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"uuid": "7b8219a0-f26c-4cbd-88ba-263604d50da1",
"name": "Dagboekvertalingen",
"title": "",
"alt": "Fotograaf: Allard Bovenberg. Collectie: Anne Frank Stichting.",
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"path": "https://research.annefrank.org/media/Vertalingen.jpg",
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"description": "De eerste vertaling van het dagboek van Anne Frank verscheen in Duitsland in 1950, in hetzelfde jaar gevolgd door een Franse vertaling. In 1952 verschenen de eerste Britse en Amerikaanse edities.",
"author": "De collectie kan worden ingezet voor publiek",
"copyright": "AFS rechthebbende"
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"url": "https://research.annefrank.org/en/onderwerpen/82631f2a-775a-491a-9108-54d4b94c9b1a/",
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"uuid": "82631f2a-775a-491a-9108-54d4b94c9b1a",
"name": "Otto Frank and the translations of Het Achterhuis",
"name_nl": "Otto Frank en de vertalingen van 'Het Achterhuis'",
"name_en": "Otto Frank and the translations of Het Achterhuis",
"description": "<p>Otto Frank also wanted a German and English translation of the diary.<sup data-footnote-id=\"dba33\"><a href=\"#footnote-1\" id=\"footnote-marker-1-1\" rel=\"footnote\">[1]</a></sup> As with the Dutch edition, he had to go to great lengths to interest foreign publishers. Only after the success of the French edition did this change. Otto Frank was closely involved in the translations and also in choosing the writers of the foreword.</p>\r\n\r\n<h1><strong>French translation</strong></h1>\r\n\r\n<p>Calmann-Lévy published <em>Le Journal d'Anne Frank</em>, the first foreign edition of the diary, in <strong>March 1950</strong>. This translation was based on the first edition of <em>Het Achterhuis</em> published by Contact and had a foreword by Daniel-Rops.<sup data-footnote-id=\"ksrlf\"><a href=\"#footnote-2\" id=\"footnote-marker-2-1\" rel=\"footnote\">[2]</a></sup> Otto Frank wrote to Gilles de Neve of Contact on <strong>27 January 1949</strong> that Calmann-Lévy had the manuscript. On <strong>7 March 1949</strong>, Otto Frank signed the contract with Editions Calman-Lévy. Within 18 months of signing, Calmann-Lévy had to publish the book, otherwise the rights would return to Otto Frank. On <strong>11 March 1950</strong>, the French edition had still not been published. On <strong>26 March 1950</strong>, De Neve thanked Otto Frank for sending him the French edition. According to Otto Frank, this translation by Tylia Caren and Suzanne Lombard was so successful because, as a Dutch Frenchwoman, Tylia Caren had a perfect command of Dutch and Suzanne Lombard was well versed in the language of French youth.<sup data-footnote-id=\"eubjv\"><a href=\"#footnote-3\" id=\"footnote-marker-3-1\" rel=\"footnote\">[3]</a></sup> This first French edition of the diary impressed Meyer Levin. He then worked on the English translation and became interested in the film rights.<sup data-footnote-id=\"jb64k\"><a href=\"#footnote-4\" id=\"footnote-marker-4-1\" rel=\"footnote\">[4]</a></sup> The success of the French edition meant that English and American publishers also became seriously interested.<sup data-footnote-id=\"hke7y\"><a href=\"#footnote-5\" id=\"footnote-marker-5-1\" rel=\"footnote\">[5]</a></sup></p>\r\n\r\n<h1><strong>German translation</strong></h1>\r\n\r\n<p>Otto Frank first translated excerpts of the stories and diary into German himself for his family in Basel:</p>\r\n\r\n<blockquote><em>'Endlich komme ich dazu, den Anfang von Anne’s Tagebuch in deutscher Uebersetzung zu senden und hoff, dass ich bald die Fortsetzung schicken kann. Da ich nur wenige exemplare habe muss das vorliegende weiter gegeben werden und ich füge eine Liste bei, wie ich mir den Weg denke. Es ist schwer, alles sinn- und stilgemäss in eine andere Sprache zu übertragen, viel vom original geht verloren. Das ist nicht zu vermeiden und ich bitte jeden von Euch, evtl. Unklarheiten oder Sprachfehler zu notieren und mir mit zuteilen.'</em><sup data-footnote-id=\"ccni3\"><a href=\"#footnote-6\" id=\"footnote-marker-6-1\" rel=\"footnote\">[6]</a></sup></blockquote>\r\n\r\n<p>In the winter of <strong>1945 - 1946</strong>, commissioned by Otto Frank, Anneliese Schütz began translating the diary into German. She did this on the basis of typescript II.<sup data-footnote-id=\"mdls3\"><a href=\"#footnote-7\" id=\"footnote-marker-7-1\" rel=\"footnote\">[7]</a></sup> <strong>By summer 1947</strong>, the manuscript was at Paul Szolnay Verlag in Vienna.<sup data-footnote-id=\"qbg0b\"><a href=\"#footnote-8\" id=\"footnote-marker-8-1\" rel=\"footnote\">[8]</a></sup> Otto Frank was in contact with Dr Fritz Landshoff, the director of the German-language department of Querido publishers, about publishing the diary. At the end of <strong>1948</strong>, this came to nothing.<sup data-footnote-id=\"hiojj\"><a href=\"#footnote-9\" id=\"footnote-marker-9-1\" rel=\"footnote\">[9]</a></sup> Otto Frank approached several German publishers from late <strong>1948 </strong>to <strong>1950 </strong>including: Verlag Kurt Desch (Munich); Volk und Welt (Berlin); Rowohlt (Hamburg); Kiepenheuer Verlag (Berlin); Europa Express (Zurich); Limes Verlag (Wiesbaden); Societäts Verlag (Frankfurt) and an unnamed publisher in Koblenz.<sup data-footnote-id=\"qvd0s\"><a href=\"#footnote-10\" id=\"footnote-marker-10-1\" rel=\"footnote\">[10]</a></sup></p>\r\n\r\n<p>In searching for a publisher, he enlisted the help of the lawyer Max Cahn, a former classmate at the Lessing Grammar School and also his legal adviser E.D. Hirsch Ballin. Max Cahn in turn also enlisted the help of an old classmate, Walter Carstanjen, the chief editor of the <em>Börssenblatt für den Deutschen Buchhandel</em>. He sent Otto Frank a list of possible publishers.<sup data-footnote-id=\"gzd5h\"><a href=\"#footnote-11\" id=\"footnote-marker-11-1\" rel=\"footnote\">[11]</a></sup> One reason the German publishers rejected the diary was the crisis situation in the German book trade. As there had just been a money purge, no one dared to take a risk. Another reason was that the diary would not be literary enough and was therefore not suitable for the general German public.<sup data-footnote-id=\"59gfi\"><a href=\"#footnote-12\" id=\"footnote-marker-12-1\" rel=\"footnote\">[12]</a></sup></p>\r\n\r\n<p>On <strong>20 January 1950</strong>, Otto Frank met Lambert Schneider of the publishing house of the same name and gave him the German manuscript of the diary.<sup data-footnote-id=\"zjls0\"><a href=\"#footnote-13\" id=\"footnote-marker-13-1\" rel=\"footnote\">[13]</a></sup> On <strong>22 March 1950</strong>, Schneider responded positively and the contract was signed on <strong>25/28 July 1950</strong>.<sup data-footnote-id=\"d84mz\"><a href=\"#footnote-14\" id=\"footnote-marker-14-1\" rel=\"footnote\">[14]</a></sup> Otto Frank was closely involved in the final translation and publication of the diary.<sup data-footnote-id=\"0rof4\"><a href=\"#footnote-15\" id=\"footnote-marker-15-1\" rel=\"footnote\">[15]</a></sup><em> Das Tagebuch der Anne Frank</em> appeared in <strong>November 1950</strong> in an edition of 4,600 copies. The foreword was by Marie Baum. Previous candidates for the foreword were Herman Hesse (too ill) and Eugen Kogon.<sup data-footnote-id=\"uckgn\"><a href=\"#footnote-16\" id=\"footnote-marker-16-1\" rel=\"footnote\">[16]</a></sup> Sales figures were relatively low.<sup data-footnote-id=\"h7nl7\"><a href=\"#footnote-17\" id=\"footnote-marker-17-1\" rel=\"footnote\">[17]</a></sup></p>\r\n\r\n<p>Otto Frank thought a wide distribution of the diary among German youth was very important. In his opinion, this was only possible with a cheaper edition.<sup data-footnote-id=\"19yu2\"><a href=\"#footnote-18\" id=\"footnote-marker-18-1\" rel=\"footnote\">[18]</a></sup> In <strong>March 1955</strong>, the paperback edition of the <em>Tagebuch der Anne Frank</em> was published (under licence from the Lambert Schneider Verlag) by the <em>Fischer Bücherei</em> (Frankfurt am Main und Hamburg) in an edition of 50,000 copies.<sup data-footnote-id=\"ah351\"><a href=\"#footnote-19\" id=\"footnote-marker-19-1\" rel=\"footnote\">[19]</a></sup> The German translation by Anneliese Schütz had been revised by Maria Honeit, who corrected many errors and made the language use more 'natural'.<sup data-footnote-id=\"rzogj\"><a href=\"#footnote-20\" id=\"footnote-marker-20-1\" rel=\"footnote\">[20]</a></sup> Within a month, 30,000 copies were sold. <sup data-footnote-id=\"lkuia\"><a href=\"#footnote-21\" id=\"footnote-marker-21-1\" rel=\"footnote\">[21]</a></sup></p>\r\n\r\n<p>Because the German-language editions were based on a fuller version of Typescript II than the first Dutch edition of Contact, questions were raised not only about the person Anne Frank but also about the authenticity of the diary.<sup data-footnote-id=\"klnjo\"><a href=\"#footnote-22\" id=\"footnote-marker-22-1\" rel=\"footnote\">[22]</a></sup> Ernst Schnabel was therefore commissioned by the Fischer Bücherei to investigate the historicity of the character Anne Frank, which resulted in the book <em>Spur eines Kindes.</em> <sup data-footnote-id=\"e0ah7\"><a href=\"#footnote-23\" id=\"footnote-marker-23-1\" rel=\"footnote\">[23]</a></sup> The proceeds were earmarked for the Anne Frank Stipend, which aimed to give Israeli students the opportunity to study in Europe.<sup data-footnote-id=\"h7nl7\"><a href=\"#footnote-17\" id=\"footnote-marker-17-2\" rel=\"footnote\">[17]</a></sup></p>\r\n\r\n<p>Otto Frank also attached great importance to a cheap edition in East Germany. In <strong>1957</strong>, Union Verlag published the diary there. <sup data-footnote-id=\"a2ycn\"><a href=\"#footnote-24\" id=\"footnote-marker-24-1\" rel=\"footnote\">[24]</a></sup></p>\r\n\r\n<h1><strong>English translation</strong></h1>\r\n\r\n<p>Otto Frank had an English translation of the diary by Rosey Pool very early on. She, like Anneliese Schütz, was an acquaintance of Otto Frank and his family. With this translation, Otto approached English publishers. Rosey Pool began her translation at about the same time as Anneliese Schütz.<sup data-footnote-id=\"ccni3\"><a href=\"#footnote-6\" id=\"footnote-marker-6-2\" rel=\"footnote\">[6]</a></sup> Pool had taught English to Edith Frank.<sup data-footnote-id=\"ajvis\"><a href=\"#footnote-25\" id=\"footnote-marker-25-1\" rel=\"footnote\">[25]</a></sup> Literary agent Robert Harben approached Otto Frank about publishing the diary in England, but several English publishers turned it down, including: Heineman Ltd, Gollancz; Allen & Unwin; New Universal Encyclopedia; Falcon Press; Hamish Hamilton; Martin Secker.<sup data-footnote-id=\"ja79q\"><a href=\"#footnote-26\" id=\"footnote-marker-26-1\" rel=\"footnote\">[26]</a></sup> According to Harben, because the publishers and the public were averse to more books on war and resistance. <sup data-footnote-id=\"k3dkc\"><a href=\"#footnote-27\" id=\"footnote-marker-27-1\" rel=\"footnote\">[27]</a></sup><br />\r\n<br />\r\nIn the United States, Otto Frank was also in contact with several publishers: Secker & Warburg, Gollanz, Heineman, Allen & Unwin, Mc Millan, Scribners, Siggewick & Jackson, Doubleday Doran, Hutchinson, John Lehman, Viking Press, Vanguard Press, Warendorf, Simon & Shuster, Appleton Century, Knopf, Schocken, Random House, Little Brown & Company.<sup data-footnote-id=\"5j9v5\"><a href=\"#footnote-28\" id=\"footnote-marker-28-1\" rel=\"footnote\">[28]</a></sup> Due to the success of the French edition of the diary, the English publisher Vallentine Mitchell & Company offered to publish the diary.<sup data-footnote-id=\"27vyt\"><a href=\"#footnote-29\" id=\"footnote-marker-29-1\" rel=\"footnote\">[29]</a></sup></p>\r\n\r\n<p>Because Rosey Pool's translation was not satisfactory, Barbara Mooyaart-Doubleday was commissioned by Vallentine Mitchell to retranslate the diary.<sup data-footnote-id=\"kyp3w\"><a href=\"#footnote-30\" id=\"footnote-marker-30-1\" rel=\"footnote\">[30]</a></sup> Otto Frank kept in close contact with her about the translation and also had her translate some passages that were missing from the Dutch edition.