254.-La heráldica arturiana I a

Luis Alberto Bustamante Robin; Jose Guillermo Gonzalez Cornejo; Jennifer Angelica Ponce Ponce; Francia Carolina Vera Valdes;  Carolina Ivonne Reyes Candia; Mario Alberto  Correa Manríquez; Enrique Alejandro Valenzuela Erazo; Gardo Francisco Valencia Avaria; Alvaro Gonzalo  Andaur Medina; Carla Veronica Barrientos Melendez;  Luis Alberto Cortes Aguilera; Ricardo Adolfo  Price Toro;  Julio César  Gil Saladrina; Ivette Renee Mourguet Besoain; Marcelo Andres Oyarse Reyes; Franco Gonzalez Fortunatti; Katherine Alejandra Del Carmen  Lafoy Guzmán; Carla Vargas Berrios; Alamiro Fernandez Acevedo

Rey Arturo Pendragon

de sable, un dragón de oro.
Scherezada Jacqueline Alvear Godoy

Caballeros de mesa redonda. 

En la leyenda del rey Arturo, la Mesa Redonda o Tabla Redonda era una mesa mística de Camelot alrededor de la cual el rey y sus caballeros se sentaban para discutir asuntos cruciales para la seguridad del reino. En algunas versiones, el mago Merlín también tenía un asiento.

La Mesa Redonda apareció por primera vez en el Roman de Brut de Robert Wace, si bien la idea de Arturo rodeándose con los mejores guerreros del mundo data de la Historia Regum Britanniæ de Godofredo de Monmouth y en los textos medievales galeses como Culhwch y Olwen y Trioedd Ynys Prydein. La historia más popular sobre el origen de la mesa aparece por primera vez en el Merlin de Robert de Boron, que fue adoptada por romances en prosa posteriores. En ella, la mesa fue creada por Merlín como imitación de la mesa del Grial de José de Arimatea, a su vez una imitación de la mesa de la Última Cena. En obras como el ciclo de Lanzarote en prosa, el ciclo post vulgata y La muerte de Arturo de Thomas Malory, la Mesa Redonda fue creada por el rey de Inglaterra, Uther Pendragon, que fue a parar a manos de su vasallo Leodegrance tras su muerte. Cuando Arturo sube al trono, recibe la mesa como un regalo cuando se casa con la hija de Leodegrance, Ginebra.

No hay ningún lugar privilegiado en una mesa redonda, por lo que ninguna persona sobresale del resto. Así, los caballeros que se reunían a su alrededor eran todos iguales y no había ningún «líder» como los de tantas otras mesas medievales. Hay indicios de otras disposiciones de asientos en círculo para evitar conflictos entre los antiguos grupos celtas. Sin embargo, podía inferirse la importancia de cada sitio en función del número de asientos que lo separaba del rey. Quizá en cada reunión el rey Arturo dejaba que sus caballeros se sentaran aleatoriamente sin saber dónde se sentaría él cada vez. El asiento peligroso estaba reservado a caballeros de corazón puro.

Hay muchas estimaciones diferentes del número total de caballeros de la Mesa Redonda. Si hubieran sido 25 caballeros, entonces el diámetro de la mesa tendría que haber sido de unos 8 mil, que es una separación bastante grande para poder mantener una conversación educada. Si hubieran sido 100 caballeros, el diámetro habría subido a unos 30 m. Algunos estudiosos de este antiguo tema dicen que la mesa estaba construida en segmentos y tenía un centro hueco. De esta forma se habría ahorrado mucho material en su fabricación y se habría facilitado el servir comida a los caballeros. Dado que no se conserva ningún retrato de la Mesa Redonda de la época en la que se dice que Arturo reinó, todo el asunto es pura especulación.

Danain, le roux:  De sable, puerco espín de oro armado de azur. Por lema: FORCE OV DROICT.

Broadas el Español
De sable, un cangrejo de río de oro puesto en palo. Por lema: BROADAS BROADAS.
Scherezada Jacqueline Alvear Godoy

Armond De oro, un grifo de sinople, armado, picado y membrado de plata. Por lema: A TOVTES BESTES CLOC.

Balaan:  De plata, jabalí de sable uñado y defendido de gules. Por lema: MAR CAR DAIC.

Ganemor:  De gules, lobo de oro armado y lampasado de sable. Por lema: SOIT BLANC OV NOIR.

Ferrant du Tertre:  De gules, oso de oro armado de sable. Por lema: IE M'Y TROVVE.

Dodinel le Sauvage, (el salvaje). Como sería para que le llamaran el salvaje...De plata, un águila de azur picada y membrada de oro. Por lema: TOVT SAVVAIGE.

Argaas le Bel (Argaas el hermoso).  De oro, un toro de gules astado, lampasado y uñado de azur. Por lema: SANS PLVS AVANT.

Por otra parte, era el hijo del Rey Arturo y podría hacer uso de las armas de su padre, pero con una brisura. Es por eso, que siendo armas imaginarias o atribuidas, que yo propongo estas otras armas: De azur, tres coronas de oro, un lambel medieval de tres piezas de plata puesto en jefe brochante. Por lema: C'EST POVR ARTHVR (ES POR ARTURO).

Artus le Petit, Arturo el Pequeño. Las armas atribuidas en el libro La divise des armes des chevaliers de la Table-Ronde son: De sable, un ciclamor de oro. Por lema: C'EST POVR ARTHVR (ES POR ARTURO).

