Abstract
ABSTRACT This article discusses performances of a pageant called Mother Rachel and her children written by Helsinki-born Jac Weinstein in 1948 as a work of Holocaust commemoration and the radically different ways in which three audiences in the US, UK, and the Czech Republic that viewed the play in 2016 interacted with it during post-performance discussions. Using filmed performances and talkback sessions, the article analyzes the changing subject positions of the performers and audiences, as ‘primary’, ‘secondary’, and ‘tertiary’ witnesses and focuses on how various factors can make performances and reactions of the same piece so profoundly different.
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