When Children Die, What Can Theater Do?

Abstract

At the height of the Nazi Holocaust in 1942, children in an orphanage in the Warsaw Ghetto performed Rabindranath Tagore’s 1912 play Dak Ghar (The Post Office). They were in the care of Janusz Korczak, a socialist, pedia­trician, and one of the world’s first child rights advocates. The play centers on a young boy, Amal, who is confined in quarantine and on his death bed. This article attempts to understand why Korczak may have chosen Dak Ghar and how this play may have resonated in the Warsaw Ghetto, where he confronts two painful questions: is there anything worse than death? And, how to prepare children for death? This essay draws on Walter Benjamin’s concept of play, Han Jonas’s concept of eternity, Tagore’s expansive sense of humanity, and Korczak’s philosophy of child rights to argue the following: that in choosing a play from another time and place, Korczak empowers the children of the Warsaw orphanage to experience the radical unity of all humanity as inhabitants of this earth—and our arts as a way to transcend the boundaries of space and time. In consequence, the children may have tasted eternity through a play and memorialized in community that which would be denied by the Nazis—their deaths and, thus, their existence.