<sup data-footnote-id=\"fots0\"><a href=\"#footnote-31\" id=\"footnote-marker-31-1\" rel=\"footnote\">[31]</a></sup> <em>The Diary of a Young Girl</em>, with a foreword by writer Margaret Storm Jameson, was released in England on <strong>30 April 1952.</strong> Reviews were good, but sales were disappointing.<sup data-footnote-id=\"tl1qt\"><a href=\"#footnote-32\" id=\"footnote-marker-32-1\" rel=\"footnote\">[32]</a></sup><br />\r\n<br />\r\nLengthy negotiations between Otto Frank and Little, Brown and Company for the American edition of the diary stranded in <strong>March 1951</strong> due to disagreements over the translation, Canadian rights and film rights to the diary.<sup data-footnote-id=\"q1dvr\"><a href=\"#footnote-33\" id=\"footnote-marker-33-1\" rel=\"footnote\">[33]</a></sup> Then Otto Frank quickly reached an agreement with US publisher Doubleday and Company.<sup data-footnote-id=\"q1dvr\"><a href=\"#footnote-33\" id=\"footnote-marker-33-2\" rel=\"footnote\">[33]</a></sup> Through the mediation of Nathan Straus Jr., the foreword was written by Eleanor Roosevelt.<sup data-footnote-id=\"j1y9u\"><a href=\"#footnote-34\" id=\"footnote-marker-34-1\" rel=\"footnote\">[34]</a></sup> The diary was published in the United States on <strong>12 June 1952</strong> (Anne's birthday). After a wildly enthusiastic review by Meyer Levin in <em>The New York Times Book Review</em> of <strong>15 June 1952</strong>, the diary ranked sixth on the bestseller list in the United States five weeks after its publication.<sup data-footnote-id=\"go4rm\"><a href=\"#footnote-35\" id=\"footnote-marker-35-1\" rel=\"footnote\">[35]</a></sup></p>\r\n\r\n<section class=\"footnotes\">\r\n<header>\r\n<h2>Footnotes</h2>\r\n</header>\r\n\r\n<ol>\r\n\t<li data-footnote-id=\"dba33\" id=\"footnote-1\"><sup><a href=\"#footnote-marker-1-1\">^</a> </sup><cite>Anne Frank Stichting (AFS), Anne Frank Collectie (AFS), Otto Frank Archief (OFA), reg. code OFA_072: Otto Frank aan Alice Frank-Stern, 11 november 1945 ('… unbedingt veröffentlichen, ein ganz grosses Werk! Iht kont Euch nicht vorstellen, was da allen drin steht, ich kann leider vorerst nichts übersetzen, aber es wird kommen und es wird auch in Deutsch heraus gegeben werden und in english'.<em>)</em></cite></li>\r\n\t<li data-footnote-id=\"ksrlf\" id=\"footnote-2\"><sup><a href=\"#footnote-marker-2-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_090: Correspondentie van Otto Frank met Uitgeverij Contact, .januari 1949 -maart 1950.</cite></li>\r\n\t<li data-footnote-id=\"eubjv\" id=\"footnote-3\"><sup><a href=\"#footnote-marker-3-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Otto Frank aan Meyer Levin, 29 september 1959; AFS, AFC, reg. code OFA_132: Otto Frank aan Vallentine Mitchell and Co., 21 november 1950 (over de Engelse vertaling). Zie ook: Myriam de Veth, '<a href=\"https://www.tijdschrift-filter.nl/jaargangen/2016/234/tylia-een-onvoltooid-portret-32-38/\">Tylia, een onvoltooid portret</a>', in: <em>Filter, tijdschrift over vertalen</em>, 23 (2016) 4, p, 32-38.</cite></li>\r\n\t<li data-footnote-id=\"jb64k\" id=\"footnote-4\"><sup><a href=\"#footnote-marker-4-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Correspondentie van Meyer Levin met Otto Frank, september 1950, waarin Levin zegt het dagboek (gratis) te willen vertalen. Hij informeert over Engelse en Amerikaanse rechten voor het dagboek en ook naar de mogelijkheden van een verfilming.</cite></li>\r\n\t<li data-footnote-id=\"hke7y\" id=\"footnote-5\"><sup><a href=\"#footnote-marker-5-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Correspondentie van Otto Frank met Vallentine Mitchell and Co., 10 oktober1950, 22 november 1950.</cite></li>\r\n\t<li data-footnote-id=\"ccni3\" id=\"footnote-6\"><sup><a href=\"#footnote-marker-6-1\">a</a>, <a href=\"#footnote-marker-6-2\">b</a> </sup><cite>AFS, AFC, reg. code OFA_094: Otto Frank aan meine Lieben, klad zonder datum; AFS, AFC, reg. code OFA_094: Otto Frank aan Milly Stanfield, 16 november 1945.</cite></li>\r\n\t<li data-footnote-id=\"mdls3\" id=\"footnote-7\"><sup><a href=\"#footnote-marker-7-1\">^</a> </sup><cite>NIOD Instituut voor Oorlogs-, Holocaust- en Genocidestudies, Amsterdam, archief 257d, De dagboeken van Anne Frank, inv. no. 1i: Gesprek met mevr. R.E. Mengelberg-Draber. In november 1945 vertaalde Anneliese Schutz al <em>Blurry der Weltentdekker, eine Bärengeschichte</em> in opdracht van Otto Frank voor zijn familie in Bazel. AFS, AFC, reg. code OFA_072: Otto Frank aan Alice Frank-Stern, 11 november 1945. </cite></li>\r\n\t<li data-footnote-id=\"qbg0b\" id=\"footnote-8\"><sup><a href=\"#footnote-marker-8-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA124: Correspondentie van Otto Frank met Robert Harben, september 1947.</cite></li>\r\n\t<li data-footnote-id=\"hiojj\" id=\"footnote-9\"><sup><a href=\"#footnote-marker-9-1\">^</a> </sup><cite>AFS, AFC. reg. code OFA_090: Otto Frank aan Gilles de Neve/Uitgeverij Contact, 27 januari 1949. </cite></li>\r\n\t<li data-footnote-id=\"qvd0s\" id=\"footnote-10\"><sup><a href=\"#footnote-marker-10-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Correspondentie 1948-1955.</cite></li>\r\n\t<li data-footnote-id=\"gzd5h\" id=\"footnote-11\"><sup><a href=\"#footnote-marker-11-1\">^</a> </sup><cite>Zie AFS, AFC, reg. code OFA_124, Correspondentie, maart 1949.</cite></li>\r\n\t<li data-footnote-id=\"59gfi\" id=\"footnote-12\"><sup><a href=\"#footnote-marker-12-1\">^</a> </sup><cite>Zie noten 10 en 11.</cite></li>\r\n\t<li data-footnote-id=\"zjls0\" id=\"footnote-13\"><sup><a href=\"#footnote-marker-13-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_125: Otto Frank aan aan Lambert Schneider, 20 maart 1950. In deze brief herinnert hij Schneider aan zijn bezoek op 20 januari 1950 en overhandiging van het manuscript.</cite></li>\r\n\t<li data-footnote-id=\"d84mz\" id=\"footnote-14\"><sup><a href=\"#footnote-marker-14-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Lambert Schneider aan Otto Frank, 22 maart 1950; AFS, AFC, reg. code OFA_124: Contract Lambert Schneider, Hamburg met Otto Frank, 25/28 juli 1950.</cite></li>\r\n\t<li data-footnote-id=\"0rof4\" id=\"footnote-15\"><sup><a href=\"#footnote-marker-15-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Correspondentie van Otto Frank met de uitgeverij van Lambert Schneider, oktober 1950. </cite></li>\r\n\t<li data-footnote-id=\"uckgn\" id=\"footnote-16\"><sup><a href=\"#footnote-marker-16-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124. </cite></li>\r\n\t<li data-footnote-id=\"h7nl7\" id=\"footnote-17\"><sup><a href=\"#footnote-marker-17-1\">a</a>, <a href=\"#footnote-marker-17-2\">b</a> </sup><cite>NIOD, archief 212c, Anne Frank, inv. no. 5d: Landgericht Lübeck, procesdossier Stielau/ Buddeberg, p. 6.</cite></li>\r\n\t<li data-footnote-id=\"19yu2\" id=\"footnote-18\"><sup><a href=\"#footnote-marker-18-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Otto Frank aan S. Ficher Verlag, 8 mei 1954. </cite></li>\r\n\t<li data-footnote-id=\"ah351\" id=\"footnote-19\"><sup><a href=\"#footnote-marker-19-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Fischer Bücherei aan Otto Frank, 28 februari 1955. </cite></li>\r\n\t<li data-footnote-id=\"rzogj\" id=\"footnote-20\"><sup><a href=\"#footnote-marker-20-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Fischer Verlag (Christian Wegner) aan Otto Frank, 3 juli 1954.</cite></li>\r\n\t<li data-footnote-id=\"lkuia\" id=\"footnote-21\"><sup><a href=\"#footnote-marker-21-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Fischer Bücherei aan Otto Frank, 7 april 1957.</cite></li>\r\n\t<li data-footnote-id=\"klnjo\" id=\"footnote-22\"><sup><a href=\"#footnote-marker-22-1\">^</a> </sup><cite>Zie noot 17; NIOD (samenst.), <em>De dagboeken van Anne Frank</em>, 5e, verb. en uitgebr. duk, Amsterdam: Bert Bakker, 2001, p. 81-83: Uitgeverij Contact kortt de tekst in door een aantal passages te schrappen, voerde redactionele veranderingen door en liet seksueel getinte fragmenten weg. Dit gebeurde met instemming van Otto Frank. In de Duitse vertaling van Annelise Schütz werden deze passages grotendeels gehandhaafd. </cite></li>\r\n\t<li data-footnote-id=\"e0ah7\" id=\"footnote-23\"><sup><a href=\"#footnote-marker-23-1\">^</a> </sup><cite>Ernst Schnabel, <em>Anne Frank, Spur eines Kindes: ein Bericht</em>, Frankfurt am Main: Fischer Bücherei, 1958.</cite></li>\r\n\t<li data-footnote-id=\"a2ycn\" id=\"footnote-24\"><sup><a href=\"#footnote-marker-24-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Otto Frank aan Lambert Schneider, 16 november 1956. Zie voor de DDR-uitgave van het dagboek, het archief Union Verlag (AFS, AFC, reg. code B_dagboek_I_008).</cite></li>\r\n\t<li data-footnote-id=\"ajvis\" id=\"footnote-25\"><sup><a href=\"#footnote-marker-25-1\">^</a> </sup><cite>Zie AFS, AFC, reg. code OFA_132, Brief Otto Frank aan Vallentine Mitchel and Co, 22 november 1950. </cite></li>\r\n\t<li data-footnote-id=\"ja79q\" id=\"footnote-26\"><sup><a href=\"#footnote-marker-26-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA 132 : Correspondentie van Otto Frank met Robert Harben, september 1947 - augustus 1948. Otto Frank kende Robert Harben van vroeger van diens ‘leesbibliotheek’ in de buurt van het Merwedeplein waar hij met zijn vrouw Edith kwam.</cite></li>\r\n\t<li data-footnote-id=\"k3dkc\" id=\"footnote-27\"><sup><a href=\"#footnote-marker-27-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Robert Harben aan Otto Frank, 7 augustus 1948.</cite></li>\r\n\t<li data-footnote-id=\"5j9v5\" id=\"footnote-28\"><sup><a href=\"#footnote-marker-28-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_150: Otto Frank aan Meyer Levin, 25 september 1950. Heel veel vrienden en relaties zijn hem hierbij behulpzaam: Walter en Julius Holländer, Nathan Straus Jr., Dola de Jong, Miriam Blumenthal, Annetje Reens, Meyer Levin.</cite></li>\r\n\t<li data-footnote-id=\"27vyt\" id=\"footnote-29\"><sup><a href=\"#footnote-marker-29-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Vallentine Mitchel and Co. (de heer Japp) aan Otto Frank, 10 oktober 1950.</cite></li>\r\n\t<li data-footnote-id=\"kyp3w\" id=\"footnote-30\"><sup><a href=\"#footnote-marker-30-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Otto Frank aan Vallentine Mitchell and Co., 22 november 1950, AFS, AFC, reg. code OFA_132: Vallentine Mitchell and Co. aan Otto Frank, 8 maart 1951.</cite></li>\r\n\t<li data-footnote-id=\"fots0\" id=\"footnote-31\"><sup><a href=\"#footnote-marker-31-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Correspondentie van Otto Frank met Barbara Mooyaart-Doubleday, 1951.</cite></li>\r\n\t<li data-footnote-id=\"tl1qt\" id=\"footnote-32\"><sup><a href=\"#footnote-marker-32-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Vallentine Mitchell and Co. (Japp) aan Otto Frank, 29 mei 1952.</cite></li>\r\n\t<li data-footnote-id=\"q1dvr\" id=\"footnote-33\"><sup><a href=\"#footnote-marker-33-1\">a</a>, <a href=\"#footnote-marker-33-2\">b</a> </sup><cite>AFS, AFC, reg. code OFA_132: Otto Frank aan Vallentine Mitchell and Co., 12 april 1951. </cite></li>\r\n\t<li data-footnote-id=\"j1y9u\" id=\"footnote-34\"><sup><a href=\"#footnote-marker-34-1\">^</a> </sup><cite>Zie noot 33. Voor meer over het voorwoord door Eleanor Roosevelt, zie AFS, AFC, reg. code OFA_ 154, OFA_172 en OFA_132. </cite></li>\r\n\t<li data-footnote-id=\"go4rm\" id=\"footnote-35\"><sup><a href=\"#footnote-marker-35-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Otto Frank aan Vallentine Mitchell and Co. (Japp), 19 juli 1952. Meyer Levin, "The child behind ther secret door", in: <em>The New York Times Book Review</em>, 15 juni 1952.</cite></li>\r\n</ol>\r\n</section>",