CadrusDe oro sembrado de roeles de gules. Por lema: SANS SY

Kahedin (también conocido como Kahadin, Kahedrin, Kehenis y Kehidius. Hijo del Rey de Hoel. Hermano de Isolda de Bretaña, aquella que aparecía en el lema de Tristán de Leonis, con quien se llevaba bastante bien.De gules, tres macles de oro.

Armand le Pèlerin (Armando el Peregrino)De sable, sembrado de conchas de oro y plata alternadas. Por lema: BORDONES Y CONCHAS.

Brun sans Joie  Partido, 1º de gules, sembrado de lágrimas de plata, 2º de sinople, sembrado de lágrimas de oro. Por lema: NORTOMBRELAN

Arthur le Petit, Arturo el Pequeño. Las armas atribuidas por Michel Pastoureau en su libro Armorial des chevaliers de la table Ronde dice: De sable, un árbol de oro. Por lema: C'EST POVR ARTHVR (ES POR ARTURO).

Synados des Sept FontainesDe azur, goteado de plata.

CalinanDe oro, un dragón de gules, armado y lampasado de sable. Lema: FILIVM GVIRON

 Seguran le BrunDe oro, un dragón de sable, armado y lampasado de sinople. Lema: SEGVRAN LE BRVN

Aliblel.Partido: 1º de azur, seis macles de plata; 2º plano de armiños. Lema: IE SERVIROI

Brun el despiadado, también conocido como el traidor. De sable, un dragón de plata.

Ariohan (Aroan), príncipe de Saxonia.De plata, un dragón de sable, armado y lampasado de gules. Lema: MARTEIZE

continuación

La historia de Simon Wiesenthal acerca de dos amantes separados durante los años de la Segunda Guerra Mundial. Basada en la novela basada en hechos reales del cazador de nazis Simon Wiesenthal basada en su procesamiento en 1962 del jefe de una fábrica alemana que se entera de que era un comandante asesino de un campo de trabajo. Para poder llevarlo ante la justicia, debe encontrar testigos que puedan ayudarlo. Esto lo lleva a Max Rosenberg, un individuo aún atormentado que perdió a su esposa, Helen, en los campos. Inicialmente Max se niega a cooperar, pero gradualmente su historia se desarrolla comenzando antes del Holocausto. Venecia , 1944 , Max, un estudiante judío, es capturado por los nazis. Hélène, su prometida francesa, finge ser judía también, por lo que ambos son deportados a Polonia. Se casan en el tren desde donde escapan, solo para ser capturados nuevamente y separados.  Max sobrevive a un pelotón de fusilamiento y huye a Polonia, donde se une a la resistencia. Hélène se quedará en el campo de concentración para convertirse en la víctima del sádico oficial alemán, Koeller. En 1960, tras sobrevivir a la guerra y al gulag soviético, Max descubre que Koeller mató a Hélene y comienza a perseguirlo para vengarse. Durante su búsqueda, conoce a Simon Wiesenthal, el famoso cazador de nazis, que también intenta atrapar a Koeller. Título original: Max e Hélène Año: 2015 Duración: 100 min. País: Italia Dirección: Giacomo Battiato Guion :Giacomo Battiato.  Novela: Simon Wiesenthal

Island at War. Island at War es una serie de televisión británica que cuenta la historia de la ocupación alemana de las Islas del Canal . Se centra principalmente en tres familias locales: los Dorr de clase alta , los Mahy de clase media y los Jonas de clase trabajadora , y cuatro oficiales alemanes.  La isla ficticia de St Gregory sirve como sustituto de las islas reales de Guernsey y Jersey , y la historia se compila a partir de los eventos en ambas islas. Mira la breve escena desnuda de Louisa Clein de la serie de televisión “Island at War” (2004),  Episodio 5, donde está parada frente a un oficial y se quita la ropa para permanecer desnuda. Al principio, vemos el trasero desnudo de Louisa desde un costado y sus pechos mientras el alemán observa su cuerpo desnudo. No vimos la escena de sexo al final. Louisa Miranda Clein es una actriz inglesa.. Nació el 7 de julio de 1979 en Poole, Dorset, Inglaterra.

UNDER THE SKIN A Play Based on a True Story by Yonatan Calderon.

Thanks to Bilha Reis for her assistance in the translation.

CAST OF CHARACTERS

Actress 1:

Charlotte Brod: Ilse Kohlman (Bube): Jewish holocaust survivor living in Tel Aviv (66) Nazi commander in a women's labor camp (30)

Actress 2:

Kirsten Eberhardt: Lotte Rosner: Young German journalist (22) Young Charlotte; Ballet dancer; Prisoner in a labor camp (22)

Actress  3:

Ida Berman: Doctor Schmitt: Cabaret host: Prisoner in a labor camp (20) Nazi Physician in a labor camp Nazi host of the S.S. officers party

The same actresses who play the Jewish holocaust survivor and the young German journalist switch rolls in the flashbacks. There, the actress who played the holocaust survivor plays the Nazi commander and the actress who played the young German journalist plays the young holocaust survivor, then a prisoner in a labor camp. The third actress who plays the character of Ida is also the storyteller. When she plays her other Nazi characters it is as if Ida is playing them and so her acting is grotesque in it's manner. All the changing of characters take place in front of the audience.

SCENE Charlotte’s living room in Tel Aviv; Leather factory at Nuengamme labor camp in Hamburg, Prisoner's block at Nuengamme labor camp; S.S. woman Ilse Kohlman's private room in Nuengamme Laborcamp; The Nazi officer's club in Nuengamme labor camp; Back room at the Nazi officer's club; A wooden cattle train car used to transport prisoners; A courtyard at Bergen Belsen concentration camp; A British military field court not far from Bergen- Belsen. The same scenery and requisites from Charlotte's living room serves also for the scenes from the labor camp and the concentration camp, as if the Holocaust is still present in Charlotte’s house.

