Arthur Miller’s
Playing For Time
Actor’s Script Addendum
[Link]
17 December 2013
The George Washington University
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Table of Contents
I. Table of Contents and Introduction 1
II. Dramatis Personae 2
III. Character Questionnaire 3
IV. Glossary 5
V. Bibliography and Suggested Materials 13
Introduction
This short packet is intended for you to print out and place behind your script, so that you can
use them throughout your rehearsal process.
Enclosed in these pages are a character listing, a questionnaire, and glossary for the more
obscure references in the script. Behind these materials is a short listing of alternate materials
you might consider engaging with, so as to better understand your character and the world of the
play, as well as the historical circumstances of World War II and the Holocaust.
I also want to direct you towards the online dramaturg’s notebook for this page, a website that I
hope will be a useful resource for your work throughout this production. There you will find
copies of the historical presentations given throughout the rehearsal process, as well as a
multimedia appendix that contains a full version of the 1980 CBS Film, images, and music.
Even combined, these materials are by no means exhaustive. How does one convey the totality
of loss, or the depth of the horror, experienced by Holocaust victims and survivors? This
dramaturgy notebook, I hope, will orient your work onstage and spark new questions for us to
explore together.
In this production, I urge you to make choices as courageous and bold as those of the Women’s
Orchestra of Auschwitz did. Forced to create art under the most trying of circumstances, these
women found passion, beauty, and strength in the most horrifying of places.
Un bel dì, vedremo
levarsi un fil di fumo
sull'estremo confin del mare.
E poi la nave appare.
Poi la nave bianca
entra nel porto,
romba il suo saluto.
– Un bel di, Madame Butterfly
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DRAMATIS PERSONAE
Dramaturg’s Note: Written as a teleplay, Miller’s script lacks a clear dramatis personae
outlining necessary characters for production. Although this cast could indubitably be pared
down for stage production, as a live-theatre event, I have compiled a full character listing to
best orchestrate, if you will, Miller’s vision of this tale.
Central Players
- Fania Fénelon (Early 20s, an “outgoing” French woman; gifted pianist and singer)
- Marianne (naive French girl of 20, singer)
- Alma Rose (late 30s, a talented–if cold–violinst)
- Schmuel (An man in his 40s or 50s, worn with cares)
Nazi Counterpoint
- Dr. Mengele (A handsome man, a medical doctor and “experimenter,” early 30s)
- Frau Schmidt (A harsh woman in her mid-30s or possibly older, Kapo of processing and goods)
- Lagerfuhrerin Maria Mandel (A beautiful woman, in charge of the women in the camp, 30)
Main Supporting Players of Orchestra
- Elzvieta (A very good violinist, a rather aristocratic Pole who still has her hair)
- Paulette (In her mid-20s, German-Jewish, an excellent cellist)
- Liesle (A bony, timid, near-hysterically frightened mandolin player, trying desperately
to keep up with the beat. Belgian)
- Charlotte (A violinist, fine player, slim and noble-looking, Belgian, extremely
intelligent, poetic face)
- Etalina (A wisecracker, small, Rumanian, violinist, a tomboy)
- Michou (French, plays the flute, a militant communist)
- Esther (A taut, militant Zionist who bears her intense eyes on the vision of Palestine;
accordionist)
- Olga (Ukranian accordionist, a dumbbell who will later take over the orchestra)
Background of Orchestra
- Giselle (A freckled, very young French girl who can barely play drums at all, but is too
young to despair, and thus beats away as loudly as possible)
- Berta – (A flautist)
- Varya (Cymbalist, a Pole who has her hair)
- Katrina (Polish, a very bad guitarist, stubborn, unteachable; has her hair)
- Greta (Dutch accordianist, country girl, scared at all times, a very poor player)
- Tchaikowska (The leading kapo of the orchestra, a militant Polish woman)
Supernumeraries
MEN: Prisoners/Workers/Nazi/Kapo/Waiter
WOMEN: Prisioners/Kapo
Little Boy: Boy Scout/Ladislaus
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Playing For Time Character Questionnaire
Dramaturg’s Note: Below are 17 questions for you to think about as you begin to develop an
understanding of your character. I suggest answering these first using your script and the
historical information offered on the website and suggested readings as a guide. After answering
these, and allowing these choices to inform your first few weeks of acting choices, revisit these.
You might find new motivations have developed.
