• Overview
  • About Tabori
  • Keynote Speakers
  • Performances
  • Full Schedule
  • Information for Visiting Scholars

George Tabori and the Theatre of the Holocaust is an international conference on the theatrical representation of the Shoah. The conference aims to highlight scholarship on the writings of Hungarian-German-Jewish playwright George Tabori (1914-2007)—an émigré to the United States, who following his return to Germany in the late 1960s rose to become one of the country’s most prominent playwrights—and to concurrently inquire more generally into the representation of the Holocaust on stage and related aesthetic and political questions.

Beyond considering methods and approaches to a subject that presents playwrights and directors with the most profound ethical and aesthetic challenges, the goal of the conference is to bring attention to a transnational author who wrote best-selling novels in Britain, screenplays for Alfred Hitchcock and Anatole Litvak in the U.S., whose plays were performed on and off-Broadway, and whose efforts to commemorate the victims of the Holocaust on the German stage and offer paths of understanding and future intervention have been unparalleled in their success and impact on 20th-century German society.

The meeting, co-organized by the University of Georgia Departments of Theatre & Film Studies and Germanic & Slavic Studies, is put on in conjunction with the University Theatre/7 Stages’ production of Tabori’s signature play, Mein Kampf, directed by Del Hamilton.

Featured speakers, whose areas of scholarly expertise include Jewish studies, German studies, and theater and performance studies, will come from Germany, Austria, England, Israel, Italy, Canada and the United States. Confirmed keynote speakers are Anat Feinberg, professor of Jewish and Hebrew literature at the Jüdische Hochschule in Heidelberg, Germany, and a leading scholar in German-Jewish theater, author of Embodied Memory: The Theatre of George Tabori and George Tabori, the only biography of the playwright; eminent theatre scholar Freddie Rokem, Emanuel Herzikowitz Professor at Tel Aviv University, an authority on German-Jewish theatrical relations, author of the award-winning Performing History: Theatrical Representations of the Past in Contemporary Theatre and, more recently, Philosophers and Thespians: Thinking Performance; and Henry Bial, Professor of Theatre and American Studies at the University of Kansas, president of the Association for Theatre in Higher Education (ATHE) and author of Acting Jewish: Negotiating Ethnicity on the American Stage and Screen.

George Tabori’s life and illustrious career span the last century, two continents, several languages, and a variety of literary genres. A truly transnational author, he eventually rose to become one of Germany’s most acclaimed and recognized playwrights and directors of the second half of the twentieth century. His theatrical work on the Holocaust especially, ranging from original plays to texts adapted to the plays he directed, has deeply impacted the country’s theatrical landscape and left a most significant legacy. By contrast, though Tabori lived and worked in the United States for over 20 years and at one point was named in the same breath with Arthur Miller and Tennessee Williams, he has received scant attention in American letters. This symposium aims to fill that lacuna and at the same time place his work into the larger context of theatrical engagement with the Holocaust and its aftermath.

More information on George Tabori is available here.

George Tabori’s life and illustrious career span the last century, two continents, several languages, and a variety of literary genres. A truly transnational author, he has taken an unusual path toward success in German theater, where he eventually rose to become one of the most acclaimed and recognized playwrights and directors of the second half of the twentieth century. His theatrical work on the Holocaust especially, ranging from original plays to texts adapted to the plays he directed, has deeply impacted the country’s theatrical landscape and left a most significant legacy.

Tabori, who grew up speaking Hungarian and German but for most of his life wrote in English, was also a prominent writer in the English speaking world. In 1947, at that point a best-selling novelist in Britain, he relocated from exile in London to Hollywood, where he began writing screenplays for Metro-Goldwyn-Mayer. MGM and later Warner Brothers bought several of Tabori’s stories and film scripts, of which a number were turned into successful movies. Among these were Crisis (1950, w/ Cary Grant), I Confess (1953, dir. by Alfred Hitchcock, w/ Montgomery Clift), The Young Lovers (1954, dir. by Anthony Asquith, British Academy Award for best screenplay), The Journey (dir. by Anatole Litvak, w/ Deborah Kerr and Yul Brynner), and Secret Ceremony (1968, dir. Joseph Losey, w/ Elizabeth Taylor, Robert Mitchum and Mia Farrow).