TIME February 1991, during the Gulf War. Thursday evening; August, 1944.

SCENE 1 SETTING: CHARLOTTE's living room in Tel Aviv. AT RISE: CHARLOTTE is resting on a chair. IDA, wearing a prisoner's uniform with a yellow badge, is a ghost from the past haunting the house. She is seen only by CHARLOTTE. IDA (to the audience) February, 1991. A Thursday evening during the gulf war. Tel Aviv, Jericho street no. 6, second floor. (looking at CHARLOTTE) Here, for the past 43 years, lives Charlotte Rosner, haunted by her ghosts. (KIRSTEN knocks on the door with a gas mask box hanging from her shoulder. At this point her behavior is a bit pushy and rude. She is wearing an intimidating Nazi-looking leather jacket.)                                                                  KIRSTEN Frau Rosner? Frau Rosner? Frau Charlotte Rosner? (CHARLOTTE, walking with a cane, slowly makes her way to the door.) Who is it? CHARLOTTE (through the closed door) KIRSTEN It's Kirsten Eberhardt, from Berlin. I spoke with you on the phone. CHARLOTTE What are you doing here? I told you you've made a mistake. Why did you come all the way here? KIRSTEN I came here to cover the war. I thought we could hold the interview we didn't get around to... CHARLOTTE Why can't you leave me alone!?                                                                      KIRSTEN Frau Rosner, I have something for you. CHARLOTTE I don't want anything from you! KIRSTEN But it's something you didn't come to pick up. CHARLOTTE I don't need a gas mask. Let the Iraqis fear me! KIRSTEN It's your Certificate of Excellence from the National Ballet in Prague. CHARLOTTE I told you, you're mistaken me for someone else. KIRSTEN Are you Lotte Rosner, born in 1924 in Prague, on Karlova Strasse no. 5? Who on May 1943 was transported to Terezin ghetto? And from there to Auschwitz and a few months later to Nuengamme labor camp? CHARLOTTE Read carefully, the door says “Charlotte Brod”! (Siren. KIRSTEN starts banging hysterically on the door.) KIRSTEN Frau Rosner... Mrs. Brod, Mrs. Brod! Please open the door! (CHARLOTTE opens the door and lets KIRSTEN in.) CHARLOTTE Well, come in! But only until the 'all clear' siren rings. (KIRSTEN storms in, bends down in the corner and puts on her gas mask. CHARLOTTE stands near the door looking at her in scorn.)                                                                KIRSTEN Is this room sealed against gas? CHARLOTTE I can't understand you. Take off that silly thing! KIRSTEN I was told to wear a gas mask whenever I hear a siren. CHARLOTTE You are all so good at following orders!                                                                     KIRSTEN They say Saddam has nerve gas. CHARLOTTE Well, he learned that from the best teachers. (KIRSTEN takes off her gas mask.) CHARLOTTE Now, that's better. (KIRSTEN hands her the diploma that was hidden in her coat. CHARLOTTE grabs it from her and examines it with astonishment. IDA is examining it too over CHARLOTTE's shoulder.) CHARLOTTE Where did you find this old thing? KIRSTEN I came across it during a research for an article on the Prima Ballerina Charlotte Rosner. Look at the date – 5th of May 1942. The eve of the evacuation of the jews to Tarazin Getto. That's why you didn't get the chance to receive it. CHARLOTTE And why are you so sure that I am this exceptional dancer? I bet you're too late and that the Lotte Rosner of yours has already turned to smoke. KIRSTEN Frau Rosner, I've been looking for you for over a year now. I have located 16 Czech prisoners named Charlotte that were transported on May 1943 to Nuengamme Labor camp. One died at the camp and the other 15 were transported to Bergen-Belsen, out of which only 6 survived. One had moved to America – I've spoken with her, she was born in Nikolsburg, not in Prague. Two others had returned to the Czech Republic – but the age wasn't right. Three more came to Israel – two of them already passed away. I've inquired, they did not study dancing at the academy. Only you were left. So it must be you. CHARLOTTE And what is so special about me that you are hunting me down for over a year? Did you come here to finish what you grandparents didn't get around to? KIRSTEN What makes you so sure you know what my grandparents did during the war? Maybe they hid Jews in some secret room under the carpet? CHARLOTTE I really have no idea what your grandparents are hiding under the carpet...                                                                   KIRSTEN I shouldn't have come here. I'm sorry. (A missile hits a nearby building. A transition of characters takes place for the flashback: The actress who played KIRSTEN takes off her Nazi-looking leather jacket and hands it too the actress who played CHARLOTTE, who will now become BUBE, the Nazi S.S. Woman. Then they both take out a yellow badge and a swastika to complete the transition.)