1. What is your character’s name?
2. Does your character have a nickname? How did they get their nickname?
3. Where does your character call home? What nationality is your character?
4. Is your character religious? If so, how does s/he feel about the religious persecution
happening during the play?
5. Who is your character closest to in this play? Outside the onstage action?
6. Does your character desire to be closer to anyone? If so, who?
7. Where or to whom does your character go when s/he is angry or upset?
8. What is your character’s biggest fear? Who have they told this to? Who would they never
tell this to? Why
9. If you could change one thing about your character, what would it be? Why?
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10. What is the quality your character likes most in the opposite sex?
11. Has your character ever been in love? Had a broken heart? What is love to your
character?
12. If your character is in the Orchestra, how does she feel about playing to “assist” Nazi
captors? If your character is not in the Orchestra, how does s/he feel about the work of
the Orchestra?
13. Does your character ever make references to time in the play? If so, what does s/he say,
and how does s/he measure time?
14. What is it that your character is least proud of?
15. A central question of the play is whether Nazi captors can be seen as human, or if their
barbaric behavior negates empathy. How does your character feel about the humanity of
Third Reich members?
16. How does your character feel at the conclusion of the play?
17. What happens to your character at the conclusion of the play?
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GLOSSARY
Dramaturg’s Note: This glossary is intended to support the performance of Playing for Time as
most recently published, in 2012. This version is located in a collected anthology of Arthur
Miller’s work, available through Library of America press.1 All language and page numbers
below reference this version.2
German-Occupied Paris, 1942 (587): This stage direction importantly locates the beginning of
this story in Paris, 1942. A mass arrest and raid of Jewish persons, now remembered as Rafle du
Vélodrome d'Hiver. The roundup, a joint operation between German occupiers and the French
police, was known as Opération Vent printanier ("Operation Spring Breeze"), and took place on
16 and 17 July 1942. An estimated 13,152 Jews were arrested and held at the Vélodrome d'Hiver
and the Drancy internment camp nearby, then shipped by railway transports to Auschwitz for
extermination.
Fania playing/singing a “Parisian Ballad warmed with longing and wartime sentiment”
(587): One such number might be Le bar de l'escadrille (1942), popularized by Marie José.
(Listen here: [Link]
Bourgeois dress (587): Bourgeois fashion in Paris in 1942 was built on layering expensive
fabrics in brighter colors, with a specific bent towards conveying a national sentiment. As
Valerie Steele writes in Paris Fashion: A Cultural History, “Despite the economic and cultural
importance of Paris Coutoour, the Vichy regime preferred to emphasize the symbols of la
francité, from Joan of Arc to the beret. As a result, during the period from 1940 to 1944, French
fashion was periodically encouraged to become more authentically ‘French.’ In practice, this
meant htat regional folk costumes were periodically dragged out as ‘inspirations’ for the current
modes (just as they were in Germany and Italy” (266).
“... he’s in the Resistance” (588): Also known as la Résistance, the Resistance was the civilian
movement against a Nazi-German occupation of France and against the collaborationist Vichy
régime during World War II. Comprised of small cells of men and women, the Résistance
workers took to guerrilla warfare activities, publishing underground newspapers, providing
intelligence to Allies, and establishing an escape network to assist soldiers and airmen trapped
behind enemy lines. La Résistance was comprised of all levels of French society: émigrés;
Catholics; citizens from the ranks of liberals, anarchists, and communists.
“Labor farms in Munich” (589): The labor farms in Munich here refers to the Dachau
concentration camp, the first of the Nazi concentration camps, build in 1933. It was 10 miles
1
Miller, Arthur. Playing for Time. Arthur Miller: Collected Plays 1964-1982. Ed. by Tony
Kushner. New York: The Library of America (2012). 587-688. Print.
2
Meant to be a rehearsal-friendly user guide, it is uncommon to provide academic in-text
citations for every note in dramaturgical production materials, particularly for common-
knowledge historical information. I have only done so where necessary for clarification. For
additional information and reading, please refer to the bibliography at the end of the document.
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from Munich, Germany. Its purpose was originally forced labor, but during WWII Jews,
ordinary German and Austrian criminals, and eventually foreign nationals from countries which
Germany occupied or invaded, were imprisoned here. Dachau was liberated in 1945 (Yad
Vashem).