"description_nl": "<p>Otto Frank wilde ook een Duitse en Engelse vertaling van het dagboek.<sup data-footnote-id=\"dba33\"><a href=\"#footnote-1\" id=\"footnote-marker-1-1\" rel=\"footnote\">[1]</a></sup> Net als bij de Nederlandse uitgave moest hij veel moeite doen om buitenlandse uitgevers te interesseren. Pas na het succes van de Franse uitgave veranderde dat. Otto Frank was nauw betrokken bij de vertalingen en ook bij de keuze voor de schrijvers van het voorwoord.</p>\r\n\r\n<h1><strong>Franse vertaling</strong></h1>\r\n\r\n<p>Bij Calmann-Lévy verscheen in <strong>maart 1950</strong> <em>Le Journal d’Anne Frank</em>, de eerste buitenlandse uitgave van het dagboek. Deze vertaling was gebaseerd op de eerste uitgave van <em>Het Achterhuis</em> bij Contact en had een voorwoord van Daniel-Rops.<sup data-footnote-id=\"ksrlf\"><a href=\"#footnote-2\" id=\"footnote-marker-2-1\" rel=\"footnote\">[2]</a></sup> Otto Frank schreef op <strong>27 januari 1949</strong> aan Gilles de Neve van Contact dat Calmann-Lévy het manuscript in handen had. Op <strong>7 maart 1949</strong> ondertekende Otto Frank het contract met Editions Calman-Lévy. Binnen achttien maanden na ondertekening zou Calmann-Lévy het boek uitgeven, anders vielen de rechten terug aan Otto Frank. Op <strong>11 maart 1950</strong> was de Franse editie nog steeds niet verschenen. Op <strong>26 maart 1950</strong> bedankte de Neve Otto Frank voor toezending van de Franse uitgave. Volgens Otto Frank was deze vertaling door Tylia Caren en Suzanne Lombard zo geslaagd omdat Tylia Caren als Nederlandse française het Nederlands perfect beheerste en Suzanne Lombard de taal van de Franse jeugd goed eigen was.<sup data-footnote-id=\"a5hu7\"><a href=\"#footnote-3\" id=\"footnote-marker-3-1\" rel=\"footnote\">[3]</a></sup> Deze eerste Franse editie van het dagboek maakte indruk op Meyer Levin. Hij beijverde zich vervolgens voor de Engelse vertaling en raakte geïnteresseerd in de filmrechten.<sup data-footnote-id=\"jb64k\"><a href=\"#footnote-4\" id=\"footnote-marker-4-1\" rel=\"footnote\">[4]</a></sup> Het succes van de Franse uitgave zorgde ervoor dat ook Engelse en Amerikaanse uitgevers serieus geïnteresseerd raakten.<sup data-footnote-id=\"hke7y\"><a href=\"#footnote-5\" id=\"footnote-marker-5-1\" rel=\"footnote\">[5]</a></sup></p>\r\n\r\n<h1><strong>Duitse vertaling</strong></h1>\r\n\r\n<p>Otto Frank vertaalde eerst zelf fragmenten van de verhaaltjes en het dagboek in het Duits voor zijn familie in Bazel:</p>\r\n\r\n<blockquote><em>'Endlich komme ich dazu, den Anfang von Anne’s Tagebuch in deutscher Uebersetzung zu senden und hoff, dass ich bald die Fortsetzung schicken kann. Da ich nur wenige exemplare habe muss das vorliegende weiter gegeben werden und ich füge eine Liste bei, wie ich mir den Weg denke. Es ist schwer, alles sinn- und stilgemäss in eine andere Sprache zu übertragen, viel vom original geht verloren. Das ist nicht zu vermeiden und ich bitte jeden von Euch, evtl. Unklarheiten oder Sprachfehler zu notieren und mir mit zuteilen.'</em><sup data-footnote-id=\"ccni3\"><a href=\"#footnote-6\" id=\"footnote-marker-6-1\" rel=\"footnote\">[6]</a></sup></blockquote>\r\n\r\n<p>In de winter van <strong>1945 – 1946</strong> begon Anneliese Schütz, in opdracht van Otto Frank met de vertaling van het dagboek in het Duits. Zij deed dit op basis van typescript II.<sup data-footnote-id=\"mdls3\"><a href=\"#footnote-7\" id=\"footnote-marker-7-1\" rel=\"footnote\">[7]</a></sup> <strong>Zomer 1947</strong> lag het manuscript bij Paul Szolnay Verlag in Wenen.<sup data-footnote-id=\"qbg0b\"><a href=\"#footnote-8\" id=\"footnote-marker-8-1\" rel=\"footnote\">[8]</a></sup> Otto Frank had contact met Dr. Fritz Landshoff, de directeur van de Duitstalige afdeling van uitgeverij Querido over de uitgave van het dagboek. Eind <strong>1948</strong> liep dit op niets uit.<sup data-footnote-id=\"hiojj\"><a href=\"#footnote-9\" id=\"footnote-marker-9-1\" rel=\"footnote\">[9]</a></sup> Otto Frank benaderde verschillende Duitse uitgevers van eind <strong>1948 </strong>tot <strong>1950 </strong>waaronder: Verlag Kurt Desch (München); Volk und Welt (Berlijn); Rowohlt (Hamburg); Kiepenheuer Verlag (Berlijn); Europa Express (Zürich); Limes Verlag (Wiesbaden); Societäts Verlag (Frankfurt) en een niet nader genoemde uitgeverij in Koblenz.<sup data-footnote-id=\"qvd0s\"><a href=\"#footnote-10\" id=\"footnote-marker-10-1\" rel=\"footnote\">[10]</a></sup></p>\r\n\r\n<p>Bij het zoeken naar een uitgever schakelde hij de hulp in van de advocaat Max Cahn, een vroegere klasgenoot van het Lessing Gymnasium en ook van zijn juridisch adviseur E.D. Hirsch Ballin. Max Cahn schakelde op zijn beurt ook een oude klasgenoot in, Walter Carstanjen, de chef-redacteur van het <em>Börssenblatt für den Deutschen Buchhandel</em>. Hij stuurde Otto Frank een lijst toe met mogelijke uitgevers.<sup data-footnote-id=\"gzd5h\"><a href=\"#footnote-11\" id=\"footnote-marker-11-1\" rel=\"footnote\">[11]</a></sup> Een reden waarom de Duitse uitgevers het dagboek afwezen was de crisissituatie in de Duitse boekhandel. Omdat er net een geldzuivering was geweest, durfde niemand risico te nemen. Een andere reden was dat het dagboek niet literair genoeg zou zijn en daarom niet geschikt was voor het grote Duitse publiek.<sup data-footnote-id=\"59gfi\"><a href=\"#footnote-12\" id=\"footnote-marker-12-1\" rel=\"footnote\">[12]</a></sup></p>\r\n\r\n<p>Op <strong>20 januari 1950</strong> ontmoette Otto Frank Lambert Schneider van de gelijknamige uitgeverij en gaf hem het Duitse manuscript van het dagboek.<sup data-footnote-id=\"zjls0\"><a href=\"#footnote-13\" id=\"footnote-marker-13-1\" rel=\"footnote\">[13]</a></sup> Op <strong>22 maart 1950</strong> reageerde Schneider positief en op <strong>25/28 juli 1950</strong> werd het contract getekend.<sup data-footnote-id=\"d84mz\"><a href=\"#footnote-14\" id=\"footnote-marker-14-1\" rel=\"footnote\">[14]</a></sup> Otto Frank was nauw betrokken bij de uiteindelijke vertaling en uitgave van het dagboek.<sup data-footnote-id=\"0rof4\"><a href=\"#footnote-15\" id=\"footnote-marker-15-1\" rel=\"footnote\">[15]</a></sup><em> Das Tagebuch der Anne Frank</em> verscheen in <strong>november 1950</strong> in een oplage van 4.600 exemplaren. Het voorwoord was van Marie Baum. Eerdere kandidaten voor het voorwoord waren Herman Hesse (te ziek) en Eugen Kogon.<sup data-footnote-id=\"uckgn\"><a href=\"#footnote-16\" id=\"footnote-marker-16-1\" rel=\"footnote\">[16]</a></sup> De verkoopcijfers waren relatief laag.<sup data-footnote-id=\"h7nl7\"><a href=\"#footnote-17\" id=\"footnote-marker-17-1\" rel=\"footnote\">[17]</a></sup></p>\r\n\r\n<p>Otto Frank vond een grote verspreiding van het dagboek onder de Duitse jeugd erg belangrijk. Dat was volgens hem alleen mogelijk bij een goedkopere uitgave.<sup data-footnote-id=\"19yu2\"><a href=\"#footnote-18\" id=\"footnote-marker-18-1\" rel=\"footnote\">[18]</a></sup> In <strong>maart 1955</strong> verscheen (in licentie van het Lambert Schneider Verlag) de pocketuitgave van het <em>Tagebuch der Anne Frank</em> bij de <em>Fischer Bücherei</em> (Frankfurt am Main und Hamburg) in een oplage van 50.000 exemplaren.<sup data-footnote-id=\"ah351\"><a href=\"#footnote-19\" id=\"footnote-marker-19-1\" rel=\"footnote\">[19]</a></sup> De Duitse vertaling van Anneliese Schütz was herzien door Maria Honeit die veel fouten verbeterde en het taalgebruik 'natuurlijker' maakte.<sup data-footnote-id=\"rzogj\"><a href=\"#footnote-20\" id=\"footnote-marker-20-1\" rel=\"footnote\">[20]</a></sup>Binnen een maand werden 30 000 exemplaren verkocht. <sup data-footnote-id=\"lkuia\"><a href=\"#footnote-21\" id=\"footnote-marker-21-1\" rel=\"footnote\">[21]</a></sup></p>\r\n\r\n<p>Omdat de Duitstalige uitgaven waren gebaseerd op een vollediger versie van Typescript II dan de eerste Nederlandse editie van Contact, werden er behalve over de persoon Anne Frank ook vragen gesteld over de authenticiteit van het dagboek.<sup data-footnote-id=\"klnjo\"><a href=\"#footnote-22\" id=\"footnote-marker-22-1\" rel=\"footnote\">[22]</a></sup> Ernst Schnabel kreeg daarom opdracht van de Fischer Bücherei om de historiciteit van het personage Anne Frank te onderzoeken, wat resulteerde in het boek <em>Spur eines Kindes.</em> <sup data-footnote-id=\"e0ah7\"><a href=\"#footnote-23\" id=\"footnote-marker-23-1\" rel=\"footnote\">[23]</a></sup> De opbrengsten waren bestemd voor het Anne Frank Stipendium dat Israëlische studenten de gelegenheid moest geven in Europa te studeren.<sup data-footnote-id=\"h7nl7\"><a href=\"#footnote-17\" id=\"footnote-marker-17-2\" rel=\"footnote\">[17]</a></sup></p>\r\n\r\n<p>Otto Frank hechtte ook veel waarde aan een goedkope uitgave in Oost Duitsland. In <strong>1957</strong> verscheen daar het dagboek daar bij Union Verlag. <sup data-footnote-id=\"a2ycn\"><a href=\"#footnote-24\" id=\"footnote-marker-24-1\" rel=\"footnote\">[24]</a></sup></p>\r\n\r\n<h1><strong>Engelse vertaling</strong></h1>\r\n\r\n<p>Otto Frank beschikte al vroeg over een Engelse vertaling van het dagboek door Rosey Pool. Zij was net als Anneliese Schütz een bekende van Otto Frank en zijn gezin. Met deze vertaling benaderde Otto Engelse uitgevers. Rosey Pool begon ongeveer tegelijk met Anneliese Schütz aan haar vertaling.<sup data-footnote-id=\"ccni3\"><a href=\"#footnote-6\" id=\"footnote-marker-6-2\" rel=\"footnote\">[6]</a></sup> Pool had Engelse les gegeven aan Edith Frank.<sup data-footnote-id=\"ajvis\"><a href=\"#footnote-25\" id=\"footnote-marker-25-1\" rel=\"footnote\">[25]</a></sup> Literair agent Robert Harben benaderde Otto Frank voor de uitgave van het dagboek in Engeland, maar verschillende Engelse uitgevers wezen het af, zoals: Heineman Ltd., Gollancz; Allen & Unwin; New Universal Encyclopedia; Falcon Press; Hamish Hamilton; Martin Secker.<sup data-footnote-id=\"ja79q\"><a href=\"#footnote-26\" id=\"footnote-marker-26-1\" rel=\"footnote\">[26]</a></sup> Volgens Harben omdat de uitgevers en het publiek afkerig stonden tegenover nog meer boeken over oorlog en verzet. <sup data-footnote-id=\"k3dkc\"><a href=\"#footnote-27\" id=\"footnote-marker-27-1\" rel=\"footnote\">[27]</a></sup><br />\r\n<br />\r\nIn de Verenigde Staten had Otto Frank ook contact met diverse uitgevers: Secker & Warburg, Gollanz, Heineman, Allen & Unwit, Mc Millan, Scribners, Siggewick & Jackson, Doubleday Doran, Hutchinson, John Lehman, Viking Press, Vanguard Press, Warendorf, Simon & Shuster, Appleton Century, Knopf, Schocken, Random House, Little Brown & Company.<sup data-footnote-id=\"5j9v5\"><a href=\"#footnote-28\" id=\"footnote-marker-28-1\" rel=\"footnote\">[28]</a></sup> Door het succes van de Franse uitgave van het dagboek bood de Engelse uitgever Vallentine Mitchell & Company zich aan het dagboek uit te geven.<sup data-footnote-id=\"27vyt\"><a href=\"#footnote-29\" id=\"footnote-marker-29-1\" rel=\"footnote\">[29]</a></sup></p>\r\n\r\n<p>Omdat de vertaling van Rosey Pool niet voldeed, kreeg Barbara Mooyaart-Doubleday de opdracht van Vallentine Mitchell het dagboek opnieuw te vertalen.<sup data-footnote-id=\"kyp3w\"><a href=\"#footnote-30\" id=\"footnote-marker-30-1\" rel=\"footnote\">[30]</a></sup> Otto Frank hield nauw contact met haar over de vertaling en liet haar ook een aantal passages vertalen die in de Nederlandse editie ontbraken.<sup data-footnote-id=\"fots0\"><a href=\"#footnote-31\" id=\"footnote-marker-31-1\" rel=\"footnote\">[31]</a></sup> <em>The Diary of a young girl</em>, met een voorwoord van schrijfster Margaret Storm Jameson, kwam in Engeland uit op <strong>30 april 1952.</strong> De besprekingen waren goed, maar de verkoopcijfers stelden teleur.<sup data-footnote-id=\"tl1qt\"><a href=\"#footnote-32\" id=\"footnote-marker-32-1\" rel=\"footnote\">[32]</a></sup><br />\r\n<br />\r\nLangdurige onderhandelingen van Otto Frank met Little, Brown and Company over de Amerikaanse uitgave van het dagboek strandden <strong>maart 1951</strong> door onenigheid over de vertaling, de Canadese rechten en de filmrechten van het dagboek.<sup data-footnote-id=\"q1dvr\"><a href=\"#footnote-33\" id=\"footnote-marker-33-1\" rel=\"footnote\">[33]</a></sup> Daarna werd Otto Frank het snel eens met de Amerikaanse uitgeverij Doubleday and Company.<sup data-footnote-id=\"q1dvr\"><a href=\"#footnote-33\" id=\"footnote-marker-33-2\" rel=\"footnote\">[33]</a></sup> Door bemiddeling van Nathan Straus Jr. werd het voorwoord geschreven door Eleanor Roosevelt.