geographic Disorientation and Redface Minstrelsy in George Tabori’s Weisman und Rotgesicht”, New German Critique, Duke University Press, No. 84 (Autumn, 2001), pp. 55-86. http://www.jstor.org/stable/827798. Accessed 1st of March, 2018.
Krug, Hartmut, Gelus, Marjorie, “Form as Goal: Art as Message: The 29th Berlin Theatertreffen. Berlin 15-31 May, 1992”, Theatre Journal, German Theatre After the F/Wall, Susan Mason (ed.), The Johns Hopkins University Press, Mar. 1993, Vol. 45, No. 1, p. 91-97, http://www.jstor.org/stable/3208585. Accessed 28th of February, 2018.
Mundane, Barry, Review of Religion in Contemporary German Drama: Botho Strauß, George Tabori, Werner Fritsch, and Lukas Bärfuss by Sinéad Crowe, Journal of European Studies, 44(2), p. 192-194.
Scholling, Traute, “On with the Show? The Transition to Post-Socialist Theatre in Eastern Germany”, Theatre Journal, German Theatre After the F/Wall, The Johns Hopkins University Press, Mar. 1993, Vol. 45, No. 1, p. 21-33. Translation from German by Marc Silberman. http://www.jstor.org/stable/3208580. Accesed 28th of February, 2018.
Tabori, George, Variațiunile Goldberg, translation from German by Alexandru Al. Șahighian for the performance Goldberg Show, Teatrul Național Iași, directed by Mihai Măniuțiu, adapted by Anca Măniuțiu.