Although he continued to work in film throughout the 1950s and 60s, Tabori’s artistic passion—incited by two exile encounters with German playwright Bertolt Brecht—lay with the theater. In 1950, he moved to New York to focus on playwriting. Two years later his first play Flight Into Egypt (1952, dir. Elia Kazan) was produced on Broadway, followed in short succession by his The Emperor’s Clothes (1953, dir. by Harold Clurman), also a Broadway production. Over the next few years, Tabori continued writing and directing plays and, through his wife, the actress Viveca Lindfors, also became associated with Lee Strasberg’s Actor’s Studio in New York. This association should prove significant, as he was not only able to observe Strasberg teach but also to recruit talented young actors, such as Morgan Freeman, who played the lead in the anti-racist The Niggerlovers (1966) and Michael Douglas who was the protagonist of Pinkville (1971), for his own productions.

In 1959, Tabori helped Lindfors stage a performance of Bertolt Brecht’s The Jewish Wife at the Actor’s Studio, a step which marked the beginning of intensive engagement with Brecht’s work. Tabori would spend much of the 1960s working on Brecht, translating and staging his plays, and seeking to reintroduce the German playwright to an American audience. The initial result, Brecht on Brecht, a collage of Brecht texts, many of which Tabori had translated, opened in the fall of 1961 as an American National Theatre and Academy (ANTA) matinee show off-Broadway. Originally conceived of as a one-time performance, the show, which Tabori also co-directed, ultimately ran for three years and traveled to over 20 different cities in the entire U.S. Other translations or adaptations of Brecht’s plays followed, including The Resistable Rise of Arturo Ui, The Guns of Carrar, and Mother Courage. In addition, Tabori began to integrate Brechtian theory and techniques into his own writing and the productions he directed.

For both cultural and personal reasons, it was not until the late 1960s, when his play The Cannibals was first performed in New York, that Tabori focused on the theatrical representation of the Holocaust. It took the author two decades, some psychotherapy, and in the wake of prominent trials in Israel and Germany a new awareness among the American public of the suffering of millions of European Jews to confront his own losses. Two thirds of his family had been murdered in the Holocaust, including his father, Cornelius Tabori, a well-known Hungarian journalist, who died in Auschwitz. Just like other survivors, the son struggled with feelings of guilt, sorrow, and anger, yet little of it was present in his literary work. This changed in the 1960s with public attention on the subject, a politically active younger generation critically examining the past, and the rise of experimental theater and performance art, where Tabori found the aesthetic means to tackle this challenging and personally difficult subject.

The Cannibals, set in an Auschwitz barrack, represented a first attempt to work through and ultimately overcome a past haunting the survivors, while highlighting the humanity of the victims. It skillfully combined ritual forms of theater with Brechtian techniques of alienation and was utterly unique in its approach among theatrical attempts at representing the Holocaust. The play drew praise when it premiered off-Broadway in New York’s American Place Theater in 1968, yet it was not until a year later, when Tabori co-directed a German production of The Cannibals (with Martin Fried) in West Berlin that his ideas resonated fully. Perhaps in part due to Tabori’s inclusive approach, which addressed the status of both victims and perpetrators, the performance of his “black mass” became a celebrated success in Germany. It was then that Tabori realized that he had found both a theatrical form and an audience for his work.

In 1971, Tabori settled for good in Germany, continuing to write and successfully perform plays commemorating the victims of the Shoah, chronicling their fate and offering ways of intervention with regard to both understanding the past and preventing its recurrence. These plays included My Mother’s Courage (1979), which depicts his mother’s miraculous escape from deportation, Jubilee (1983), a play commissioned on the occasion of the 50th anniversary of Hitler’s seizure of power which focused on Neo-Nazism in Germany, and Mein Kampf (1987), a play set in Vienna around 1910, the formative period for Hitler’s anti-Semitism. Incidentally, Tabori had seen Hitler in person in Berlin in January 1933—when he himself trained as an apprentice in the hotel business—waiving to crowds from a window of the Reichskanzlei following his election victory. Calling his survival his defeat of the dictator, Tabori, in his play, portrayed him as hapless and inapt, yet also ruthless, part ridiculous imposter, part unbearable narcissist, part cool and calculating mass-murderer. Contrary to the actual encounters Hitler had with Viennese Jews, Tabori suggests, Hitler’s anti-Semitism is pure construction, a means for psychological comfort and political benefit.