“Angel of Death” (592): Angel of Death (Todesengel, in German) was the nickname Joseph
Mengele acquired for his work at Auschwitz, where he performed gruesome experiments on
human prisoners. He was also known as the “White Angel” by inmates because when he stood
on the platform inspecting and selecting new arrivals his white coat and white arms outstretched,
evoking the image of a gruesome angel.
Selections process: The selection process of arrivals was different at every camp, based on the
needs and purposes of camp labor. Generally, however, healthy men, as well as young-adult boys
and girls, were saved for hard labor while most women, children, and ill were immediately
gassed. Some, in Auschwitz, were saved and taken to the Josef Mengele’s “hospital” where they
were subjected to tortourous medical “experiments.”
Red Cross Insignia On Trucks: The Red Cross insignia was often put on transport vehicles in
order to lull new arrivals at Auschwitz into a false sense of calm and ensure their easy
participation the processing of new camp prisoners.
Kapo (593): Kapo were prisoners selected to serve as wardens or captains in concentration
camps. These individuals often received special privileges for their duties, such as extra rations
of food, different sleeping quarters, or belongings taken from incoming prisoners.
Processing (594): The processing for incoming prisoners included a dispossession of all material
items and clothing, shearing a prisoner’s hair (which prevent lice, although also served to
humiliate prisoners), and identification numbers tattooed on the forearms of prisoners (Marianne
is marked, and becomes known as, 364991 for instance). Fania first recognizes that Auschwitz is
a death camp during this processing sequence, when she recognizes items taken from other
passengers on her train transport.
“Jew-Crap v. French” (596): This is the first of several identity-opposition sets in the play that
interrogate a Jewish identity against a national identities of French, German, Israeli, Palestine.
Underneath this is a conversation is debate on whether Jewishness is a national identity of its
own. In Auschwitz, a mixed-prisoner camp, Jewish identity became an additional caste system
(Jewish/Half-Jewish/Gentile taking various valances and privileges).
Blockawa (596): The blockawa, one step above the kapo, is a block warden that often manages
several barracks. These individuals were often German workers, but occasionally Polish
prisoners. Frau Schmidt, for example, has additional duties but she also works as an Auschwitz
blockawa.
“I’m going to kill a Polish woman…” (597): Not a legitimate, this flippant remark is example
of the extreme antagonism between the Jewish and Polish prisoners. In the case of orchestra
members, Jewish prisoners were allowed to share nice quarters with Polish prisoners.
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Madame Butterfly (598): Madame Butterfly is an Italian opera in three acts by Giacomo
Puccini, Luigi Illica, and Guiseppe Giacosa. It is based on John Luther Long’s story by the same
name. It’s music is standard fare classical music performance, and is the rare opera that has
managed to cross into popular culture.
Bechstein Grand piano (599): A grand piano produced by A C. Bechstein Pianofortefabrik AG,
also known as Bechstein. Established by Carl Bechstein in 1853, this German manufacturer used
expensive alpine spruce to build its soundboards during WWII. The use of a Bechstein in
Auschwitz speaks to a significant relationship between Adolf Hitler and the Bechstein family
during his rise to power in the 1930s.
The “Melody” cafe, Paris (599): No account exists of a Melody Café in Paris circa 1942. It is
likely that this café is an invention of Miller. It indexes the popularity of café musicians, as we
hear learn that Fania played several cafés in the city, not just the one of the play’s opening.
Rosé String Quartet (599): The Rosé Quartet was a string quartet formed by Arnold Rosé,
Alma’s father, in 1882. It was active for 55 years, until 1938.
Gustav Mahler (599): Gustav Mahler (7 July 1860 – 18 May 1911) was a late-Romantic
Austrian composer and one of the leading conductors of his generation. Raising his baton before
the Vienna Court Opera, the New York’s Metropolitan Opera, and the New York Philharmonic,
he focused primarily on conducting rather than composing. His last period of music, elegiac in
mood, were vastly successful after Mahler’s death. Mahler is the uncle of Alma Rosé.
“von Suppé orchestral number” (604): Franz von Suppé is 19th century Viennese composer.
One such number in the repertoire of the Women’s Orchestra might be Suppé’s well-loved 1846
“Poet and Peasant” Overture, due to its heavy reliance on string instruments, particularly violin
(Listen here: [Link]
“At ease, Philharmonic” (606): Calling an orchestra a “Philharmonic” is a common way to
address the body of artists as a whole while in rehearsals; Alma’s comment, however, doubles as
inside joke measuring her orchestra against her own beloved Vienna Philharmonic, a group
widely regarded as the best orchestra in the world.