<sup data-footnote-id=\"j1y9u\"><a href=\"#footnote-34\" id=\"footnote-marker-34-1\" rel=\"footnote\">[34]</a></sup> Het dagboek verscheen op <strong>12 juni 1952</strong> (Annes geboortedag) in de Verenigde Staten. Na een laaiend enthousiaste recensie van Meyer Levin in <em>The New York Times Book Review</em> van <strong>15 juni 1952</strong> stond het dagboek vijf weken na verschijnen op de zesde plaats van de bestsellerlijst in de Verenigde staten.<sup data-footnote-id=\"go4rm\"><a href=\"#footnote-35\" id=\"footnote-marker-35-1\" rel=\"footnote\">[35]</a></sup></p>\r\n\r\n<section class=\"footnotes\">\r\n<header>\r\n<h2>Footnotes</h2>\r\n</header>\r\n\r\n<ol>\r\n\t<li data-footnote-id=\"dba33\" id=\"footnote-1\"><sup><a href=\"#footnote-marker-1-1\">^</a> </sup><cite>Anne Frank Stichting (AFS), Anne Frank Collectie (AFS), Otto Frank Archief (OFA), reg. code OFA_072: Otto Frank aan Alice Frank-Stern, 11 november 1945 ('… unbedingt veröffentlichen, ein ganz grosses Werk! Iht kont Euch nicht vorstellen, was da allen drin steht, ich kann leider vorerst nichts übersetzen, aber es wird kommen und es wird auch in Deutsch heraus gegeben werden und in english'.<em>)</em></cite></li>\r\n\t<li data-footnote-id=\"ksrlf\" id=\"footnote-2\"><sup><a href=\"#footnote-marker-2-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_090: Correspondentie van Otto Frank met Uitgeverij Contact, .januari 1949 -maart 1950.</cite></li>\r\n\t<li data-footnote-id=\"a5hu7\" id=\"footnote-3\"><sup><a href=\"#footnote-marker-3-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Otto Frank aan Meyer Levin, 29 september 1959; AFS, AFC, reg. code OFA_132: Otto Frank aan Vallentine Mitchell and Co., 21 november 1950 (over de Engelse vertaling). Zie ook: Myriam de Veth, '<a href=\"https://www.tijdschrift-filter.nl/jaargangen/2016/234/tylia-een-onvoltooid-portret-32-38/\" target=\"_blank\">Tylia, een onvoltooid portret</a>', in: <em>Filter, tijdschrift over vertalen</em>, 23 (2016) 4, p, 32-38.</cite></li>\r\n\t<li data-footnote-id=\"jb64k\" id=\"footnote-4\"><sup><a href=\"#footnote-marker-4-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Correspondentie van Meyer Levin met Otto Frank, september 1950, waarin Levin zegt het dagboek (gratis) te willen vertalen. Hij informeert over Engelse en Amerikaanse rechten voor het dagboek en ook naar de mogelijkheden van een verfilming.</cite></li>\r\n\t<li data-footnote-id=\"hke7y\" id=\"footnote-5\"><sup><a href=\"#footnote-marker-5-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Correspondentie van Otto Frank met Vallentine Mitchell and Co., 10 oktober1950, 22 november 1950.</cite></li>\r\n\t<li data-footnote-id=\"ccni3\" id=\"footnote-6\"><sup><a href=\"#footnote-marker-6-1\">a</a>, <a href=\"#footnote-marker-6-2\">b</a> </sup><cite>AFS, AFC, reg. code OFA_094: Otto Frank aan meine Lieben, klad zonder datum; AFS, AFC, reg. code OFA_094: Otto Frank aan Milly Stanfield, 16 november 1945.</cite></li>\r\n\t<li data-footnote-id=\"mdls3\" id=\"footnote-7\"><sup><a href=\"#footnote-marker-7-1\">^</a> </sup><cite>NIOD Instituut voor Oorlogs-, Holocaust- en Genocidestudies, Amsterdam, archief 257d, De dagboeken van Anne Frank, inv. no. 1i: Gesprek met mevr. R.E. Mengelberg-Draber. In november 1945 vertaalde Anneliese Schutz al <em>Blurry der Weltentdekker, eine Bärengeschichte</em> in opdracht van Otto Frank voor zijn familie in Bazel. AFS, AFC, reg. code OFA_072: Otto Frank aan Alice Frank-Stern, 11 november 1945. </cite></li>\r\n\t<li data-footnote-id=\"qbg0b\" id=\"footnote-8\"><sup><a href=\"#footnote-marker-8-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA124: Correspondentie van Otto Frank met Robert Harben, september 1947.</cite></li>\r\n\t<li data-footnote-id=\"hiojj\" id=\"footnote-9\"><sup><a href=\"#footnote-marker-9-1\">^</a> </sup><cite>AFS, AFC. reg. code OFA_090: Otto Frank aan Gilles de Neve/Uitgeverij Contact, 27 januari 1949. </cite></li>\r\n\t<li data-footnote-id=\"qvd0s\" id=\"footnote-10\"><sup><a href=\"#footnote-marker-10-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Correspondentie 1948-1955.</cite></li>\r\n\t<li data-footnote-id=\"gzd5h\" id=\"footnote-11\"><sup><a href=\"#footnote-marker-11-1\">^</a> </sup><cite>Zie AFS, AFC, reg. code OFA_124, Correspondentie, maart 1949.</cite></li>\r\n\t<li data-footnote-id=\"59gfi\" id=\"footnote-12\"><sup><a href=\"#footnote-marker-12-1\">^</a> </sup><cite>Zie noten 10 en 11.</cite></li>\r\n\t<li data-footnote-id=\"zjls0\" id=\"footnote-13\"><sup><a href=\"#footnote-marker-13-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_125: Otto Frank aan aan Lambert Schneider, 20 maart 1950. In deze brief herinnert hij Schneider aan zijn bezoek op 20 januari 1950 en overhandiging van het manuscript.</cite></li>\r\n\t<li data-footnote-id=\"d84mz\" id=\"footnote-14\"><sup><a href=\"#footnote-marker-14-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Lambert Schneider aan Otto Frank, 22 maart 1950; AFS, AFC, reg. code OFA_124: Contract Lambert Schneider, Hamburg met Otto Frank, 25/28 juli 1950.</cite></li>\r\n\t<li data-footnote-id=\"0rof4\" id=\"footnote-15\"><sup><a href=\"#footnote-marker-15-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Correspondentie van Otto Frank met de uitgeverij van Lambert Schneider, oktober 1950. </cite></li>\r\n\t<li data-footnote-id=\"uckgn\" id=\"footnote-16\"><sup><a href=\"#footnote-marker-16-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124. </cite></li>\r\n\t<li data-footnote-id=\"h7nl7\" id=\"footnote-17\"><sup><a href=\"#footnote-marker-17-1\">a</a>, <a href=\"#footnote-marker-17-2\">b</a> </sup><cite>NIOD, archief 212c, Anne Frank, inv. no. 5d: Landgericht Lübeck, procesdossier Stielau/ Buddeberg, p. 6.</cite></li>\r\n\t<li data-footnote-id=\"19yu2\" id=\"footnote-18\"><sup><a href=\"#footnote-marker-18-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Otto Frank aan S. Ficher Verlag, 8 mei 1954. </cite></li>\r\n\t<li data-footnote-id=\"ah351\" id=\"footnote-19\"><sup><a href=\"#footnote-marker-19-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Fischer Bücherei aan Otto Frank, 28 februari 1955. </cite></li>\r\n\t<li data-footnote-id=\"rzogj\" id=\"footnote-20\"><sup><a href=\"#footnote-marker-20-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Fischer Verlag (Christian Wegner) aan Otto Frank, 3 juli 1954.</cite></li>\r\n\t<li data-footnote-id=\"lkuia\" id=\"footnote-21\"><sup><a href=\"#footnote-marker-21-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Fischer Bücherei aan Otto Frank, 7 april 1957.</cite></li>\r\n\t<li data-footnote-id=\"klnjo\" id=\"footnote-22\"><sup><a href=\"#footnote-marker-22-1\">^</a> </sup><cite>Zie noot 17; NIOD (samenst.), <em>De dagboeken van Anne Frank</em>, 5e, verb. en uitgebr. duk, Amsterdam: Bert Bakker, 2001, p. 81-83: Uitgeverij Contact kortt de tekst in door een aantal passages te schrappen, voerde redactionele veranderingen door en liet seksueel getinte fragmenten weg. Dit gebeurde met instemming van Otto Frank. In de Duitse vertaling van Annelise Schütz werden deze passages grotendeels gehandhaafd. </cite></li>\r\n\t<li data-footnote-id=\"e0ah7\" id=\"footnote-23\"><sup><a href=\"#footnote-marker-23-1\">^</a> </sup><cite>Ernst Schnabel, <em>Anne Frank, Spur eines Kindes: ein Bericht</em>, Frankfurt am Main: Fischer Bücherei, 1958.</cite></li>\r\n\t<li data-footnote-id=\"a2ycn\" id=\"footnote-24\"><sup><a href=\"#footnote-marker-24-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Otto Frank aan Lambert Schneider, 16 november 1956. Zie voor de DDR-uitgave van het dagboek, het archief Union Verlag (AFS, AFC, reg. code B_dagboek_I_008).</cite></li>\r\n\t<li data-footnote-id=\"ajvis\" id=\"footnote-25\"><sup><a href=\"#footnote-marker-25-1\">^</a> </sup><cite>Zie AFS, AFC, reg. code OFA_132, Brief Otto Frank aan Vallentine Mitchel and Co, 22 november 1950. </cite></li>\r\n\t<li data-footnote-id=\"ja79q\" id=\"footnote-26\"><sup><a href=\"#footnote-marker-26-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA 132 : Correspondentie van Otto Frank met Robert Harben, september 1947 - augustus 1948. Otto Frank kende Robert Harben van vroeger van diens ‘leesbibliotheek’ in de buurt van het Merwedeplein waar hij met zijn vrouw Edith kwam.</cite></li>\r\n\t<li data-footnote-id=\"k3dkc\" id=\"footnote-27\"><sup><a href=\"#footnote-marker-27-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Robert Harben aan Otto Frank, 7 augustus 1948.</cite></li>\r\n\t<li data-footnote-id=\"5j9v5\" id=\"footnote-28\"><sup><a href=\"#footnote-marker-28-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_150: Otto Frank aan Meyer Levin, 25 september 1950. Heel veel vrienden en relaties zijn hem hierbij behulpzaam: Walter en Julius Holländer, Nathan Straus Jr., Dola de Jong, Miriam Blumenthal, Annetje Reens, Meyer Levin.</cite></li>\r\n\t<li data-footnote-id=\"27vyt\" id=\"footnote-29\"><sup><a href=\"#footnote-marker-29-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Vallentine Mitchel and Co. (de heer Japp) aan Otto Frank, 10 oktober 1950.</cite></li>\r\n\t<li data-footnote-id=\"kyp3w\" id=\"footnote-30\"><sup><a href=\"#footnote-marker-30-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Otto Frank aan Vallentine Mitchell and Co., 22 november 1950, AFS, AFC, reg. code OFA_132: Vallentine Mitchell and Co. aan Otto Frank, 8 maart 1951.</cite></li>\r\n\t<li data-footnote-id=\"fots0\" id=\"footnote-31\"><sup><a href=\"#footnote-marker-31-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Correspondentie van Otto Frank met Barbara Mooyaart-Doubleday, 1951.</cite></li>\r\n\t<li data-footnote-id=\"tl1qt\" id=\"footnote-32\"><sup><a href=\"#footnote-marker-32-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Vallentine Mitchell and Co. (Japp) aan Otto Frank, 29 mei 1952.</cite></li>\r\n\t<li data-footnote-id=\"q1dvr\" id=\"footnote-33\"><sup><a href=\"#footnote-marker-33-1\">a</a>, <a href=\"#footnote-marker-33-2\">b</a> </sup><cite>AFS, AFC, reg. code OFA_132: Otto Frank aan Vallentine Mitchell and Co., 12 april 1951. </cite></li>\r\n\t<li data-footnote-id=\"j1y9u\" id=\"footnote-34\"><sup><a href=\"#footnote-marker-34-1\">^</a> </sup><cite>Zie noot 33. Voor meer over het voorwoord door Eleanor Roosevelt, zie AFS, AFC, reg. code OFA_ 154, OFA_172 en OFA_132. </cite></li>\r\n\t<li data-footnote-id=\"go4rm\" id=\"footnote-35\"><sup><a href=\"#footnote-marker-35-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Otto Frank aan Vallentine Mitchell and Co. (Japp), 19 juli 1952. Meyer Levin, "The child behind ther secret door", in: <em>The New York Times Book Review</em>, 15 juni 1952.</cite></li>\r\n</ol>\r\n</section>",