SCENE 2 SETTING: Nuengamme labor camp. A leather processing factory. AT RISE: LOTTE and IDA are working, scrubbing large sheets of leather. LOTTE looks ill and exhausted. At the background BUBE is watching over them, or standing with her back towards them. Three nearby explosions are heard. IDA It will be the British who'll kill us in the end with all these bombing... LOTTE It doesn't matter who it will be anymore... IDA Madame De Botton almost killed me once. She caught me eating a piece of chocolate before going on stage. She made me eat only beetroot all month. I got beetroot poisoning. I could have died! (Freeze. IDA stands up.) IDA (to the audience) Nuengamme, August, 1944. A labor camp for women. A leather processing factory for the Reich. In this factory, for the past year, two prisoners have been working: Prisoner A26634 – Charlotte Rosner – and prisoner A26637 – Ida Berman. (IDA sits back down. Freeze ends.) LOTTE Ida, I can't go on anymore... IDA Lotte, you have to be strong! We are here because we are useful to the Reich! The moment we stop being useful, they will send us to the “clinic”. And we know what kind of treatment they offer there... (IDA is secretly giving LOTTE a piece of bread she was saving for herself. LOTTE is shocked by this gesture, but quickly eats the bread.) IDA Now, straighten up, breath deep and get back to work! LOTTE I swear I will pay you back for it. (BUBE is stepping towards them. LOTTE and IDA speed up the pace of their work.) LOTTE Bube! IDA This is it. We're dead. BUBE Put everything down and stand in line! (Freeze. IDA stands up.) IDA (To the audience) Bube. At least, This is how we call her. “Bube” means “boy” in German. They say every now and then she sneaks in a prisoner for a “Rendez-Vous”. The next day that prisoner shows up with her dress repaired or with a new flannel shirt. Just thinking about it makes me sick! (Freeze ends.) BUBE I told you to stand in line! (IDA and LOTTE get up and stand in line.) BUBE The camp commander needs five volunteers. Those of you who want to feed pigs, step forward. (BUBE counts, in German, four invisible girls.) BUBE Eins, Twei, Drei, Veir... (LOTTE steps forward.) You? Do you have experience feeding pigs? LOTTE Yes. I grew up on a farm. Every morning I used to... BUBE You're lying! Jews do not grow pigs! LOTTE I swear, it's true! BUBE Are you arguing with me? I said no! (BUBE hits LOTTE with her club.) BUBE Fünf – you five come with me. The rest of you get back to work! (BUBE exits with the invisible girls. IDA and LOTTE go back to work.) IDA Didn't I tell you never to volunteer here? LOTTE Where there's food for pigs there's food for humans too. (Five shots are heard from off stage.) She killed them! (pause) Ida, I insisted on walking towards my own death and that monster... she saved my life. IDA That was close. (Another transition of characters – back to the present: The actress who played BUBE enters and stands by the actress who played LOTTE. The two actresses take off the yellow badge and the swastika. The actress who played BUBE takes off her Nazi leather coat and hands it too the actress who played LOTTE, who will now become KIRSTEN again.)

SCENE 3 SETTING: CHARLOTTE's apartment. AT RISE: KIRSTEN looks out of the window trying to locate the missile's hitting target. KIRSTEN That was close. Aren't you afraid of staying here by yourself? CHARLOTTE Do you want to be my babysitter? I don't pay very well. KIRSTEN Tel Aviv is almost empty. Yesterday we could hardly find one person to interview about the war. CHARLOTTE This is my home. Where else can I go? But what are YOU doing here in such a time? Isn't your mother worried about you? KIRSTEN We get along better when we're far away. CHARLOTTE Is it so boring in Germany that you've come here to take part in other people's wars? I hope they pay you a risk premium. KIRSTEN For the war? CHARLOTTE For entering my house. KIRSTEN (laughing) Tamara warned me you don't like visitors. CHARLOTTE You've talked to my daughter?! KIRSTEN You did not agree to talk to me, but she did. CHARLOTTE You had no right! KIRSTEN She didn't even know you were a dancer! CHARLOTTE This is none of your business! KIRSTEN You were the best dancer in the Czech republic! Why did you quit dancing? CHARLOTTE It was in another lifetime! (CHARLOTTE rolls up her sleeve and extend her arm towards KIRSTEN.) CHARLOTTE Do you see this? KIRSTEN I don't see anything... CHARLOTTE Exactly. I took it off. I took off this Nazi souvenir from under my skin! (CHARLOTTE turns away from KIRSTEN only to see IDA grinning at her. KIRSTEN takes out an old photograph and examines it carefully.) KIRSTEN Is this you? CHARLOTTE How did you get this? KIRSTEN You were very pretty... CHARLOTTE Enough prying. Out you go! KIRSTEN You said I can stay till the “all clear” siren. CHARLOTTE I'm very happy you want to stay with me, but I get along just fine on my own. KIRSTEN From what I heard you always mange to get along. CHARLOTTE Now, Look here Christina, KIRSTEN Kirsten. CHARLOTTE Whatever your name is, Tell me the truth – Why did you come here? KIRSTEN Does the name “Ilse Kohlman” ring a bell? (The characters transition back to the past.)