Orchestrate (607): Also known as arranging or scoring, to orchestrate is to adapt or write music
for orchestral performance. In the case of the Women’s Orchestra, Fania is adapting materials for
a strange assortment of instruments that usually do not perform in an ensemble, including violin,
piano, accordian, guitar, cello, and drums.
“Sings a smoky, Parisian Ballad” (609): One such number might be Tango Marina (1942),
popularized by Marie José (Listen here: [Link]
Marianne steals food (610): The margarine that Marianne steals is worth a pittance, but in a
place where food is scarce and everything has a price, and a morsel of bread is the difference
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between life and death, the theft is high treason. This becomes a significant moment in the
development of Fania and Marianne’s relationship.
Drancy Prison (611): Drancy Internment Camp, named for its location in a suburb of Paris, was
a way-station for the deportation of Jews to other camps during the German occupancy of
France. 67,400 French, Polish, and German Jews were deported from the camp in 64 rail
transports which included 6,000 children. Only 1,542 remained alive at the camp when Allied
forces liberated it on 17 August 1944 (Drancy).
“Stormy Weather” (612): An American song by Harold Arlen and Ted Koehler, and first
debuted in 1933 at Harlem’s Cotton Club night club. The jazzy piece speaks to longing and
disappointment, with the lyrics saying, “Don’t know why there’s no sun in the sky.” The song
gained notoriety during Paris in the 1940s, when jazz became a popular music style (Listen here:
[Link]
Triangle Badges (613): They were used in the concentration camps in the Nazi-occupied
countries to identify the reason the prisoners had been placed there. These triangles were made of
color-coded fabric and were sewn on jackets and trousers of the prisoners for easy identification.
Single triangles usually indicated nationality or reason for imprisonment, a double-triangle
indicates being of Jewish heritage.
“Eins, swei, drei . . . hup, hup, hup!” (614): German march; the English translation is “One,
two, three . . . hup, hup, hup!”
Bach chaconne (614): The “chaconne” (or Ciaconna) that Charlotte practices is Bach’s Partita in
D minor for solo violin.
(Listen here: [Link]
Hundred Years’ War (614): A series of conflicts waged from between England and France
from 1337 to 1453 for control of the French throne. It is ironically used here as a measurement of
time, to indicate an insufferable, almost preposterous length.
“’Raus, ’raus, schnell …” (617): German. English translation is “Get out, get out, quickly!”
- Una Bel Di (618) – Song Fania is performing is from Madame Butterfly, widely hailed as the
masterwork of the opera. The English translation is “One Beautiful Day,” or alternately, “One
Fine Day” (Listen here: [Link]
“To see Palestine.” (621): This is the first of Esther’s Zionist comments. Speaking in 1942,
Israel had not yet been formed (that was to come in 1948), and the establishment of a Jewish
state was to come through independence from Mandatory Palestine. Thus, when Esther speaks of
Palestine, she does not mean Palestine in the contemporary sense. The Zionist movement
advocates on behalf of the Jewish state.
“Shma Israel, adonai elohaynu” (622): These are the opening lines to the one of the most
important of all Jewish prayers, known as the Shema Israel. It is a declaration of faith prayed
twice daily. It is also the first prayer taught to Jewish children and it is the last words Jew says
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before death. It is a prayer of praise to God and it is a prayer of beseechment, as well. The Shema
is recited in preparation for the reading of the Torah on the Sabbath and Jewish holidays and at
the end of the holiest day, Yom Kippur. Judaism teaches that the name of God is not read aloud
in the Shema; it is replaced with Adonai:"my Lord" (“The Shema Israel”).
“Be sure to take her to the hospital, not death–she is a musician, they need her.” “We
understand.” (623): Mala gives the Rumanian (/Romanian) translation, which would be
“Asigurați-vă că să o ia la spital, nu moartea ea este un muzician, au nevoie de ea.” The
response, “We understand,” translates to, “Am înțeles.”
Resistance (re. Mala) (623): Please see earlier gloss on “The Resistanace.”
Shubert song with “lachen” in the verse (624): The script requires that Fania be working
through a Franz Shubert song with “lachen” featured in the lyrics. One of Shubert’s most
famous lieds, “Lachen und Weinen” (“Laughter and Weeping,” 1823), might be tonally
appropriate for this moment (Listen here: [Link]
“… my father was first violin in the Berlin Opera, his string quartet played all over the
world…” (625): Here Alma is referring to Arnold Rosé. Please see earlier gloss on Rosé.