"description_en": "<p>Otto Frank also wanted a German and English translation of the diary.<sup data-footnote-id=\"dba33\"><a href=\"#footnote-1\" id=\"footnote-marker-1-1\" rel=\"footnote\">[1]</a></sup> As with the Dutch edition, he had to go to great lengths to interest foreign publishers. Only after the success of the French edition did this change. Otto Frank was closely involved in the translations and also in choosing the writers of the foreword.</p>\r\n\r\n<h1><strong>French translation</strong></h1>\r\n\r\n<p>Calmann-Lévy published <em>Le Journal d'Anne Frank</em>, the first foreign edition of the diary, in <strong>March 1950</strong>. This translation was based on the first edition of <em>Het Achterhuis</em> published by Contact and had a foreword by Daniel-Rops.<sup data-footnote-id=\"ksrlf\"><a href=\"#footnote-2\" id=\"footnote-marker-2-1\" rel=\"footnote\">[2]</a></sup> Otto Frank wrote to Gilles de Neve of Contact on <strong>27 January 1949</strong> that Calmann-Lévy had the manuscript. On <strong>7 March 1949</strong>, Otto Frank signed the contract with Editions Calman-Lévy. Within 18 months of signing, Calmann-Lévy had to publish the book, otherwise the rights would return to Otto Frank. On <strong>11 March 1950</strong>, the French edition had still not been published. On <strong>26 March 1950</strong>, De Neve thanked Otto Frank for sending him the French edition. According to Otto Frank, this translation by Tylia Caren and Suzanne Lombard was so successful because, as a Dutch Frenchwoman, Tylia Caren had a perfect command of Dutch and Suzanne Lombard was well versed in the language of French youth.<sup data-footnote-id=\"eubjv\"><a href=\"#footnote-3\" id=\"footnote-marker-3-1\" rel=\"footnote\">[3]</a></sup> This first French edition of the diary impressed Meyer Levin. He then worked on the English translation and became interested in the film rights.<sup data-footnote-id=\"jb64k\"><a href=\"#footnote-4\" id=\"footnote-marker-4-1\" rel=\"footnote\">[4]</a></sup> The success of the French edition meant that English and American publishers also became seriously interested.<sup data-footnote-id=\"hke7y\"><a href=\"#footnote-5\" id=\"footnote-marker-5-1\" rel=\"footnote\">[5]</a></sup></p>\r\n\r\n<h1><strong>German translation</strong></h1>\r\n\r\n<p>Otto Frank first translated excerpts of the stories and diary into German himself for his family in Basel:</p>\r\n\r\n<blockquote><em>'Endlich komme ich dazu, den Anfang von Anne’s Tagebuch in deutscher Uebersetzung zu senden und hoff, dass ich bald die Fortsetzung schicken kann. Da ich nur wenige exemplare habe muss das vorliegende weiter gegeben werden und ich füge eine Liste bei, wie ich mir den Weg denke. Es ist schwer, alles sinn- und stilgemäss in eine andere Sprache zu übertragen, viel vom original geht verloren. Das ist nicht zu vermeiden und ich bitte jeden von Euch, evtl. Unklarheiten oder Sprachfehler zu notieren und mir mit zuteilen.'</em><sup data-footnote-id=\"ccni3\"><a href=\"#footnote-6\" id=\"footnote-marker-6-1\" rel=\"footnote\">[6]</a></sup></blockquote>\r\n\r\n<p>In the winter of <strong>1945 - 1946</strong>, commissioned by Otto Frank, Anneliese Schütz began translating the diary into German. She did this on the basis of typescript II.<sup data-footnote-id=\"mdls3\"><a href=\"#footnote-7\" id=\"footnote-marker-7-1\" rel=\"footnote\">[7]</a></sup> <strong>By summer 1947</strong>, the manuscript was at Paul Szolnay Verlag in Vienna.<sup data-footnote-id=\"qbg0b\"><a href=\"#footnote-8\" id=\"footnote-marker-8-1\" rel=\"footnote\">[8]</a></sup> Otto Frank was in contact with Dr Fritz Landshoff, the director of the German-language department of Querido publishers, about publishing the diary. At the end of <strong>1948</strong>, this came to nothing.<sup data-footnote-id=\"hiojj\"><a href=\"#footnote-9\" id=\"footnote-marker-9-1\" rel=\"footnote\">[9]</a></sup> Otto Frank approached several German publishers from late <strong>1948 </strong>to <strong>1950 </strong>including: Verlag Kurt Desch (Munich); Volk und Welt (Berlin); Rowohlt (Hamburg); Kiepenheuer Verlag (Berlin); Europa Express (Zurich); Limes Verlag (Wiesbaden); Societäts Verlag (Frankfurt) and an unnamed publisher in Koblenz.<sup data-footnote-id=\"qvd0s\"><a href=\"#footnote-10\" id=\"footnote-marker-10-1\" rel=\"footnote\">[10]</a></sup></p>\r\n\r\n<p>In searching for a publisher, he enlisted the help of the lawyer Max Cahn, a former classmate at the Lessing Grammar School and also his legal adviser E.D. Hirsch Ballin. Max Cahn in turn also enlisted the help of an old classmate, Walter Carstanjen, the chief editor of the <em>Börssenblatt für den Deutschen Buchhandel</em>. He sent Otto Frank a list of possible publishers.<sup data-footnote-id=\"gzd5h\"><a href=\"#footnote-11\" id=\"footnote-marker-11-1\" rel=\"footnote\">[11]</a></sup> One reason the German publishers rejected the diary was the crisis situation in the German book trade. As there had just been a money purge, no one dared to take a risk. Another reason was that the diary would not be literary enough and was therefore not suitable for the general German public.<sup data-footnote-id=\"59gfi\"><a href=\"#footnote-12\" id=\"footnote-marker-12-1\" rel=\"footnote\">[12]</a></sup></p>\r\n\r\n<p>On <strong>20 January 1950</strong>, Otto Frank met Lambert Schneider of the publishing house of the same name and gave him the German manuscript of the diary.<sup data-footnote-id=\"zjls0\"><a href=\"#footnote-13\" id=\"footnote-marker-13-1\" rel=\"footnote\">[13]</a></sup> On <strong>22 March 1950</strong>, Schneider responded positively and the contract was signed on <strong>25/28 July 1950</strong>.<sup data-footnote-id=\"d84mz\"><a href=\"#footnote-14\" id=\"footnote-marker-14-1\" rel=\"footnote\">[14]</a></sup> Otto Frank was closely involved in the final translation and publication of the diary.<sup data-footnote-id=\"0rof4\"><a href=\"#footnote-15\" id=\"footnote-marker-15-1\" rel=\"footnote\">[15]</a></sup><em> Das Tagebuch der Anne Frank</em> appeared in <strong>November 1950</strong> in an edition of 4,600 copies. The foreword was by Marie Baum. Previous candidates for the foreword were Herman Hesse (too ill) and Eugen Kogon.<sup data-footnote-id=\"uckgn\"><a href=\"#footnote-16\" id=\"footnote-marker-16-1\" rel=\"footnote\">[16]</a></sup> Sales figures were relatively low.<sup data-footnote-id=\"h7nl7\"><a href=\"#footnote-17\" id=\"footnote-marker-17-1\" rel=\"footnote\">[17]</a></sup></p>\r\n\r\n<p>Otto Frank thought a wide distribution of the diary among German youth was very important. In his opinion, this was only possible with a cheaper edition.<sup data-footnote-id=\"19yu2\"><a href=\"#footnote-18\" id=\"footnote-marker-18-1\" rel=\"footnote\">[18]</a></sup> In <strong>March 1955</strong>, the paperback edition of the <em>Tagebuch der Anne Frank</em> was published (under licence from the Lambert Schneider Verlag) by the <em>Fischer Bücherei</em> (Frankfurt am Main und Hamburg) in an edition of 50,000 copies.<sup data-footnote-id=\"ah351\"><a href=\"#footnote-19\" id=\"footnote-marker-19-1\" rel=\"footnote\">[19]</a></sup> The German translation by Anneliese Schütz had been revised by Maria Honeit, who corrected many errors and made the language use more 'natural'.<sup data-footnote-id=\"rzogj\"><a href=\"#footnote-20\" id=\"footnote-marker-20-1\" rel=\"footnote\">[20]</a></sup> Within a month, 30,000 copies were sold. <sup data-footnote-id=\"lkuia\"><a href=\"#footnote-21\" id=\"footnote-marker-21-1\" rel=\"footnote\">[21]</a></sup></p>\r\n\r\n<p>Because the German-language editions were based on a fuller version of Typescript II than the first Dutch edition of Contact, questions were raised not only about the person Anne Frank but also about the authenticity of the diary.<sup data-footnote-id=\"klnjo\"><a href=\"#footnote-22\" id=\"footnote-marker-22-1\" rel=\"footnote\">[22]</a></sup> Ernst Schnabel was therefore commissioned by the Fischer Bücherei to investigate the historicity of the character Anne Frank, which resulted in the book <em>Spur eines Kindes.</em> <sup data-footnote-id=\"e0ah7\"><a href=\"#footnote-23\" id=\"footnote-marker-23-1\" rel=\"footnote\">[23]</a></sup> The proceeds were earmarked for the Anne Frank Stipend, which aimed to give Israeli students the opportunity to study in Europe.<sup data-footnote-id=\"h7nl7\"><a href=\"#footnote-17\" id=\"footnote-marker-17-2\" rel=\"footnote\">[17]</a></sup></p>\r\n\r\n<p>Otto Frank also attached great importance to a cheap edition in East Germany. In <strong>1957</strong>, Union Verlag published the diary there. <sup data-footnote-id=\"a2ycn\"><a href=\"#footnote-24\" id=\"footnote-marker-24-1\" rel=\"footnote\">[24]</a></sup></p>\r\n\r\n<h1><strong>English translation</strong></h1>\r\n\r\n<p>Otto Frank had an English translation of the diary by Rosey Pool very early on. She, like Anneliese Schütz, was an acquaintance of Otto Frank and his family. With this translation, Otto approached English publishers. Rosey Pool began her translation at about the same time as Anneliese Schütz.<sup data-footnote-id=\"ccni3\"><a href=\"#footnote-6\" id=\"footnote-marker-6-2\" rel=\"footnote\">[6]</a></sup> Pool had taught English to Edith Frank.<sup data-footnote-id=\"ajvis\"><a href=\"#footnote-25\" id=\"footnote-marker-25-1\" rel=\"footnote\">[25]</a></sup> Literary agent Robert Harben approached Otto Frank about publishing the diary in England, but several English publishers turned it down, including: Heineman Ltd, Gollancz; Allen & Unwin; New Universal Encyclopedia; Falcon Press; Hamish Hamilton; Martin Secker.<sup data-footnote-id=\"ja79q\"><a href=\"#footnote-26\" id=\"footnote-marker-26-1\" rel=\"footnote\">[26]</a></sup> According to Harben, because the publishers and the public were averse to more books on war and resistance. <sup data-footnote-id=\"k3dkc\"><a href=\"#footnote-27\" id=\"footnote-marker-27-1\" rel=\"footnote\">[27]</a></sup><br />\r\n<br />\r\nIn the United States, Otto Frank was also in contact with several publishers: Secker & Warburg, Gollanz, Heineman, Allen & Unwin, Mc Millan, Scribners, Siggewick & Jackson, Doubleday Doran, Hutchinson, John Lehman, Viking Press, Vanguard Press, Warendorf, Simon & Shuster, Appleton Century, Knopf, Schocken, Random House, Little Brown & Company.<sup data-footnote-id=\"5j9v5\"><a href=\"#footnote-28\" id=\"footnote-marker-28-1\" rel=\"footnote\">[28]</a></sup> Due to the success of the French edition of the diary, the English publisher Vallentine Mitchell & Company offered to publish the diary.<sup data-footnote-id=\"27vyt\"><a href=\"#footnote-29\" id=\"footnote-marker-29-1\" rel=\"footnote\">[29]</a></sup></p>\r\n\r\n<p>Because Rosey Pool's translation was not satisfactory, Barbara Mooyaart-Doubleday was commissioned by Vallentine Mitchell to retranslate the diary.<sup data-footnote-id=\"kyp3w\"><a href=\"#footnote-30\" id=\"footnote-marker-30-1\" rel=\"footnote\">[30]</a></sup> Otto Frank kept in close contact with her about the translation and also had her translate some passages that were missing from the Dutch edition.<sup data-footnote-id=\"fots0\"><a href=\"#footnote-31\" id=\"footnote-marker-31-1\" rel=\"footnote\">[31]</a></sup> <em>The Diary of a Young Girl</em>, with a foreword by writer Margaret Storm Jameson, was released in England on <strong>30 April 1952.</strong> Reviews were good, but sales were disappointing.<sup data-footnote-id=\"tl1qt\"><a href=\"#footnote-32\" id=\"footnote-marker-32-1\" rel=\"footnote\">[32]</a></sup><br />\r\n<br />\r\nLengthy negotiations between Otto Frank and Little, Brown and Company for the American edition of the diary stranded in <strong>March 1951</strong> due to disagreements over the translation, Canadian rights and film rights to the diary.<sup data-footnote-id=\"q1dvr\"><a href=\"#footnote-33\" id=\"footnote-marker-33-1\" rel=\"footnote\">[33]</a></sup> Then Otto Frank quickly reached an agreement with US publisher Doubleday and Company.<sup data-footnote-id=\"q1dvr\"><a href=\"#footnote-33\" id=\"footnote-marker-33-2\" rel=\"footnote\">[33]</a></sup> Through the mediation of Nathan Straus Jr., the foreword was written by Eleanor Roosevelt.<sup data-footnote-id=\"j1y9u\"><a href=\"#footnote-34\" id=\"footnote-marker-34-1\" rel=\"footnote\">[34]</a></sup> The diary was published in the United States on <strong>12 June 1952</strong> (Anne's birthday). After a wildly enthusiastic review by Meyer Levin in <em>The New York Times Book Review</em> of <strong>15 June 1952</strong>, the diary ranked sixth on the bestseller list in the United States five weeks after its publication.<sup data-footnote-id=\"go4rm\"><a href=\"#footnote-35\" id=\"footnote-marker-35-1\" rel=\"footnote\">[35]</a></sup></p>\r\n\r\n<section class=\"footnotes\">\r\n<header>\r\n<h2>Footnotes</h2>\r\n</header>\r\n\r\n<ol>\r\n\t<li data-footnote-id=\"dba33\" id=\"footnote-1\"><sup><a href=\"#footnote-marker-1-1\">^</a> </sup><cite>Anne Frank Stichting (AFS), Anne Frank Collectie (AFS), Otto Frank Archief (OFA), reg. code OFA_072: Otto Frank aan Alice Frank-Stern, 11 november 1945 ('… unbedingt veröffentlichen, ein ganz grosses Werk! Iht kont Euch nicht vorstellen, was da allen drin steht, ich kann leider vorerst nichts übersetzen, aber es wird kommen und es wird auch in Deutsch heraus gegeben werden und in english'.<em>)</em></cite></li>\r\n\t<li data-footnote-id=\"ksrlf\" id=\"footnote-2\"><sup><a href=\"#footnote-marker-2-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_090: Correspondentie van Otto Frank met Uitgeverij Contact, .januari 1949 -maart 1950.