SCENE 4 SETTING: LOTTE and IDA's block at Nuengamme labor. camp. AT RISE: LOTTE and IDA stands in attention in front of BUBE. BUBE No food today! (BUBE Exits. IDA tries to cheer LOTTE up as they get ready for their night sleep. LOTTE is taking her shoes off and lies on the sleeping bench.) IDA She's almost as though as Madam De Botton! (IDA and LOTTE both laughing sadly.) LOTTE Last night I dreamed that I was just before the premier and Madam De Botton was putting my swollen knees in a bucket of ice water. (IDA is quoting Madam De Botton while mimicking her accent and LOTTE joins her.) IDA “A dancer who wakes up in the morning without feeling pain is a dead dancer!” LOTTE How I miss that pain now. But I'm so weak that if I even try I will just break down and die! IDA “There once was beautiful country girl named Giselle. The thing she liked most in the workd was to dance. But her mother forbade her to dance because she has a weak heart and the exhaustion could kill her” How I wanted to steal it away from you, but the damned Nazis did it before me. (IDA and LOTTE lie down for their night sleep. Suddenly IDA give LOTTE a gift-like package wrapped in a gray piece of cloth.) LOTTE What is it, Ida? (LOTTE opens up the package and finds crudely made leather ballet point shoes.) IDA I've been stealing pieces of leather for months. This is my best model so far... LOTTE Are you mad?! if Bube had caught you she would have... IDA They're not as refined as the ones you had, but - LOTTE They are fantastic, Ida! Thank you! IDA Do you still remember your role, Giselle? (LOTTE starts dancing. Music from “Giselle” is heard, at first very quietly and gradually gets louder and louder as LOTTE dance faster and faster. A few moments later BUBE shows up and watches LOTTE dance from afar. LOTTE is still very weak and this dance is beyond her strength.) IDA Lotte, slow down... (LOTTE falls down and the music stops.) BUBE What is the matter? Are you ill? You must go to the clinic. LOTTE No. Not the clinic. Please! I'll get better... BUBE To the clinic! (IDA puts on a white doctor's coat and become DOCTOR SCHMITT. She plays him in a grotesque manner, as if it is IDA who is playing him and not the actual actress. DOCTOR SCHMITT is tying LOTTE's hands to a hook and get himself ready to torture LOTTE for his sadistic pleasure. Just as he is about to hurt LOTTE – BUBE enters.) BUBE Doctor Schmitt! DOCTOR SCHMITT (with heavy exaggerated German accent) Commandant Kohlman? BUBE Doctor Schmitt, I need your help. This prisoner is sick. I need you to take care of her. DOCTOR SCHMITT To take care of her? BUBE Take care of her. DOCTOR SCHMITT (laughing) Take care of her! Oh, Ilse... What is it that you're asking of me! (DOCTOR SCHMITT gets back to torture LOTTE.) BUBE Doctor Schmitt! DOCTOR SCHMITT Ya? BUBE There must be some misunderstanding between us. I need you to save this prisoner. I mean, cure her. DOCTOR SCHMITT What is it that you're saying, Ilse? Do I get a feeling you have a special interest in this filthy Jew? Is she important to you? BUBE She is not important to me, she is important to the Reich. DOCTOR SCHMITT We have enough manpower. There is no need to waste good medicine on a Jewish prisoner! BUBE Doctor Schmitt, I'm warning you! If this prisoner dies you will have me to answer to! Cure her! Make her well or I'll turn your life into such a hell you'll wish you were born a Jew! (BUBE exits. DOCTOR SCHMITT releases LOTTE from the hook.)

SCENE 5 SETTING: BUBE's private room in Nuengamme labor camp. AT RISE: BUBE is sitting on the bed. Throughout the scene BUBE zigzags between softness and toughness. LOTTE is frightened and keeps quite and motionless. BUBE You fell down back there. (BUBE takes out an apple and offers it to LOTTE.) BUBE Here, this will make you feel better. (LOTTE takes the apple but does not eat it.) BUBE What is your name? LOTTE A26634. Yes... of course. Very well. (pause) I'm Ilse. What is your name? BUBE LOTTE A26... Charlotte. My name is Charlotte. BUBE Pleasure, Charlotte! (LOTTE does not respond.) BUBE Wunderbar. You need to toughen up, Charlotte, so you can go on working. (BUBE opens up her heart.) BUBE You know, I've been wanting to talk to you for a long time, but I just didn't know how to... (BUBE tries to touch LOTTE and when LOTTE shrinks she returns to her commanding voice.) BUBE I understand that your friend has made you these shoes at the factory. LOTTE Please don't hurt her! She only used leftovers that... (BUBE softens up again.) BUBE Where are you from, Charlotte? LOTTE Prague. BUBE Prague! I heard it's a beautiful city. Is it as beautiful as you? (LOTTE takes BUBE's hand and puts it on her breasts.) LOTTE Yes. Prague is a beautiful city. Like me. (During the next monologue BUBE kisses LOTTE, trowing her onto bed and getting on top of her.) BUBE You are different from the rest. You're walk is firm and proud. Even in such filthy uniforms and in the stench of the leather factory. You shine like a diamond in the mud. Yesterday when I was watching you dance I feared that one of the commanders would show up and I would have to hit you. But I just couldn't keep my eyes off of you. LOTTE Can I have another apple? BUBE You need not worry about hunger. I will provide for you. Tonight you can sleep here, in a soft bed with a hot meal. Tomorrow you will go back to your friends. (BUBE and LOTTE have sex and then fall asleep. Morning comes and LOTTE sneaks out of BUBE's room and goes directly to the factory to join the other prisoners.)