Furtwängler (626): Gustav Heinrich Ernst Martin Wilhelm Furtwängler is a mid-twentieth
century German conductor and composer whose music was often accompanied Third Reich
materials and entertainment.
“The second time to a man, a violinist, who only wanted my father’s name to open doors
for him…” (627): Alma is referring to Czech violinist Váša Příhoda, whom she married in 1930.
Příhoda was considered one of the great violin virtuosi of the 20th century.
The “Méditation” from Thaïs (628): An entr'acte intermezzo from the 1894 opera Thaïs for
orchestra and solo violin, this piece Alma plays is a hunting piece of music is based on thematic
repetitions. (Listen here: [Link]
“You’ve behaved like a dirty goyim…” (629): A goy or goyim is a disparaging term for one
who not a Jew. Based from the Yiddish word, it alternately connotes a Jew ignorant of the
Jewish religion. Both are appropriate to Marianne’s status amongst her fellow orchestra
members.
“Since when have you all become such Jewish nationalists?” (629): Another reference to
Zionism. Please see gloss on Palestine above. This conversation, however, is about more than
politicized principles on Israel; it signals the difficulty of Jewish persons who have been forcibly
disassociated from their previous nationalities.
“I am sick of the Zionists-and-the-Marxists; the Jews-and-the-Gentiles; the Easterners-
and-the-Westerners; the Germans-and-the-non-Germans; the French-and-the-non-
French.” (629): These are the major polemical debates of 1942–political-philosophical anxieties
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between Zionism and the teachings of Karl Marx; Jewish position against non-Jews; German
citizenship, which was being forced upon or forcibly taken from citizens across Europe; and a
French identity under siege by the German occupation.
“Your Robert” (630): There’s no record that Fania was ever attached to a “Robert,” although
this is presumably the boyfriend she mentions in the opening pages of the script. This
relationship is a bit of Miller-devised stagebusiness; the real Fania was married at the time to
Silvio Perla, a Swiss athlete.
An airy, light piece of popular music (631): One such as Je Suis Seule Ce Soir speaks to
Fania’s likely repetoire (Listen here: [Link]
Bal Musette numbers (632): Musette music was a popular form of music in Parisian cafes,
sidewalks and dance halls. The music’s minor keys are said to speak of an underlying sadness,
while the rhythm, notation, and style are more jaunty and said to convey the resilience of the
human spirit. Edith Piaf, a popular French musician and cabaret performer, popularized the style
over her career. This would have been music that surrounded Fania and Marianne’s soundscape
(Tchamouroff).
“… Dr. Mengele wants to observe the effects of music on the insane.” (633): Mengele
frequently used his “patients” as subjects in cruel tests inquiring into the nature of genetics and
the limits of the human body. For further information, see gloss on “Angel of Death.”
The Beethoven Fifth (636): Referring to Symphony No. 5 in C minor of Ludwig van
Beethoven, Op. 67. It is one of the most popular compositions in classical music, and one of the
most frequently-played symphonies. The first four notes, a “short-short-short-long” motif, are
arguably the best known note sequence in music history. Much has been written about
Beethoven’s Fifth and its affective qualities; it is a heady choice of music to underscore the final
music with (Guerrieri).
Charlotte and Michou affair (638-9): The affair is based on a compilation of passages from
Fania’s diary that suggest homosexual relations between the female prisoners. When the diary
was translated to English, many of these passages were excised. Miller’s inclusion is notable in
that it explicitly touches upon the lesbian themes absent elsewhere in the work, and Holocaust
experience writ large.
“American? English? Too late for you anyway.” (640): Now in 1944, the German’s were
losing the war, and Auschwitz was on the verge of being liberated. Fénelon had, by this point,
contracted a nearly-fatal case of Typhus. This is one of many implicit time allusions in the play.
“I could drive an needle through my hand, it would hardly matter.” (640): Fania’s comment
here is an allusion to the crucifixion of Christ. Half-Jewish, Half Catholic, Fénelon was
intimately aware of her positioning between the two identities throughout her camp experience.
ALLIES LANDED IN FRANCE (644): Also known as D-Day, Schmuel is signaling the arrival
of Western Allied Forces in Normandy, France, on 6 June 1944.