</cite></li>\r\n\t<li data-footnote-id=\"eubjv\" id=\"footnote-3\"><sup><a href=\"#footnote-marker-3-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Otto Frank aan Meyer Levin, 29 september 1959; AFS, AFC, reg. code OFA_132: Otto Frank aan Vallentine Mitchell and Co., 21 november 1950 (over de Engelse vertaling). Zie ook: Myriam de Veth, '<a href=\"https://www.tijdschrift-filter.nl/jaargangen/2016/234/tylia-een-onvoltooid-portret-32-38/\">Tylia, een onvoltooid portret</a>', in: <em>Filter, tijdschrift over vertalen</em>, 23 (2016) 4, p, 32-38.</cite></li>\r\n\t<li data-footnote-id=\"jb64k\" id=\"footnote-4\"><sup><a href=\"#footnote-marker-4-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Correspondentie van Meyer Levin met Otto Frank, september 1950, waarin Levin zegt het dagboek (gratis) te willen vertalen. Hij informeert over Engelse en Amerikaanse rechten voor het dagboek en ook naar de mogelijkheden van een verfilming.</cite></li>\r\n\t<li data-footnote-id=\"hke7y\" id=\"footnote-5\"><sup><a href=\"#footnote-marker-5-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Correspondentie van Otto Frank met Vallentine Mitchell and Co., 10 oktober1950, 22 november 1950.</cite></li>\r\n\t<li data-footnote-id=\"ccni3\" id=\"footnote-6\"><sup><a href=\"#footnote-marker-6-1\">a</a>, <a href=\"#footnote-marker-6-2\">b</a> </sup><cite>AFS, AFC, reg. code OFA_094: Otto Frank aan meine Lieben, klad zonder datum; AFS, AFC, reg. code OFA_094: Otto Frank aan Milly Stanfield, 16 november 1945.</cite></li>\r\n\t<li data-footnote-id=\"mdls3\" id=\"footnote-7\"><sup><a href=\"#footnote-marker-7-1\">^</a> </sup><cite>NIOD Instituut voor Oorlogs-, Holocaust- en Genocidestudies, Amsterdam, archief 257d, De dagboeken van Anne Frank, inv. no. 1i: Gesprek met mevr. R.E. Mengelberg-Draber. In november 1945 vertaalde Anneliese Schutz al <em>Blurry der Weltentdekker, eine Bärengeschichte</em> in opdracht van Otto Frank voor zijn familie in Bazel. AFS, AFC, reg. code OFA_072: Otto Frank aan Alice Frank-Stern, 11 november 1945. </cite></li>\r\n\t<li data-footnote-id=\"qbg0b\" id=\"footnote-8\"><sup><a href=\"#footnote-marker-8-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA124: Correspondentie van Otto Frank met Robert Harben, september 1947.</cite></li>\r\n\t<li data-footnote-id=\"hiojj\" id=\"footnote-9\"><sup><a href=\"#footnote-marker-9-1\">^</a> </sup><cite>AFS, AFC. reg. code OFA_090: Otto Frank aan Gilles de Neve/Uitgeverij Contact, 27 januari 1949. </cite></li>\r\n\t<li data-footnote-id=\"qvd0s\" id=\"footnote-10\"><sup><a href=\"#footnote-marker-10-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Correspondentie 1948-1955.</cite></li>\r\n\t<li data-footnote-id=\"gzd5h\" id=\"footnote-11\"><sup><a href=\"#footnote-marker-11-1\">^</a> </sup><cite>Zie AFS, AFC, reg. code OFA_124, Correspondentie, maart 1949.</cite></li>\r\n\t<li data-footnote-id=\"59gfi\" id=\"footnote-12\"><sup><a href=\"#footnote-marker-12-1\">^</a> </sup><cite>Zie noten 10 en 11.</cite></li>\r\n\t<li data-footnote-id=\"zjls0\" id=\"footnote-13\"><sup><a href=\"#footnote-marker-13-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_125: Otto Frank aan aan Lambert Schneider, 20 maart 1950. In deze brief herinnert hij Schneider aan zijn bezoek op 20 januari 1950 en overhandiging van het manuscript.</cite></li>\r\n\t<li data-footnote-id=\"d84mz\" id=\"footnote-14\"><sup><a href=\"#footnote-marker-14-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Lambert Schneider aan Otto Frank, 22 maart 1950; AFS, AFC, reg. code OFA_124: Contract Lambert Schneider, Hamburg met Otto Frank, 25/28 juli 1950.</cite></li>\r\n\t<li data-footnote-id=\"0rof4\" id=\"footnote-15\"><sup><a href=\"#footnote-marker-15-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Correspondentie van Otto Frank met de uitgeverij van Lambert Schneider, oktober 1950. </cite></li>\r\n\t<li data-footnote-id=\"uckgn\" id=\"footnote-16\"><sup><a href=\"#footnote-marker-16-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124. </cite></li>\r\n\t<li data-footnote-id=\"h7nl7\" id=\"footnote-17\"><sup><a href=\"#footnote-marker-17-1\">a</a>, <a href=\"#footnote-marker-17-2\">b</a> </sup><cite>NIOD, archief 212c, Anne Frank, inv. no. 5d: Landgericht Lübeck, procesdossier Stielau/ Buddeberg, p. 6.</cite></li>\r\n\t<li data-footnote-id=\"19yu2\" id=\"footnote-18\"><sup><a href=\"#footnote-marker-18-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Otto Frank aan S. Ficher Verlag, 8 mei 1954. </cite></li>\r\n\t<li data-footnote-id=\"ah351\" id=\"footnote-19\"><sup><a href=\"#footnote-marker-19-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Fischer Bücherei aan Otto Frank, 28 februari 1955. </cite></li>\r\n\t<li data-footnote-id=\"rzogj\" id=\"footnote-20\"><sup><a href=\"#footnote-marker-20-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Fischer Verlag (Christian Wegner) aan Otto Frank, 3 juli 1954.</cite></li>\r\n\t<li data-footnote-id=\"lkuia\" id=\"footnote-21\"><sup><a href=\"#footnote-marker-21-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Fischer Bücherei aan Otto Frank, 7 april 1957.</cite></li>\r\n\t<li data-footnote-id=\"klnjo\" id=\"footnote-22\"><sup><a href=\"#footnote-marker-22-1\">^</a> </sup><cite>Zie noot 17; NIOD (samenst.), <em>De dagboeken van Anne Frank</em>, 5e, verb. en uitgebr. duk, Amsterdam: Bert Bakker, 2001, p. 81-83: Uitgeverij Contact kortt de tekst in door een aantal passages te schrappen, voerde redactionele veranderingen door en liet seksueel getinte fragmenten weg. Dit gebeurde met instemming van Otto Frank. In de Duitse vertaling van Annelise Schütz werden deze passages grotendeels gehandhaafd. </cite></li>\r\n\t<li data-footnote-id=\"e0ah7\" id=\"footnote-23\"><sup><a href=\"#footnote-marker-23-1\">^</a> </sup><cite>Ernst Schnabel, <em>Anne Frank, Spur eines Kindes: ein Bericht</em>, Frankfurt am Main: Fischer Bücherei, 1958.</cite></li>\r\n\t<li data-footnote-id=\"a2ycn\" id=\"footnote-24\"><sup><a href=\"#footnote-marker-24-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_124: Otto Frank aan Lambert Schneider, 16 november 1956. Zie voor de DDR-uitgave van het dagboek, het archief Union Verlag (AFS, AFC, reg. code B_dagboek_I_008).</cite></li>\r\n\t<li data-footnote-id=\"ajvis\" id=\"footnote-25\"><sup><a href=\"#footnote-marker-25-1\">^</a> </sup><cite>Zie AFS, AFC, reg. code OFA_132, Brief Otto Frank aan Vallentine Mitchel and Co, 22 november 1950. </cite></li>\r\n\t<li data-footnote-id=\"ja79q\" id=\"footnote-26\"><sup><a href=\"#footnote-marker-26-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA 132 : Correspondentie van Otto Frank met Robert Harben, september 1947 - augustus 1948. Otto Frank kende Robert Harben van vroeger van diens ‘leesbibliotheek’ in de buurt van het Merwedeplein waar hij met zijn vrouw Edith kwam.</cite></li>\r\n\t<li data-footnote-id=\"k3dkc\" id=\"footnote-27\"><sup><a href=\"#footnote-marker-27-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Robert Harben aan Otto Frank, 7 augustus 1948.</cite></li>\r\n\t<li data-footnote-id=\"5j9v5\" id=\"footnote-28\"><sup><a href=\"#footnote-marker-28-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_150: Otto Frank aan Meyer Levin, 25 september 1950. Heel veel vrienden en relaties zijn hem hierbij behulpzaam: Walter en Julius Holländer, Nathan Straus Jr., Dola de Jong, Miriam Blumenthal, Annetje Reens, Meyer Levin.</cite></li>\r\n\t<li data-footnote-id=\"27vyt\" id=\"footnote-29\"><sup><a href=\"#footnote-marker-29-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Vallentine Mitchel and Co. (de heer Japp) aan Otto Frank, 10 oktober 1950.</cite></li>\r\n\t<li data-footnote-id=\"kyp3w\" id=\"footnote-30\"><sup><a href=\"#footnote-marker-30-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Otto Frank aan Vallentine Mitchell and Co., 22 november 1950, AFS, AFC, reg. code OFA_132: Vallentine Mitchell and Co. aan Otto Frank, 8 maart 1951.</cite></li>\r\n\t<li data-footnote-id=\"fots0\" id=\"footnote-31\"><sup><a href=\"#footnote-marker-31-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Correspondentie van Otto Frank met Barbara Mooyaart-Doubleday, 1951.</cite></li>\r\n\t<li data-footnote-id=\"tl1qt\" id=\"footnote-32\"><sup><a href=\"#footnote-marker-32-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Vallentine Mitchell and Co. (Japp) aan Otto Frank, 29 mei 1952.</cite></li>\r\n\t<li data-footnote-id=\"q1dvr\" id=\"footnote-33\"><sup><a href=\"#footnote-marker-33-1\">a</a>, <a href=\"#footnote-marker-33-2\">b</a> </sup><cite>AFS, AFC, reg. code OFA_132: Otto Frank aan Vallentine Mitchell and Co., 12 april 1951. </cite></li>\r\n\t<li data-footnote-id=\"j1y9u\" id=\"footnote-34\"><sup><a href=\"#footnote-marker-34-1\">^</a> </sup><cite>Zie noot 33. Voor meer over het voorwoord door Eleanor Roosevelt, zie AFS, AFC, reg. code OFA_ 154, OFA_172 en OFA_132. </cite></li>\r\n\t<li data-footnote-id=\"go4rm\" id=\"footnote-35\"><sup><a href=\"#footnote-marker-35-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Otto Frank aan Vallentine Mitchell and Co. (Japp), 19 juli 1952. Meyer Levin, "The child behind ther secret door", in: <em>The New York Times Book Review</em>, 15 juni 1952.</cite></li>\r\n</ol>\r\n</section>",
"summary": "The first translations of Anne Frank's diary appeared in the early 1950s, thanks in part to Otto Frank's efforts.",
"summary_nl": "Begin jaren '50 verschenen de eerste vertaling van het dagboek van Anne Frank, mede dankzij de inspanningen van Otto Frank.",
"summary_en": "The first translations of Anne Frank's diary appeared in the early 1950s, thanks in part to Otto Frank's efforts.",
"same_as": null,
"parent": 396124643,
"files": []
},
"score": 0.0
},
{
"type": "subject",
"instance": {
"id": 396124622,
"image": null,
"url": "https://research.annefrank.org/en/onderwerpen/287e2f8b-9a45-4ce4-b3b7-59cc1f6cdfb4/",
"published": true,
"uuid": "287e2f8b-9a45-4ce4-b3b7-59cc1f6cdfb4",
"name": "Otto Frank and the play 'The Diary of Anne Frank'",
"name_nl": "Otto Frank en het toneelstuk 'The Diary of Anne Frank'",
"name_en": "Otto Frank and the play 'The Diary of Anne Frank'",
"description": "<p>In the contract with publisher Contact<strong> (1946</strong>), Otto Frank had explicitly arranged that he would retain the translation and film rights to the diary.<sup data-footnote-id=\"3x6ih\"><a href=\"#footnote-1\" id=\"footnote-marker-1-1\" rel=\"footnote\">[1]</a></sup> After Meyer Levin's stage adaptation was rejected, writer couple Frances Goodrich and Albert Hackett were commissioned to write it <strong>in late 1953</strong>. Their play <em>The Diary of Anne Frank</em> premiered on Broadway on <strong>5 October 1955</strong>, after try-outs in Philadelphia. The play, produced by Kermit Bloomgarden and directed by Carson Kanin, received the Pulitzer Prize, among other awards, and was translated into many languages and performed in many countries.<em> </em></p>\r\n\r\n<h1><strong>Meyer Levin</strong></h1>\r\n\r\n<p>Meyer Levin read the French edition of the diary and sought contact with Otto Frank through the publisher (Calman-Lévy).<sup data-footnote-id=\"h9vdn\"><a href=\"#footnote-2\" id=\"footnote-marker-2-1\" rel=\"footnote\">[2]</a></sup> He was moved by the diary and saw it as his task to translate it into English. He helped Otto Frank find an English and American publisher and was convinced from the start of the diary's potential for film and stage adaptation.<sup data-footnote-id=\"190yv\"><a href=\"#footnote-3\" id=\"footnote-marker-3-1\" rel=\"footnote\">[3]</a></sup> Levin put Otto Frank in touch with the diary's English publisher, Vallentine Mitchell.<sup data-footnote-id=\"an7fj\"><a href=\"#footnote-4\" id=\"footnote-marker-4-1\" rel=\"footnote\">[4]</a></sup> He approached several people from the theatre and film world and made a passionate appeal to Otto Frank to let him write the play.<sup data-footnote-id=\"e9zwl\"><a href=\"#footnote-5\" id=\"footnote-marker-5-1\" rel=\"footnote\">[5]</a></sup><strong> In early September 1952,</strong> Otto Frank agreed, but with the caveat that Meyer Levin's suggested producer, Cheryl Crawford, would judge the quality of the play.