SCENE 6 SETTING: The factory. AT RISE: LOTTE is already at her post because she didn't sleep in her block with the other girls. IDA enters. She is sick and coughing. When IDA sees LOTTE she runs to her and falls into her arms. IDA Lotte, I was so afraid. I thought they killed you. (IDA and LOTTE start working. After a few moments LOTTE secretly give IDA the apple.) IDA I can't believe it. Where did you get it? LOTTE …I found it! IDA Where? LOTTE Remember the street with the trees on the way here? This morning while we passed there it just rolled to my feet! IDA Oh, this is a holiday! (IDA makes sure BUBE is not watching, takes a big bite in the apple and hands it over to LOTTE so they can share it.) LOTTE I'm... not hungry. IDA You're... not hungry? LOTTE ...No. IDA Where did you get this apple, Lotte? Who gave it to you? Was it one of the Polish workers? LOTTE No. IDA Was it the Romanian Capo? LOTTE No. IDA Was it one of them!? (LOTTE looks at the ground.) IDA Lotte, what did you had to do to get this apple? LOTTE She just gave it to me. (IDA gives her back the apple.) IDA I can't eat this. It is poisoned! LOTTE She only helped me to get better. She gave me something to eat and a bed to sleep in. (BUBE enters. IDA make herself as if she was working vigorously. LOTTE is not trying to impress BUBE. BUBE and LOTTE exchange looks, than BUBE is touching her teasingly with her club while passing her by. BUBE exits.) IDA That monster! Did she make you...? LOTTE Nothing happened. She will help us! IDA I don't trust her. She's a snake, and the moment she doesn't like you any more she stab you in the back. LOTTE Ida, I know what I'm doing, trust me. She's our only chance to get out of here alive. IDA So the merciful Nazi saves one Jewish prisoner... LOTTE Two! IDA And she kills the rest of us? LOTTE You know her beatings are not as bad as those of the others. Ilse is not like them. She's different. IDA Ilse?! You call her Ilse?! Like she's a human being like me and you! Ilse!? (The Characters transition back to the present.)

SCENE 7 SETTING: CHARLOTTE's apartment. AT RISE: CHARLOTTE is holding a glass of water. CHARLOTTE I don't know any Ilse Kohlman. KIRSTEN Maybe you know her by her nickname. The girls at the camp called her “Bube”. Green eyes, straight hair. Not too tall and she had... CHARLOTTE I don't know any Ilse Kohlman. KIRSTEN That's very strange, because your name appeared in her trial protocol. (CHARLOTTE drops the glass. Water splashes everywhere. KIRSTEN reaches for the glass.) KIRSTEN Here, let me help you. CHARLOTTE No need. KIRSTEN As long as I'm here, I can at least give you a hand. (KIRSTEN exits. IDA stands up. CHARLOTTE is hearing IDA's monologue and feels uncomfortable hearing it) IDA (to the audience) It took us a long time not to be afraid when Bube entered our block at night. She passed us by, and approached the bench where Lotte was lying and sit down with her back towards us. Then we would hear the gigglings and quiver. It was like hearing a scratching on glass. Sometimes Lotte would walk out after her in the dark, tip-toeing. I would have rather died. (IDA sits back down. KIRSTEN enters with a towel.) KIRSTEN You are just like Gertrud, you know? CHARLOTTE Who's Gertrud? KIRSTEN My mother. She also doesn't like to talk much. CHARLOTTE One shouldn't talk too much. KIRSTEN On every question I asked she replied with silence. She didn't want me to come to Israel. It's too dangerous, she said. But I think it's that war that bothers her more than this one. (pause) We lived in West Berlin. One of the lines of the Metro passed through the east side. All the stations on the east side were canceled. The trains passed them by without stopping - They were ghost stations. From the cabin's window I could see the platforms- dark and empty. I asked my mother once - why did they turn off the lights? She did not answer. CHARLOTTE I don't travel by trains. My daughter Tamara lives in Haifa. It's just an hour by train, but I just can't. KIRSTEN So why don't you move closer to her? CHARLOTTE Look at me, do I look like a fun person to be near? I didn't even offer you a drink. Tea? (The Characters transition back to the past.)

SCENE 8 SETTING: BUBE's room in Nuengamme labor camp. AT RISE: LOTTE is dancing on her own. (BUBE enters with a cup of tea and surprise LOTTE, who stops dancing.) BUBE Tea with whiskey! I stole it from the officer's club! A whole box of it arrived. There's a party tomorrow. LOTTE Non of them talks to me anymore. BUBE They are only jealous. LOTTE Why me? BUBE I don't know why. Maybe because you make me feel as if I was beautiful too. (BUBE touches LOTTE's hand, and LOTTE sighs with pain.) BUBE What is it? (BUBE folds LOTTE's shirt and exposes a fresh cut on her wrist, that was caused by a whip) LOTTE The camp commander. (BUBE takes a bit of cotton with iodine and puts a bandage around LOTTE's wrist, while the conversation continue) BUBE When you dance you make me feel as if you was someplace else. LOTTE There was a time when dancing meant everything to me. I got the leading role of Giselle. BUBE I'm afraid I'm not much of a ballet expert... LOTTE It's every ballerina's dream! And I got it, but... here I am in this place. BUBE And who is this Giselle? LOTTE She's a beautiful country girl. A duke name Albrecht falls in love with her, but he knows their love stand no chance because he's a duke and she's a common country girl. BUBE So what does he do? LOTTE He disguise himself as a country boy in order to court her. BUBE He disguise as a common boy just to win her love! LOTTE How I wish I could dance again. Even once to be on stage again with all the bright lights and everyones eyes on me. I used to feel so alive! BUBE I have an idea. The camp commander is a big ballet fan. Tomorrow you will dance for him at the officer's party. While you dance I will steal the keys of one of the cars. By the time you're done I will be waiting for you outside. We will run away together. They will be so drunk they won't even notice. By the time they realize we're gone we will be far far away. (The Characters transition back to the present.)