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“They are sending me out on tour to play for the troops.” (647): Wartime entertainment
circuits were common during WWII for both German and Allied forces. Oftentimes, popular
entertainment artists were sent to tour, meet troops, play, and “boost morale.”
“The shot her [Schmidt] this morning.” (650): Historical information suggests that Alma was
not poisoned by Schmidt, although she may have died from food poisoning. The offstage
execution of Schmidt not only demonstrates the deterioration power structures at Auschwitz near
the end of the war, but also authenticate Mengele’s respect of Rosé and her craft.
Cut to Olga, the Ukranian accordionist, who has apparently inherited the conductorship…
(650): Olga, a particularly an accordionist without special musical abilities, inherits the
conductorship as she is not a Jew. Like Rosé, she views Fania as competition.
A polka “Laughing Song” (651): A dance reel of upbeat entertainment music with the
accordion. Oftentimes laughing replaces actual lyrics, or nonsense lyrics are used.
The duet from Madame Butterfly (656): Yet another excerpt from Madame Butterfly, the duet
Marianne and Fania perfrom is sung by Butterfly and Suzuki. The lyrics, “I pray you go and rest,
for you are weary. And I will cal you when he arrives,” are not Miller’s own translation, but
from the official standard translation of Puccini’s opera.
The Blue Dabube (658): The Blue Danube a 1928 silent film romance/drama starring Leatrice
Joy as Marguerite. This picture was produced by Cecil B. DeMille. In a strange coincidence, the
cinematographer for this film is Arthur C. Miller, no relation to the American playwright,
Marching Orders (664): With the advance of the Western Allies towards Auschwitz, the
Women’s Orchestra was marched on foot to Bergen-Belsen, where they remained until liberation
on 15 April 1945. There were no gas chambers at Belsen, but the camp was rife with Typhus. At
the time of the Women’s Orchestra’s arrival Czech painter and writer Josef Čapek, as well as
Anne and Margot Frank were prisoners; these three persons, known through a variety of other
artistic materials, died in Belsen in spring of 1945.
“Marseillaise” (666): On the day of liberation Fania was interviewed by the BBC. During her
interview she sang La Marseillaise, is the national anthem of France, and “God Save the Queen,”
the anthem for England. A recording of this performance is presumably preserved in the U.S.
Library of Congress, but catalog searches for it have proved unsuccessful at the time of this
writing.
Brussels, 1978 (667): Although Fania is portrayed in the script as retiring to Brussels, this is a
device of Miller’s, presumably a political one that subtly nods to its prominent position in EU
politics. The real Fénelon lived in East Germany and, later, Paris.
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Bibliography and Suggested Materials
Brown, D. P. The Camp Women: The Female Auxiliaries Who Assisted the SS in Running the
Nazi Concentration Camp System. New York: Schiffer Publishing, 2002. Print.
“Drancy” This Month In Holocaust History. Yad Vashem. Accessed 14 December 2013.
[Link]
Fénelon, Fania. Playing for Time. New York: Syracuse University Press, 1997. Print.
Gilbert, Adrian. “Sarah’s Key.” The Guardian. 21 July 2011. Accessed 13 December
2013. [Link]
two-adrian-gilbert. Web.
Guerrieri, Matthew. The First Four Notes: Beethoven's Fifth and the Human Imagination. New
York: Knopf, 2012. Print.
“The Holocaust.” Yad Vashem. Accessed 1 December 2013.
[Link] Web.
Lasker-Wallfisch, Anita. Inherit the truth, 1939-1945: The documented experiences of a
survivor of Auschwitz and Belsen. London: Giles de la Mare, 1996.
Newman, Richard and Karen Kirtley. Alma Rosé: Vienna to Auschwitz. New York: Amadeus
Press, 2003.
Playing For Time. 1980. Dir. Daniel Mann, Joseph Sargent
“Préfecture de Police Records.” AIDH. Accessed 14 December 2013.
[Link] Web.
Sarah’s Key. 2011. Dir. Gilles Paquet-Brenner.
“The Shema.” Jewish Gifting Place. Accessed 4 December 2013.
[Link] Web.
Steele, Valerie. Paris Fashion: A Cultural History. Oxford: Oxford University Press,
1998. Print.
Tchamouroff, Steve. “A Short History of the Bal Musette.” Washington Metropolitan Accordion
Society. Accessed 2 December 2013.
[Link] Web.