Although Tabori’s theater comprised many subjects other than the Holocaust, his entire work as playwright and director in Germany was framed by its post-Holocaust status. One striking example illustrating this is a production of The Jews Tabori directed for the Viennese Burgtheater and the Berliner Ensemble, G.E. Lessing’s eighteenth-century comedy about prejudice and Jewish emancipation. On opening night and for many performances, Tabori, visible to the audience, simply sat on stage watching the actors perform the play. His presence was to remind the audience of the later persecution of German Jews, questioning the enlightened humanism associated with both author and play and imbuing the performance with new and different meaning. No longer about advocating for Jewish emancipation, it was now about the question, why in spite of Lessing the project of Jewish integration into German society had failed?

Tabori’s contributions to Holocaust theatre have been significant and unique in several ways. First of all, he is the only Jewish-German playwright who has consistently addressed the subject over several decades, offering effective ways of memorializing and, in some ways, redeeming the dead. Secondly, he has done so using post-modern, post-dramatic forms of theater. Always self-reflective, Tabori’s theater is performative in character, self-conscious of the limits of representation, and utilitarian in its attitude toward literary history. To him, as to other post-modern artists, the Holocaust is the caesura that marks the end, for the time being, of the project of modernity: the progress of reason and the emancipation of the individual. Tabori’s critical examination does not necessarily offer alternatives, but it leads to deeper understanding of conflicts and contradictions that contributed to modernity’s ultimate collapse. Thirdly, Tabori was one of the first playwrights using humor in the context of Holocaust representation. To be sure, Tabori’s humor is neither facetious nor gratuitous; rather it is part of an aesthetic, which foregrounds the humanity of those portrayed on stage, the victims and, for better or worse, the perpetrators. According to Tabori, a student of Freud, a catastrophe lies at the bottom of each joke. In the immediacy of laughter the audience is confronted with that catastrophe.

When Tabori died in 2007 at age 93, he was not only one of the most popular German playwrights, but also one of the most recognized. Among other, he had received the Büchner prize, Germany’s highest literary distinction, the Mühlheim theater prize, generally considered the highest German honor for accomplishments in playwriting, the Prix Italia for best radio play, the Goethe medal of the city of Weimar, prizes by the cities of Vienna and Berlin, and numerous other theater related awards.