SCENE 9 SETTING: CHARLOTTE's apartment. AT RISE: CHARLOTTE is holding the diploma that KIRSTEN gave her on the first scene. CHARLOTTE (kidding) “The Czech Republic hereby grants this Certificate of Appreciation to Charlotte Rosner, for her special contribution to the art of Ballet Dancing. A prize of 8000 crowns.” - do you think it's still valid? KIRSTEN Now you can show it to Tamara! CHARLOTTE Did you really think a piece of paper can turn back time? You thought you'd hand it to me and I would start dance around the house? (IDA starts dancing around the house, mocking CHARLOTTE.) CHARLOTTE Elijah did not marry a Prima Ballerina! Dancing brings back too many memories. (CHARLOTTE pushes IDA away with her walking cane. IDA exits.) CHARLOTTE I cannot dance among the dead... KIRSTEN Frau Rosner... CHARLOTTE Mrs. Brod! I think you better leave now. KIRSTEN I'm her grand-daughter. I'm the grand-daughter of Ilse Kohlman. CHARLOTTE Why you little... you lied to me! “An article about the Prima Ballerina Charlotte Rosner”! Why did you come here? To open old wounds? KIRSTEN I didn't even know my grandmother's name until a year ago. The only thing my mother told me about her is that she is a stain in our family history. Then the walls came down, and something inside her woke up. She took me to East Berlin and showed me the house were they used to live. But my mother was only a child when Ilse left her. She couldn't answer any of my questions. So I went to archives, I started reading everything I could about her. I don't know what I expected to discover there. Your name kept reappearing, “Lotte”, “Lotte”, I had to find out who you were. CHARLOTTE So you came here to see who is the Jewish woman that your merciful grandmother saved? KIRSTEN All these years I hated her. I couldn't stand the Nazi shadow she had cast over me. Her DNA under my skin. I came to you to find out who I am! (The Characters transition back to the past.)

SCENE 10 SETTING: A party at The Nazi officer's club in Nuengamme labor camp; Back room at the Nazi officer's club. AT RISE: A crowd of Nazi officers is heard. IDA is dressed as a Cabaret host with a Bowler hat on. She is now acting as the CABARET HOST. Simultaneously at the back room LOTTE is getting ready for her performance while BUBE is helping her to get dressed. Cabaret music is playing. CABARET HOST (she flirts with the audience, moving among them, sits on a man's lap and so on) Good evening! How are you sir? We have a surprise for you tonight! I am excited, honored, delighted and disgusted to introduce to you the one and only “Prima Ballerina”! (At the back room.) LOTTE In a few minutes we'll be free! BUBE I'll wait for you in the car. Remember: gate 4! (At the party.) CABARET HOST Straight from the royal academy in Prague! Some of you may know her by the name A26634 (Comic drum rim-shot.) CABARET HOST But tonight she is here as the star she once was! (At the back room.) LOTTE I'll dance to these beasts bu I'll be thinking of you! BUBE You will be wonderful! (BUBE and LOTTE kiss. Back at the party.) CABARET HOST She danced on the biggest stages of Europe: Prague, Berlin, Rome, Paris – or any other place we've conquered. (Comic drum rim-shot. The music stops as the CABARET HOST spots BUBE trying to exit.) CABARET HOST Commandant Kohlman! (BUBE freezes) Are you on a hurry? would you care to join us? (The CABARET HOST is escorting BUBE to an empty chair.) Ladies and gentleman, here is Charlotte Rosner! (Drum roll. Lights out. Spot light on LOTTE dressed in a ballet dress. LOTTE dances her solo from “Giselle”. After a few moments the music becomes distorted and the gentle dance becomes violent and aggressive, as if some of the officers tear LOTTE's clothes from her and rapes her. LOTTE is banging the floor over and over again. All this time BUBE is watching LOTTE motionless from her seat.) LOTTE Leave me alone! No! Let go of me! (The music ends and the bruised LOTTE is crawling to the side of the stage, where IDA, now back to her old self, is helping her to get undressed and back into her uniform. At the same time BUBE is collecting the pieces of cloth from LOTTE's dress and dries her crying eyes with them.)

SCENE 11 SETTING: The factory. AT RISE: IDA and LOTTE are working. LOTTE is very weak. (BUBE enters and nods IDA to leave them alone. IDA exits.) BUBE I had no idea this was going to happen... Do you believe me? I wanted to save you but I couldn't... I couldn't let them find out about us... If I had said a word it would have been the end. I barely held myself. I wanted to kill them with my own hands! I love you! For five days now I have kept them from putting you on a transport. They are shutting down the camp. The allies are getting closer. We received an order to transfer all the prisoners to a concentration camp in the center of Germany. Tomorrow the third shipment is leaving to Bergen-Belsen. LOTTE Save me! BUBE I cannot. I wish I could. LOTTE You monster! (LOTTE and IDA get on a wooden cattle train car. BUBE closes the door behind them.) BUBE You've got to be strong, do you hear me?! (The train is leaving. After the train has gone BUBE falls apart.) BUBE Lotte! (LOTTE and IDA are inside the train car.) IDA (to the audience) That night we were sent to Bergen-Belsen. One more time we were put on trains. The train car we were in was a wooden train car used for cattle. Hundreds of people cramped together, without light or air. It was so crowded that we couldn't sit down. we could barley stand. If you lifted your leg up, you might not have managed to put it back down again. They trip took two days without a stop. You can imagine the stench! No, what am I talking about, you can't even imagine it. (The Characters transition back to the present.)

SCENE 12 SETTING: Charlotte's apartment. KIRSTEN How did you survive in Bergen-Belsen without Ilse? CHARLOTTE I survived. But the best of us didn't. KIRSTEN And what about Ida? Did she survive? (CHARLOTTE does not answer.) KIRSTEN You know, I was afraid of meeting you. I didn't know what you might tell me about my grandmother. (pause) I want to show you something. (KIRSTEN rolls up her sleeve and shows CHARLOTTE an Auschwitz-like tattoo on her arm.) It's my number! (shocked) CHARLOTTE KIRSTEN The man in the tattoo shop in Berlin thought I was crazy. CHARLOTTE I also have something I want to show you. (CHARLOTTE takes out a box, opens it and shows KIRSTEN a yellow badge.) CHARLOTTE It's the only thing I have left of her. (The characters transition back to the past.)