<sup data-footnote-id=\"a2c3h\"><a href=\"#footnote-6\" id=\"footnote-marker-6-1\" rel=\"footnote\">[6]</a></sup> Otto Frank felt he could not do this himself because he was too emotionally involved.<sup data-footnote-id=\"gfs7r\"><a href=\"#footnote-7\" id=\"footnote-marker-7-1\" rel=\"footnote\">[7]</a></sup></p>\r\n\r\n<p><strong>By mid-September 1952,</strong> Meyer Levin's stage adaptation was ready.<sup data-footnote-id=\"uq3po\"><a href=\"#footnote-8\" id=\"footnote-marker-8-1\" rel=\"footnote\">[8]</a></sup> But Cheryl Crawford rejected it<strong> (October 1952</strong>). Meyer Levin did not accept this <sup data-footnote-id=\"o1sbv\"><a href=\"#footnote-9\" id=\"footnote-marker-9-1\" rel=\"footnote\">[9]</a></sup> and asked Kermit Bloomgarden to be producer. But Bloomgarden also rejected the play. Bloomgarden had also turned to Otto Frank in <strong>August 1952</strong>, asking to produce the play.<sup data-footnote-id=\"8elwv\"><a href=\"#footnote-10\" id=\"footnote-marker-10-1\" rel=\"footnote\">[10]</a></sup> To get out of the impasse, Otto Frank, Cheryl Crawford and Meyer Levin struck a deal. Levin was given one month (until <strong>21 December 1952</strong>) to submit his play to 14 producers. If there was no interest, he would withdraw the play.<sup data-footnote-id=\"y66jd\"><a href=\"#footnote-11\" id=\"footnote-marker-11-1\" rel=\"footnote\">[11]</a></sup> When subsequently all fourteen producers rejected the play, Meyer Levin did not keep his end of the bargain and made every effort to still get his stage adaptation performed. The Otto Frank Archive holds extensive correspondence and documentation on the conflict between Meyer Levin and Otto Frank, in which Meyer Levin repeatedly tried to mobilise public opinion and the Jewish community in favour of his stage adaptation of the diary by engaging the press. <sup data-footnote-id=\"ygmqn\"><a href=\"#footnote-12\" id=\"footnote-marker-12-1\" rel=\"footnote\">[12]</a></sup></p>\r\n\r\n<p>When Cheryl Crawford stepped down as producer in <strong>April 1953</strong>, Otto Frank signed a contract with Kermit Bloomgarden on <strong>2 October 1953</strong>. Crawford resigned because she had had enough of the difficulties with Meyer Levin and because she had run into financial difficulties producing another play.<sup data-footnote-id=\"px498\"><a href=\"#footnote-13\" id=\"footnote-marker-13-1\" rel=\"footnote\">[13]</a></sup> For a new stage adaptation, the choice fell on married couple Frances Goodrich and Albert Hackett. They signed the contract on <strong>23 February 1954</strong>. Carson McCullers, who had already been approached by Cheryl Crawford in <strong>November 1952</strong>, had initially agreed to write the play, but she had to withdraw in April <strong>1953</strong> due to health reasons.<sup data-footnote-id=\"z1mvj\"><a href=\"#footnote-14\" id=\"footnote-marker-14-1\" rel=\"footnote\">[14]</a></sup></p>\r\n\r\n<p>From <strong>January 1955</strong>, Meyer Levin filed lawsuits against Otto Frank, Cheryl Crawford and Kermit Bloomgarden accusing them of fraud, breach of contract and plagiarism.<sup data-footnote-id=\"jxv94\"><a href=\"#footnote-15\" id=\"footnote-marker-15-1\" rel=\"footnote\">[15]</a></sup> The charges were eventually upheld only in terms of plagiarism. The trial was settled on appeal in a settlement: Otto Frank paid Meyer Levin $50,000, and the latter then waived his adaptations of the diary.<strong> (26 October 1959</strong>).<sup data-footnote-id=\"y66jd\"><a href=\"#footnote-11\" id=\"footnote-marker-11-2\" rel=\"footnote\">[11]</a></sup> After this ruling, Meyer Levin continued to publicly voice his displeasure. When he did stage his play in Israel in <strong>1966</strong>, tensions again ran high.<sup data-footnote-id=\"mh3bm\"><a href=\"#footnote-16\" id=\"footnote-marker-16-1\" rel=\"footnote\">[16]</a></sup> In his <strong>1973</strong> book <em>The Obsession</em>, he gave his own take on the whole affair.<sup data-footnote-id=\"vm5jj\"><a href=\"#footnote-17\" id=\"footnote-marker-17-1\" rel=\"footnote\">[17]</a></sup></p>\r\n\r\n<p>The $50,000 settlement amount awarded to Meyer Levin was seized upon by 'diary deniers' in the <strong>1980s</strong> to label the diary of Anne Frank as a forgery, written by Meyer Levin at the behest of Otto Frank.</p>\r\n\r\n<h1><strong>Frances Goodrich and Albert Hackett</strong></h1>\r\n\r\n<p>The Hacketts began their stage adaptation on <strong>15 December 1953</strong>.<sup data-footnote-id=\"3ag9a\"><a href=\"#footnote-18\" id=\"footnote-marker-18-1\" rel=\"footnote\">[18]</a></sup> On <strong>27 December 1953</strong>, the Hacketts first sought contact with Otto Frank.<sup data-footnote-id=\"0763b\"><a href=\"#footnote-19\" id=\"footnote-marker-19-1\" rel=\"footnote\">[19]</a></sup> Thereafter, an intensive correspondence ensued in which Otto Frank gave them comments and advice and answered all their questions. This is how Otto Frank put the Hacketts in touch with Ernst Meyer and his family, who lived in America. These were good friends of his, who could tell the writers a lot about the Frank family, the other people in hiding and Amsterdam.<sup data-footnote-id=\"0763b\"><a href=\"#footnote-19\" id=\"footnote-marker-19-2\" rel=\"footnote\">[19]</a></sup> For the Jewish-religious aspects of the diary, the Hacketts were in contact with liberal rabbi Max Nussbaum.<sup data-footnote-id=\"0763b\"><a href=\"#footnote-19\" id=\"footnote-marker-19-3\" rel=\"footnote\">[19]</a></sup> Nussbaum was the husband of Ruth Nussbaum-Offenstadt, mother of Hannah Toby and previously married to Fritz Toby. A famous photo of Anne and her friends in the sandpit<strong> (1937</strong>) was taken in their garden.</p>\r\n\r\n<p>The fourth version of the play script was the first version Otto Frank got to read in <strong>June 1954</strong>.<sup data-footnote-id=\"ggc3w\"><a href=\"#footnote-20\" id=\"footnote-marker-20-1\" rel=\"footnote\">[20]</a></sup> Otto Frank found the result disappointing:</p>\r\n\r\n<blockquote>'(…) I am not moved. (…) Whereas with the Levin play I felt that the psychological development and the characters were good, but that I could not judge the dramatic value, my first impression of the Hackett version is to be excellent routine work, but not giving the spirit of the book. (…) Perhaps it is anyhow a base which, with many changes could be worked out to a higher standard. (…) I cannot say that the script is against the spirit of Anne but it is not working up to the high spirit of Anne and in its present form would never convey the message which the book contains. You can imagine that I feel very miserable about the situation.'<sup data-footnote-id=\"r3q65\"><a href=\"#footnote-21\" id=\"footnote-marker-21-1\" rel=\"footnote\">[21]</a></sup></blockquote>\r\n\r\n<p>Concerned, he wrote a letter to the Hacketts criticising that the play did not reflect the depth of Anne's character nor the message of the book.<sup data-footnote-id=\"m6yix\"><a href=\"#footnote-22\" id=\"footnote-marker-22-1\" rel=\"footnote\">[22]</a></sup> For the development of Anne's character, he recommended an article by remedial educationalist Jean Schick-Grossmann for which she had spoken extensively with Otto Frank, Johannes Kleiman and Miep Gies.<sup data-footnote-id=\"ysy9b\"><a href=\"#footnote-23\" id=\"footnote-marker-23-1\" rel=\"footnote\">[23]</a></sup></p>\r\n\r\n<p>In New York, the Hacketts worked on the fourth, fifth and sixth versions of the play.<sup data-footnote-id=\"r0849\"><a href=\"#footnote-24\" id=\"footnote-marker-24-1\" rel=\"footnote\">[24]</a></sup> These versions pleased Otto much better:<em> 'I admire the way you caught the spirit of the book.'</em><sup data-footnote-id=\"vjmot\"><a href=\"#footnote-25\" id=\"footnote-marker-25-1\" rel=\"footnote\">[25]</a></sup> He thought the inserted scenes fitted in superbly. He also had sympathy for the 'bread stealing' scene (Hermann van Pels steals a loaf of bread). Although he wondered whether there would be any legal consequences, as a brother of Hermann van Pels was still alive in the United States. He attached to the letter a list of<em> 'observations and suggestions</em>'.</p>\r\n\r\n<p>After the seventh version of the script, the Hacketts came to Amsterdam where, on <strong>6 December 1954</strong>, they met Otto Frank for the first time. They visited the Secret Annex, the 6th Montessori school, Merwedeplein 37-II and an ice cream parlour where<em> 'Jews were allowed'</em> the following day. <sup data-footnote-id=\"e526o\"><a href=\"#footnote-26\" id=\"footnote-marker-26-1\" rel=\"footnote\">[26]</a></sup> There was a meeting with Lou de Jong, who checked the script, and an extensive photo-reportage of and in the Secret Annex was made by photographer Maria Austria. Based on this visit, the play was revised again: the eighth version.</p>\r\n\r\n<p>Around this time, the Secret Annex was photographed extensively and in detail by Maria Austria for two days.<sup data-footnote-id=\"l0xpx\"><a href=\"#footnote-27\" id=\"footnote-marker-27-1\" rel=\"footnote\">[27]</a></sup> Otto Frank noted in his diary on <strong>8 December 1954</strong>: Ph<em>otos.</em> - <em>Austria</em>. On <strong>11 December 1954</strong>: <em>Photos with Haket [sic] + Kanin.</em><sup data-footnote-id=\"2s6l7\"><a href=\"#footnote-28\" id=\"footnote-marker-28-1\" rel=\"footnote\">[28]</a></sup></p>\r\n\r\n<p>As it was now too late in the season, the producer postponed the play until <strong>autumn 1955</strong>.</p>\r\n\r\n<p>Otto Frank answered an extensive list of questions from Joseph Schildkraut, who was to play the role of Otto Frank in the play.<sup data-footnote-id=\"zrzcq\"><a href=\"#footnote-29\" id=\"footnote-marker-29-1\" rel=\"footnote\">[29]</a></sup> Furthermore, he was kept closely informed about the casting, sets, invitations to the premiere, etc.<sup data-footnote-id=\"k7oi7\"><a href=\"#footnote-30\" id=\"footnote-marker-30-1\" rel=\"footnote\">[30]</a></sup></p>\r\n\r\n<p>The first rehearsal was on <strong>22 August 1955</strong>. Try-outs began in Philadelphia on <strong>15 September 1955</strong>.<sup data-footnote-id=\"ncady\"><a href=\"#footnote-31\" id=\"footnote-marker-31-1\" rel=\"footnote\">[31]</a></sup> There were rave reviews, and film companies also showed interest.<sup data-footnote-id=\"mjg9n\"><a href=\"#footnote-32\" id=\"footnote-marker-32-1\" rel=\"footnote\">[32]</a></sup> During the try-outs, the 'bread stealing' scene was moved from morning to night for dramatic effect.<sup data-footnote-id=\"9jsz4\"><a href=\"#footnote-33\" id=\"footnote-marker-33-1\" rel=\"footnote\">[33]</a></sup></p>\r\n\r\n<p>It was followed by its New York premiere on <strong>5 October 1955</strong>. Otto Frank never wanted to attend a stage or film screening of the diary. Just before the premiere, he wished the actors well and let them know: '<em>You will all realize that for me his play is a part of my life, and the idea that my wife and children as well as I will be presented on the stage is a painful one to me. Therefore it is impossible for me to come and see it.' </em> Otto Frank had already wished success to the Hacketts on <strong>9 September 1954</strong>, leaving it up to them whether to show the letter to the players in Philadelphia or in New York. <sup data-footnote-id=\"qangh\"><a href=\"#footnote-34\" id=\"footnote-marker-34-1\" rel=\"footnote\">[34]</a></sup></p>\r\n\r\n<section class=\"footnotes\">\r\n<header>\r\n<h2>Footnotes</h2>\r\n</header>\r\n\r\n<ol>\r\n\t<li data-footnote-id=\"3x6ih\" id=\"footnote-1\"><sup><a href=\"#footnote-marker-1-1\">^</a> </sup><cite>Anne Frank Stichting (AFS), Anne Frank Collectie (AFC), Otto Frank Archief (OFA), reg. code OFA_090: Contract Uitgeverij Contact en Otto Frank aan Contact, 1 augustus 1946.</cite></li>\r\n\t<li data-footnote-id=\"h9vdn\" id=\"footnote-2\"><sup><a href=\"#footnote-marker-2-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Correspondentie van Meyer Levin met Otto Frank, 19 september 1950 e.v.