Anat Feinberg “Macht kein Theater”: George Tabori and his Theater Revisited February 26, 4:30-6:00 pm
Anat Feinberg is Professor of Hebrew and Jewish Literature at the Hochschule für Jüdische Studien in Heidelberg, Germany. Her research foci are modern Hebrew literature, Jewish literature, theater studies and Israeli studies. Her publications include books on the representation of Jewish fate in postwar German drama, on Jewish musicians in Germany after 1945, on Iraqi-Jewish authors, and on Hungarian-German-Jewish playwright George Tabori (in both English and German). In addition to authoring numerous articles and book chapters and to editing anthologies of Israeli authors, Feinberg served as the editor in charge of two large encyclopedia projects on Modern Hebrew literature. Feinberg’s research has been supported with grants from the German Academic Exchange Council and the German Humboldt Foundation and she has held visiting appointments at the University of Lucerne (Switzerland) and the University of Pennsylvania.
Henry Bial “The Funny Thing About Jewish Performance Studies” February 27, 1:30-3:00 pm
Henry Bial is the Associate Dean for the College of Liberal Arts & Sciences, the Director of the School of the Arts at the University of Kansas, and the President of the Association for Theatre in Higher Education. Dr. Bial is the author of Acting Jewish: Negotiating Ethnicity on the American Stage and Screen (University of Michigan Press, 2005), the editor of The Performance Studies Reader (Routledge, 2004; Second Edition, 2007), and the co-editor of Theater Historiography: Critical Interventions (with Scott Magelssen, University of Michigan Press, 2010) and Brecht Sourcebook (with Carol Martin, Routledge, 2000). He has published essays in TDR, Theatre Topics, The Journal of American Drama and Theatre, and elsewhere.
Freddie Rokem “From Tragedy to Farce” February 28, 5:15-6:45 pm
Freddie Rokem is the Emanuel Herzikowitz Professor for 19th and 20th Century Art and teaches in the Department of Theatre Studies at Tel Aviv University, where he served as the Dean of the Yolanda and David Katz Faculty of the Arts (2002-2006). He is also a permanent guest Professor (Docent) at Helsinki University, Finland and has been a visiting Professor at Stanford University, the Free University in Berlin, the University of Munich, the University of Stockholm, UC Berkeley and UC Davis. His book Performing History: Theatrical Representations of the Past in Contemporary Theatre (2000) received the ATHE Prize for best theatre studies book in 2001. His other books include Strindberg’s Secret Codes (2004) and Philosophers and Thespians: Thinking Performance (2010). He is co-editor (together with Jeanette Malkin) of Jews and the Making of Modern German Theatre (2010), and was the editor of Theatre Research International from 2006 to 2009.
Stanley Walden Fiddlers on our Roof February 26, 6:45 pm
Stanley Walden, who composed music for George Tabori, will perform his compositions and discuss his memories of Tabori.
Composer Stanley Walden was among George Tabori's closest collaborators for over 30 years. Between 1971 and 2005, Walden and Tabori produced some fifty works for radio, stage and screen in the U.S. and Europe. Among Walden's many collaborations with Tabori are the chamber quartet in Mein Kampf, the RIAS Big Band in Der Voyeur, the chamber orchestra in My Mother's Courage, and the solo piano and clarinet in Shylock. Walden will perform a selection of the works he composed for Tabori along with other compositions, and will discuss his first-hand impressions of Tabori's unique sensibility and highly collaborative and unique approach to directing.
Stanley Walden is a highly distinguished composer for operas, symphony orchestras, chamber ensembles, movies, and musicals, whose works include the Grammy-nominated score for the Broadway production Oh, Calcutta!, and music for the Open Theatre's landmark production of The Serpent and Martha Clarke's dance/theatre piece Endangered Species at the Brooklyn Academy of Music. Born in 1932, he has been a clarinetist with the New York Philharmonic and the Metropolitan Opera, a member of the faculty at Julliard and S.U.N.Y. Purchase, and the founder and Honorary Chairman for Life of the Department of Musical Theater at the Universität der Künste/Berlin.
University Theatre Mein Kampf February 27, 8:00 pm
This bold, hilarious farce, penned by one of Germany’s greatest twentieth century playwrights, portrays Adolf Hitler as a young, struggling artist secretly yearning to take over the world and whose life is changed by a chance encounter with a Jewish Bible seller.
Roger Grunwald The Mitzvah Project February 28, 2:30 pm
The Mitzvah Project, created with director and co-author Annie McGreevey, reveals the surprising history of tens of thousands of German men known as “mischlings”—the derogatory term the Nazis used to characterize those descended from one or two Jewish grandparents—who served in Hitler's army.
Roger Grunwald is a veteran theatre, film, TV and voice actor who has appeared in over 70 stage productions in the United States and Europe. Favorite stage roles include: the title role in Brecht’s The Life of Galileo, Toby Belch, Larry (Company), Marcus Lycus, Senator Joseph McCarthy, D.H. Lawrence, Theodore Herzl, Sigmund Freud, Franz Kafka, Heiner Müller and V.I. Lenin. He was one of the leads in the Off Broadway premiere of Outside Inn at 59E59 Theaters, a role he originated in Pittsburgh and twice in Stuttgart, Germany (in the German language production of the play). His voice and face have been heard on and seen in commercials, industrials, soap operas and in major studio features, as well as in documentaries for HBO, Court Television Network, the Discovery Channel and two independent short films. He is featured in the upcoming pilot episode of a Martin Scorsese-directed and produced HBO series on the Rock ‘N Roll scene from the 1970s and ‘80s. The series is set to air in 2015.
