Kindertransport by Diane Samuels
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Notes on Kindertransport by Diane Samuels. This set of Tower Notes is 59 pages long and is sold as a fully illustrated PDF file with footnotes and linked audio-visual files.
To purchase, click on the link above and enter your payment details. You may purchase using Paypal or your credit/debit card. You do not have to provide your postal address if paying by Paypal, but an email address is required as a link will be sent automatically to your email account by return. Click on the link to download the PDF file. Please note that the link will expire after 48 hours. If you have any problems with your purchase, please do not hesitate to contact the webmaster at info@towernotes.co.uk
A free sample, text only, is provided below.
Introduction: United in Fear: Female relationships in the shadow of the Ratcatcher.
Diane Samuels’ play focuses almost exclusively on mother-daughter relationships, so that potentially important male characters – such as Werner Schlesinger (Eva’s father), Jack Miller (who, with his wife Lil, adopts Eva) and Evelyn’s unnamed estranged husband – play virtually no part in the drama. It is easy, for example, to assume Lil is single when she takes on the task of fostering Eva; in fact, she has a husband and two daughters of her own.
Samuels’ does not downplay the importance of these male characters simply as a device to ensure her audience focuses on the four female leads. The males mentioned above are, potentially, an important enough part of Eva/Evelyn’s story to have been portrayed by the dramatist as distinct, fully-formed individuals. Such characterisation, however, is only reserved for females in Kindertransport so that the dramatist can present the masculine world as a whole as something fundamentally other – and indeed fearful – through the theatrical device of ‘the Ratcatcher’.
Given that Kindertransport is a play about women, the fact that the only male actor on stage represents the varied personas of this nightmarish figure should not be taken as a statement per se about gender relationships. Nevertheless, fear of an obviously male character forms the essential background to all the female relationships in the play: ‘the Ratcatcher’ is the ultimate source of all the unhappiness which the female characters (especially Eva/Evelyn herself) attempt – and largely fail – to overcome.
To purchase, click on the link above and enter your payment details. You may purchase using Paypal or your credit/debit card. You do not have to provide your postal address if paying by Paypal, but an email address is required as a link will be sent automatically to your email account by return. Click on the link to download the PDF file. Please note that the link will expire after 48 hours. If you have any problems with your purchase, please do not hesitate to contact the webmaster at info@towernotes.co.uk
A free sample, text only, is provided below.
Introduction: United in Fear: Female relationships in the shadow of the Ratcatcher.
Diane Samuels’ play focuses almost exclusively on mother-daughter relationships, so that potentially important male characters – such as Werner Schlesinger (Eva’s father), Jack Miller (who, with his wife Lil, adopts Eva) and Evelyn’s unnamed estranged husband – play virtually no part in the drama. It is easy, for example, to assume Lil is single when she takes on the task of fostering Eva; in fact, she has a husband and two daughters of her own.
Samuels’ does not downplay the importance of these male characters simply as a device to ensure her audience focuses on the four female leads. The males mentioned above are, potentially, an important enough part of Eva/Evelyn’s story to have been portrayed by the dramatist as distinct, fully-formed individuals. Such characterisation, however, is only reserved for females in Kindertransport so that the dramatist can present the masculine world as a whole as something fundamentally other – and indeed fearful – through the theatrical device of ‘the Ratcatcher’.
Given that Kindertransport is a play about women, the fact that the only male actor on stage represents the varied personas of this nightmarish figure should not be taken as a statement per se about gender relationships. Nevertheless, fear of an obviously male character forms the essential background to all the female relationships in the play: ‘the Ratcatcher’ is the ultimate source of all the unhappiness which the female characters (especially Eva/Evelyn herself) attempt – and largely fail – to overcome.
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Purchase full notes for £4.95 (aprox $7.72)