SCENE 13 SETTING: A courtyard in Bergen-Belsen concentration camp. AT RISE: IDA is standing at the front of the stage. LOTTE is sitting at the back at one corner of the stage. BUBE is standing at the other corner of the stage. IDA (to the audience) Bergen-Belsen was hell on earth. No food, no water. We all got typhus. We lay down like corpses. We couldn't believe we would ever miss Nuengamme. Lotte and I did not separate even for a moment. We took care of each other. Even in this hell I kept trying to make her laugh. But Bergen-Belsen wasn't a funny place. We didn't know that a week later Bube arrived to Bergen-Belsen too. But she didn't arrive there as a commander, but as a prisoner. She jumped over the fence and walked willingly into this hell. She wore a prisoner's uniform. She must have borrowed it from one of the corpses, and disguised herself as a Jewish woman. She walked among us with a scared look on her face, she went block by block looking for Lotte between all the living skeletons lying around. (beat) But she couldn't find her. (BUBE is taking of her shirt and puts on a prisoner's shirt and a yellow badge.) .

SCENE 14 SETTING: A courtyard in Bergen-Belsen concentration camp, the day of the liberation. AT RISE: IDA is exhausted from hunger and typhus. She lost her sanity and is mumbling and singing to herself an old Yiddish song “Oyfn Pripetshik” that her grandmother used to sing to her at bed time. LOTTE sits at the back. IDA Oyfn pripetchik brent a fayerl, Un in shtub iz heys, Un der rebe lernt kleyne kinderlekh, Dem alef-beys. (BUBE enters, dressed is a prisoner's uniform with a yellow badge. She sees IDA.) BUBE Ida? (IDA does not respond. BUBE notices LOTTE. It is the first time she sees LOTTE since the transport from Nuengamme.) BUBE Lotte, it's you! I thought I lost you for good! LOTTE Ilse, what are you doing here? BUBE I've been looking for you for ten days! LOTTE Like this? It a prisoner's uniform? BUBE I couldn't go on living without you! (IDA starts singing her Yiddish song again. LOTTE approaches her. IDA faints in LOTTE's arms.) LOTTE Ida! Ida, we made it! The British soldiers are here! The war is over! We are free! The gates are open! Soon they will give us food. Real food! Ida! This is what we waited for! It won't mean a thing without you! (IDA dies in LOTTE's arms.) LOTTE Ida! No... (pause. To BUBE) You sent us into this hell – and now you want me to pretend that you are one of us? I am going to surrender you to the British soldiers! BUBE Lotte, please... LOTTE You will be punished for everything you've done to us! BUBE Lotte, please don't! LOTTE (as it were to the British soldiers) Soldiers! She is a Nazi officer! BUBE I thought we were lovers! LOTTE Stay away from me! (LOTTE pushed BUBE on the ground.) BUBE I loved you more than I love myself. I was willing to go with you into the fire! (BUBE ripes off the yellow badge from her shirt and throws it on the ground in front of LOTTE. Blackout. A rope hanging is heard. The characters transition back to the present.)

SCENE 15 SETTING: CHARLOTTE's apartment.             AT RISE: KIRSTEN is holding the yellow badge CHARLOTTE had shown her.                                                     KIRSTEN They executed her! Because of you! - you told them she was a Nazi! CHARLOTTE Now, wait a minute!                                                                 KIRSTEN She really loved you! CHARLOTTE She had no right to. How can one feel love in such a hell?! (Beat) I searched for her, but I was too late. They charged her with war crimes. They didn't allow me to see her. (Beat) After the liberation I went back to our old house, but strangers were living there. I waited there, maybe my mother or father or one of my brothers was saved... but no one came. So I went back to Bergen-Belsen.                                                                 KIRSTEN You went back to that hell? CHARLOTTE Yes, like Orpheus going down to bring back the soul of his dead lover... but that hell has turned into a Displaced Persons camp. And Ilse wasn't there. I stayed there for three years. Three years filled with remorse and agony. I didn't have any desires. I cared for nothing. I just stayed where I was. And then I married Elijah.                                                                 KIRSTEN You had forgotten her! CHARLOTTE If only one can forget the dead. There were too many dead in this marriage – Elijah had a wife and kids before the war. And I had Ilse, who came to my dreams at night. I would wake up from horrible nightmares. Elijah would also shout at his sleep, calling the names of his dead children.                                                                 KIRSTEN But you had a living daughter! CHARLOTTE Yes, poor Tamara. I wasn't there for her. I was busy with all my dead that I have left behind. Then I lost Elijah too. He abandoned me. Left and joined his wife and kids. I hope he is finally happy. (Beat) I was left all alone. With my memories and my regrets. And with Ida, that lives within me from that day on. (IDA's ghost reappears) If only the dead could forgive.                                                                     KIRSTEN It's getting late. I better be going. CHARLOTTE But the dead cannot forgive anymore. (KIRSTEN hands CHARLOTTE the Yellow badge.) CHARLOTTE Keep it.                                                                KIRSTEN The yellow badge of my Nazi grandmother... (KIRSTEN starts to leave.) CHARLOTTE Where are you going in such a hurry?                                                                KIRSTEN I'm going back home. CHARLOTTE Stay a little longer, there still hasn't been an 'All Clear' siren. (Blackout. End.)