Thursday, February 5, 2015
7:00 - 9:00 p.m.
Pre-conference Event | Georgia Museum of Art Auditorium
Introduced by Chris Sieving (Department of Theatre and Film Studies) and Janice Simon (Lamar Dodd School of Art) Film “I Confess.” Directed by Alfred Hitchcock. Screenplay by George Tabori.
Wednesday, February 11, 2015
5:00 - 6:30 p.m
Reading of Tabori's story “My Mother’s Courage” | MLC Reading Room (Room 303)
Zach Byrd (MFA Performance Candidate, UGA) Refreshments to follow.
Wednesday, Feburary 25, 2015
International Arrival (p.m.)
Thursday, February 26, 2015
Arrival (a.m.)
2:00 – 2:30 p.m.
2:30 – 3:00 p.m.
Welcome/Introduction | Russell Special Collections Library, Room 329
Martin Kagel/David Saltz
3:00 – 4:15 p.m.
Session I | Russell Special Collections Library, Room 329
Norbert Otto Eke (University of Paderborn) “Sacrifice is the test for loyalty, Goldberg.” Sacrifice and Passion in Tabori‘s The Goldberg-Variations
William Collins Donahue (Duke University) Waiting for The Cannibals: Three Moments in the Reception of Tabori’s Epoch-Making Holocaust Drama
Moderator: Alexander Sager (University of Georgia)
4:15 – 4:30 p.m.
Refreshment Break
4:30 – 6:00 p.m.
Keynote I | Russell Special Collections Library, Room 271
Anat Feinberg (University for Jewish Studies, Heidelberg) “Macht kein Theater”: George Tabori and his Theatre Revisited
6:00 – 6:45 p.m.
6:45 p.m.
Lecture/Performance | Russell Special Collections Library, Room 285
Stanley Walden (Los Angeles) Fiddlers on Our Roof
Friday, February 27, 2015
8:30 – 9:00 a.m.
Coffee/Light Breakfast
9:00 – 10:45 a.m.
Session II | Russell Special Collections Library, Room 329
Alice Le Trionnaire-Bolterauer (University of Graz) Memory? No! Experience! The Question of Holocaust Remembrance in the Work of George Tabori
Peter W. Marx (University of Cologne) Theatre against the Grain: Tabori’s Theatrical Experiments as an aide mémoire.
Klaus Van Den Berg (University of Tennessee) Performance Illuminations
Moderator: Brigitte Rossbacher (University of Georgia)
10:45 – 11:00 a.m.
Refreshment Break
11:00 – 12:15 p.m.
Session III | Russell Special Collections Library, Room 329
Stefan Soldovieri (University of Toronto) From Hollywood to the Holocaust? Situating Secret Ceremony (1968)
Peter Höyng (Emory University) A Tale of Fruitful Failure: Odermatt’s Film Narrative of Tabori’s Mein Kampf
Moderator: Richard Neupert (University of Georgia)
12:15 – 1:15 p.m.
1:15 – 2:45 p.m.
Keynote II | Russell Special Collections Library, Room 271
Henry Bial (University of Kansas) The Funny Thing About Jewish Performance Studies
2:45 – 3:00 p.m.
Refreshment Break
3:00 – 4:45 p.m.
Session IV | Russell Special Collections Library, Room 329
Rebecca Rovit (University of Kansas) Parsing the Jewish Question: Ethical Witnessing and the Theatrical Representation of the Holocaust
Barbara Wallace Grossman (Tufts University) “You’re Gonna Laugh and Cry until the Final Curtain”: The People in the Picture and The Paradox of Holocaust Musicals
Jack Davis (University of West Georgia) Who’s Afraid of Kommissar Rex? Holocaust Crimes and Canine Culpability in René Pollesch’s Postdramatic Cappucetto Rosso
Moderator: Marla Carlson (University of Georgia)
4:45 – 5:00 p.m.
Refreshment Break
5:00 – 6:00 p.m.
Russell Special Collections Library, Room 285
Lena Tabori/Martin Kagel George Tabori in New York: A Conversation
6:00 - 8:00 p.m.
Dinner Independently
8:00 p.m.
University Theatre Performance | Fine Arts Cellar Theatre
Mein Kampf (Directed by Del Hamiton) Followed by talk-back
10:00 p.m.
Reception | Fine Arts Lobby
Saturday, February 28, 2015
8:30 – 9:00 a.m.
Coffee/Light Breakfast
9:00 – 10:15 a.m.
Session V | Fine Arts, Room 53
Joelle Ré Arp-Dunham (University of Georgia) The Embodiment of ‘Evil Itself’ on Stage
Johanna Öttl (University of Salzburg, Austria) Robert Schindel’s Dunkelstein: Literary Ethics and the Grotesque
Moderator: Emily Sahakian
10:15 – 10:30 a.m.
Refreshment Break
10:30 – 11:45 a.m.
Session VI | Fine Arts, Room 53
Anthony Hostetter (Rowan University) The Staging of Carlotte Delbo’s Who Will Carry the Word?
Karen Berman (Georgia College and State University) A Czech Patriot, a Polish Hero, and a German Apologist: Wiener, Korczak, Sylvanus Uncovered
Moderator: John Bray (University of Georgia)
11:45 – 1:00 p.m.
Presentation of Student Art Projects
1:00 – 2:15 p.m.
Session VII | Fine Arts, Room 53
Laura Forti (Florence) Tabori and Taboos: Staging Tabori in Italy
Robert Skloot (University of Wisconsin-Madison) My War Story: Tabori, Brecht and Vietnam
Moderator: T. Anthony Marotta (University of Georgia)
2:15 – 2:30 p.m.
Refreshment Break
2:30 – 3:30 p.m.
Roger Grunwald (New York) The Mitzvah Project
3:30 – 3:45 p.m.
Refreshment Break
3:45 – 5:00 p.m.
Session VIII | Fine Arts, Room 53
Donna Stonecipher (Berlin) Tabori on Brecht: A Triple Act of Translation
Antje Diedrich (Middlesex University London) “The stage is not a different country but an extension of the bathroom”: George Tabori’s Reflections on Theatre and Life, Playing and Being
Moderator: Marjanne Goozé (University of Georgia)
5:00 – 5:15 p.m.
Refreshment Break
5:15 – 6:45 p.m.
Keynote III | Fine Arts, Room 300
Freddie Rokem (University of Tel Aviv) From Tragedy to Farce
8:00 p.m.
Conference Dinner at The National
Sunday, March 1, 2015

