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Scholars interpret acts of cultural expression through theater, music, and art within Theresienstadt as a strategy for survival among the people. A wide variety of different artistic mediums and topics were covered, from lectures to physical artwork. At first, cultural activities were suppressed by the Nazis, but when the function of the ghetto as a model became more clear in 1942, these activities became acceptable. The Nazi’s decided that Theresienstadt could function uniquely as a place to deport member of Europe’s cultural elite. At this time the Freizeitgestaltung (Association of Free Time Activities) was established, and cultural activities were allowed by the Nazis. However, instruments had previously been smuggled into Theresienstadt since 1941, and many artists considered them to be among their most basic needs. Children in the ghetto expressed themselves and their reactions to their circumstances through drawings in the lessons permitted by the Nazis. With these outlets, the people attempted to create a sense of hope within the ghetto.

In Theresienstadt, cultural production thrived much more than in the Protectorate. Art in the ghetto underwent drastic development as it allowed for depiction and representation of true life in Theresienstadt. The artwork provided the people with an artistic outlet through which they could express their feelings of defiance. Despite constant deportations of inmates to the East, the ghetto inhabitants remained determined to continue performing and creating. Places in casts often needed to be reassigned as participants were deported. The people remained strong willed in their persistence to create, as it helped them remain hopeful and live a more humane existence. Rafael Schachter was one of the pioneering members of cultural activity in Theresienstadt. In the early days of Theresienstadt’s cultural activity, Schachter included a satirical sketch in his first performance. Later in his time in Theresienstadt, Schachter put together a rendition of Verdi’s Requiem. In this version of Requiem, Schachter changed the ending notes to communicate a resistance signal. Adolf Eichmann and other important Nazi leaders were in the audience for a performance of Schachter’s Requiem, and Eichmann specifically enjoyed this version of the piece. The Nazi’s didn't understand the underlying meanings of the change to Requiem or many other works performed in the ghetto.

On September 23, 1943, the first performance of the children’s show Brundibar appeared in Theresienstadt. The show was performed fifty five times, and was the most successful show of all of the productions ever performed in the ghetto. Cast members were replaced as their were deported, but the shows main acts remained the same throughout the duration of the performances. Brundibar’s  original composer Hans Krasa composed a new score for the show in Theresienstadt as the original score had been lost, and the show was put together by Rudolf Freudenfeld under the supervision and tutelage of Rafael Schachter. For the Theresienstadt performances of the show, poet Emil A. Saudek changed the ending lines from the original version to emphasize a political meaning behind the show. It was clear to the audience that the show’s main antagonist represented Hitler, but the Nazi’s themselves did not realize the hidden meaning in Brundibar, and even had the show presented during a visit by the Red Cross. Brudibar was the top musical performance ever performed at Theresienstadt.

Emperor of Atlantis was another opera produced in Theresienstadt. The opera was created by Peter Kien and Viktor Ullmann, who created the opera in the form of a legend so that they could include hidden meaning that would be missed by the Nazi’s. Ullman strategically used music to include undertones with resistance implications, including artistic manipulation of Deutchland Uber Alles, and a secondary version of sheet music, with less direct implications than the version that was actually rehearsed, was handed over to the Nazi. Ultimately, Emperor of Atlantis was never performed at Theresienstadt, although scholars differ on their reasoning as to why the opera never reached performance. The show may have ended before being performed because the Nazi’s in control of the ghetto saw the allegorical connection to Hitler and Nazi Germany in the opera’s plot line. Alternatively, some scholars say the show never reached performance because of deportation to Auschwitz.

Scholar’s views vary on Nazi reaction to the production of Theresienstadt’s cultural works. Some say the Nazis remained indifferent to the work that was composed and sung inside the ghetto. Others say that the Nazis encouraged the artistic production, as the SS thought that nothing from Theresienstadt would ever reach outside of the ghetto.