Guests will be staying at The UGA Hotel and Conference Center (corner of Lumpkin Street and Carlton)

All events will take place on the University of Georgia Campus at the following locations:

Thursday, February 26 and Friday, February 27, 2015:

Richard B. Russell Building (Special Collections Library on South Hull Street)

Theatre Performance of Mein Kampf and post-performance reception on Friday, February 27, 2015:

Cellar Theatre, Fine Arts Building (corder of Baldwin and South Lumpkin Street)

Saturday, February 28, 2015:

Fine Arts Building (corner of Baldwin and South Lumpkin Street)

Conference Dinner at The National (West Hancock Avenue next to Ciné)

Local Restaurant Recommendations:

The Grit (Located on Prince Avenue)—The large Vegetarian-friendly menu includes Indian, Italian, Asian, Mexican and Middle Eastern dishes, and don’t forget to check out the daily veggie board, which lets you put together a plate of deliciousness that could include dal, broccoli or squash casserole, macaroni and cheese, grits and greens or a fresh salad. Breakfast and brunch feature massive, tasty burritos, big plates of pancakes, omelets stuffed with veggies and more. The fresh-baked desserts, many of which are vegan, are some of the most popular in town.

The Branded Butcher (Located on Lumpkin Street Downtown)—Chef Matt Palmerlee really gets charcuterie, and this restaurant is a great place to expand your palate by playing around in that section of the menu, where you might find a housemade corn dog, a smart take on a Scotch egg (hard-boiled egg wrapped in ground sausage and fried), slivered and crisped pigs’ ears or smoked trout rillettes. What many people don’t realize is that vegetarians can have a lovely meal here, too, due to Palmerlee’s respect for local farms and their produce. That said, if you eat meat, and the okra with a side of whipped marrow is on the menu, don’t miss it. Oysters can be had at the bar starting at 4 p.m.

Last Resort Grill (Located Downtown at the corner of Clayton and Hull Street)—Last Resort’s Southern-meets-Southwestern menu is popular with all types, heavy on veggies but with plenty of choices for pescatarians and meat-eaters. The daily ravioli special, the burger with goat cheese and bacon, the fried green tomato sandwich and the Carolina crab cakes are all good choices at lunch. Dinner ups the ante some, with entrees like pecan-crusted blue trout, stuffed chicken breast, salmon and grits and pasta with mushrooms, okra and capers. Brunch is always jammed, and the big refrigerated case of cakes has a huge selection.

Mama’s Boy (Located on Oak Street)—Breakfast is served all day, and the Mill Town Breakfast Plate (two eggs any style, thick-cut bacon, cheese grits and a big buttermilk biscuit) is a good way to fuel up for the day ahead. Scramblers cater to meat-eaters, vegetarians and vegans alike. If you want something (slightly) smaller, you can build your own breakfast sandwiches, and the Georgia peach French toast will satisfy your sweet tooth. Lunch options include fried chicken brined in sweet tea (of course), a pimento cheese burger and a fried green tomato sandwich. Strawberry lemonade and a house blend of Jittery Joe’s are available among the drinks.

This conference is sponsored by the Department of Germanic and Slavic Studies, the Department of Theatre and Film Studies, the State of the Art Conference Grant, the President's Venture Fund, the Willson Center for Humanities and Arts, the Max Kade Foundation, the German Academic Exchange Service (DAAD), the A. G. Steer Professorship, UGA Jewish Studies, Duke University Center for Jewish Studies, Duke University German Department, and the German Consulate.