</cite></li>\r\n\t<li data-footnote-id=\"190yv\" id=\"footnote-3\"><sup><a href=\"#footnote-marker-3-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Meyer Levin aan Otto Frank, 10 maart 1951 ('I hope that if you receive any film or stage enquiries, you may direct them to me as I would very much want the opportunity to work on such an adaptation, for I am sure that it will come, and it must be done tenderly, and with utmost fidelity'.).</cite></li>\r\n\t<li data-footnote-id=\"an7fj\" id=\"footnote-4\"><sup><a href=\"#footnote-marker-4-1\">^</a> </sup><cite>Zie AFS, AFC. reg. code OFA_132.</cite></li>\r\n\t<li data-footnote-id=\"e9zwl\" id=\"footnote-5\"><sup><a href=\"#footnote-marker-5-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Meyer Levin aan Otto Frank, 16 juni 1952.</cite></li>\r\n\t<li data-footnote-id=\"a2c3h\" id=\"footnote-6\"><sup><a href=\"#footnote-marker-6-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_172: Correspondentie van Otto Frank met Cheryl Crawford, 9 juli 1952 en 6 september 1952.</cite></li>\r\n\t<li data-footnote-id=\"gfs7r\" id=\"footnote-7\"><sup><a href=\"#footnote-marker-7-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Otto Frank aan Meyer Levin, 6 november 1952.</cite></li>\r\n\t<li data-footnote-id=\"uq3po\" id=\"footnote-8\"><sup><a href=\"#footnote-marker-8-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Otto Frank aan Meyer Levin, 18 september 1952.</cite></li>\r\n\t<li data-footnote-id=\"o1sbv\" id=\"footnote-9\"><sup><a href=\"#footnote-marker-9-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Meyer Levin aan Otto Frank, 30 oktober 1952.</cite></li>\r\n\t<li data-footnote-id=\"8elwv\" id=\"footnote-10\"><sup><a href=\"#footnote-marker-10-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_172: Telegram Kermit Bloomgarten aan Otto Frank, augustus 1952; AFS, AFC, reg. code OFA_172: Otto Frank aan Edwin Eytan, 13 april 1960; AFS, AFC, reg. code OFA_172: Otto Frank aan Bernard Heller, zonder datum.</cite></li>\r\n\t<li data-footnote-id=\"y66jd\" id=\"footnote-11\"><sup><a href=\"#footnote-marker-11-1\">a</a>, <a href=\"#footnote-marker-11-2\">b</a> </sup><cite>AFS, AFC, reg. code OFA_171: Meyer Mermin aan Otto Frank, 6 december 1952; AFS, AFC, reg. code OFA_171: Meyer Levin aan Otto Frank, 23 december 1952.</cite></li>\r\n\t<li data-footnote-id=\"ygmqn\" id=\"footnote-12\"><sup><a href=\"#footnote-marker-12-1\">^</a> </sup><cite>Zie: AFS, AFC, reg. code OFA_159: Correspondentie van Otto Frank met Meyer Levin en AFS, AFC, reg. code OFA_171: Correspondentie van Otto Frank met zijn Amerikaanse advocaat Meyer Mermin.</cite></li>\r\n\t<li data-footnote-id=\"px498\" id=\"footnote-13\"><sup><a href=\"#footnote-marker-13-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_171: Correspondentie van Meyer Mermin met Otto Frank.</cite></li>\r\n\t<li data-footnote-id=\"z1mvj\" id=\"footnote-14\"><sup><a href=\"#footnote-marker-14-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_172; AFS, AFC, reg. code OFA_171: Contract Otto Frank met de Hacketts, 23 februari 1954.</cite></li>\r\n\t<li data-footnote-id=\"jxv94\" id=\"footnote-15\"><sup><a href=\"#footnote-marker-15-1\">^</a> </sup><cite>AFS, AFC, reg. code 164: Aanklacht Meyer Levin vs. Otto Frank en Cheryl Crawford, 5 januari 1955; AFS, AFC, reg. code 164: Aanklacht Meyer Levin vs Otto Frank en Kermit Bloomgarden, 26 februari 1956.</cite></li>\r\n\t<li data-footnote-id=\"mh3bm\" id=\"footnote-16\"><sup><a href=\"#footnote-marker-16-1\">^</a> </sup><cite>Telegram van advocaat Edward Costikiyan aan Otto Frank met voorstel Levin en het theater te wijzen op de rechtenschending, d.d. 1 december 1966. Otto Frank laat op 3 december weten dat hij daarmee akkoord gaat. AFS, Anne Frank Collectie, reg. code OFA_171, telegrammen tussen Costiyakin en Otto Frank, december 1966.</cite></li>\r\n\t<li data-footnote-id=\"vm5jj\" id=\"footnote-17\"><sup><a href=\"#footnote-marker-17-1\">^</a> </sup><cite>Meyer Levin, <em>The Obsession</em>, New York, NY: Simon & Schuster, 1973. Zie verder: Lawrence Graver, <em>An obesssion with Anne Frank: Meyer Levin and the Diary</em>, Berkeley, CA: Universoty of California Press, 1995; Ralph Melnick, <em>The stolen legacy of Anne Frank: Meyer Levin, Lillian Hellmann, and the staging of the Diary</em>, New Haven, CT: Yale University Press, 1997.</cite></li>\r\n\t<li data-footnote-id=\"3ag9a\" id=\"footnote-18\"><sup><a href=\"#footnote-marker-18-1\">^</a> </sup><cite>Wisconsin Historical Society (WHS), Madison, WI, Goodrich/Hackett papers 1927-1961, Box no 7, Miscellaneous: A Diary of the Diary.</cite></li>\r\n\t<li data-footnote-id=\"0763b\" id=\"footnote-19\"><sup><a href=\"#footnote-marker-19-1\">a</a>, <a href=\"#footnote-marker-19-2\">b</a>, <a href=\"#footnote-marker-19-3\">c</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-1956: Otto Frank aan Frances Goodrich en Albert Hackett, 2 februari 1954.</cite></li>\r\n\t<li data-footnote-id=\"ggc3w\" id=\"footnote-20\"><sup><a href=\"#footnote-marker-20-1\">^</a> </sup><cite>De eerste ruwe versie is klaar op 21 januari 1954, de tweede versie op 26 februari, de derde versie op 22 april en de vierde versie op 21 mei 1954 en wordt uitgetypt en toegestuurd aan de producent, de agente van de Hacketts en aan Otto Frank. WHS, Goodrich/Hackett papers 1927-1961, Box no 2, correspondence 1952-1956.</cite></li>\r\n\t<li data-footnote-id=\"r3q65\" id=\"footnote-21\"><sup><a href=\"#footnote-marker-21-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_171: Otto Frank aan Meyer Mermin, 2 juni 1954.</cite></li>\r\n\t<li data-footnote-id=\"m6yix\" id=\"footnote-22\"><sup><a href=\"#footnote-marker-22-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-1956: Otto Frank aan Frances Goodrich en Albert Hackett, 14 juni 1954.</cite></li>\r\n\t<li data-footnote-id=\"ysy9b\" id=\"footnote-23\"><sup><a href=\"#footnote-marker-23-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers: Otto Frank aan Frances Goodrich en Albert Hackett, 6 juli 1954; WHS, Goodrich/Hackett papers 1927-1961: Jean Schick Grossmann, Anne Frank. The Story within her story (ongepubliceerd, 1954).</cite></li>\r\n\t<li data-footnote-id=\"r0849\" id=\"footnote-24\"><sup><a href=\"#footnote-marker-24-1\">^</a> </sup><cite>De zesde versie is de tweede versie die Otto Frank onder ogen krijgt (oktober 1954). De vijfde versie is af op 19 augustus. Op 11 september 1954 wordt begonnen aan de aanpassingen voor zesde versie die op 4 oktober klaar is en kan worden uitgetypt, Zie noot 23.</cite></li>\r\n\t<li data-footnote-id=\"vjmot\" id=\"footnote-25\"><sup><a href=\"#footnote-marker-25-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-195: Otto Frank aan Frances Goodrich en Albert Hackett, 5 november 1954.</cite></li>\r\n\t<li data-footnote-id=\"e526o\" id=\"footnote-26\"><sup><a href=\"#footnote-marker-26-1\">^</a> </sup><cite>Wisconsin Center for Theatre Research (WCTR), Madison,WI, Goodrich and Hackett papers, box 7: A Diary of the Diary. Met de ijssalon is zeer waarschijnlijk Oase bedoeld.</cite></li>\r\n\t<li data-footnote-id=\"l0xpx\" id=\"footnote-27\"><sup><a href=\"#footnote-marker-27-1\">^</a> </sup><cite>WCTR, Goodrich and Hackett papers, box 7: A diary of the Diary, notitie 10 december 1954.</cite></li>\r\n\t<li data-footnote-id=\"2s6l7\" id=\"footnote-28\"><sup><a href=\"#footnote-marker-28-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_011: Agenda Otto Frank 1954.</cite></li>\r\n\t<li data-footnote-id=\"zrzcq\" id=\"footnote-29\"><sup><a href=\"#footnote-marker-29-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_202: Otto Frank aan Joseph Schildkraut, 4 mei 1955.</cite></li>\r\n\t<li data-footnote-id=\"k7oi7\" id=\"footnote-30\"><sup><a href=\"#footnote-marker-30-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no 2, correspondence 1952-1956.</cite></li>\r\n\t<li data-footnote-id=\"ncady\" id=\"footnote-31\"><sup><a href=\"#footnote-marker-31-1\">^</a> </sup><cite>Anne Frank-Fonds (AFF), Bazel, Hackett Korrespondenz 1954-1960, ongeïnventariseerd archief, doos 51.</cite></li>\r\n\t<li data-footnote-id=\"mjg9n\" id=\"footnote-32\"><sup><a href=\"#footnote-marker-32-1\">^</a> </sup><cite>Zie bijvoorbeeld brief 3 oktober 1955: WHS, Goodrich/Hackett papers 1927-1961, Box no 2, correspondence 1952-1956: Brief Otto Frank aan Frances Goodrich en Albert Hacketts, 3 oktober..</cite></li>\r\n\t<li data-footnote-id=\"9jsz4\" id=\"footnote-33\"><sup><a href=\"#footnote-marker-33-1\">^</a> </sup><cite>AFF, Hackett Korrespondenz, doos 51: Meyer Levin Div. (S. Mermin).</cite></li>\r\n\t<li data-footnote-id=\"qangh\" id=\"footnote-34\"><sup><a href=\"#footnote-marker-34-1\">^</a> </sup><cite>WHS, Goodric/Hackett papers 1927-1961, Box no. 2, corresepondence 1952-1956: Otto Frank aan de Hacketts, 9 september 1955.</cite></li>\r\n</ol>\r\n</section>",
"description_nl": "<p>In het contract met uitgeverij Contact (<strong>1946</strong>) had Otto Frank expliciet geregeld dat hij de vertaal- en filmrechten van het dagboek zou behouden.<sup bis_size=\"{"x":846,"y":22,"w":12,"h":12,"abs_x":1067,"abs_y":428}\" data-footnote-id=\"3x6ih\"><a href=\"#footnote-1\" id=\"footnote-marker-1-1\" rel=\"footnote\">[1]</a></sup> Nadat Meyer Levins toneelbewerking was afgewezen, kreeg het schrijversechtpaar Frances Goodrich en Albert Hackett <strong>eind 1953</strong> de opdracht. Hun toneelstuk <em>Het dagboek van Anne Frank</em> ging, na try-outs in Philadelphia, op Broadway in première op <strong>5 oktober 1955</strong>. Het stuk, geproduceerd door Kermit Bloomgarden en geregisseerd door Carson Kanin, kreeg onder andere de Pulitzerprijs en werd in veel talen vertaald en in veel landen opgevoerd.<em> </em></p>\r\n\r\n<h1><strong>Meyer Levin</strong></h1>\r\n\r\n<p>Meyer Levin las de Franse editie van het dagboek en zocht via de uitgever (Calman-Lévy) contact met Otto Frank.<sup bis_size=\"{"x":676,"y":174,"w":12,"h":12,"abs_x":897,"abs_y":580}\" data-footnote-id=\"h9vdn\"><a href=\"#footnote-2\" id=\"footnote-marker-2-1\" rel=\"footnote\">[2]</a></sup> Hij was geraakt door het dagboek en zag het als zijn taak het in het Engels te vertalen. Hij hiep Otto Frank bij het vinden van een Engelse en Amerikaanse uitgever en was van meet af aan overtuigd van de mogelijkheden van het dagboek voor verfilming en toneelbewerking.<sup bis_size=\"{"x":195,"y":219,"w":12,"h":12,"abs_x":416,"abs_y":625}\" data-footnote-id=\"190yv\"><a href=\"#footnote-3\" id=\"footnote-marker-3-1\" rel=\"footnote\">[3]</a></sup> Levin bracht Otto Frank in contact met de Engelse uitgever van het dagboek, Vallentine Mitchell.<sup bis_size=\"{"x":764,"y":219,"w":12,"h":12,"abs_x":985,"abs_y":625}\" data-footnote-id=\"an7fj\"><a href=\"#footnote-4\" id=\"footnote-marker-4-1\" rel=\"footnote\">[4]</a></sup> Hij benaderde diverse mensen uit de toneel- en filmwereld en deed een hartstochtelijk beroep op Otto Frank om hem het toneelstuk te laten schrijven.<sup bis_size=\"{"x":604,"y":243,"w":12,"h":12,"abs_x":825,"abs_y":649}\" data-footnote-id=\"e9zwl\"><a href=\"#footnote-5\" id=\"footnote-marker-5-1\" rel=\"footnote\">[5]</a></sup><strong> Begin september 1952</strong> stemde Otto Frank toe, maar wel onder voorbehoud dat de door Meyer Levin voorgestelde producente, Cheryl Crawford de kwaliteit van het stuk zou beoordelen.<sup bis_size=\"{"x":646,"y":267,"w":12,"h":12,"abs_x":867,"abs_y":673}\" data-footnote-id=\"a2c3h\"><a href=\"#footnote-6\" id=\"footnote-marker-6-1\" rel=\"footnote\">[6]</a></sup> Otto Frank vond dat hij dit zelf niet kon, omdat hij er gevoelsmatig te veel bij betrokken was.<sup bis_size=\"{"x":151,"y":291,"w":12,"h":12,"abs_x":372,"abs_y":697}\" data-footnote-id=\"gfs7r\"><a href=\"#footnote-7\" id=\"footnote-marker-7-1\" rel=\"footnote\">[7]</a></sup></p>\r\n\r\n<p><strong>Half september 1952</strong> was Meyer Levins toneelbewerking klaar.<sup bis_size=\"{"x":387,"y":328,"w":12,"h":12,"abs_x":608,"abs_y":734}\" data-footnote-id=\"uq3po\"><a href=\"#footnote-8\" id=\"footnote-marker-8-1\" rel=\"footnote\">[8]</a></sup> Maar Cheryl Crawford wees het af (<strong>oktober 1952</strong>). Meyer Levin legde zich hier niet bij neer<sup bis_size=\"{"x":928,"y":328,"w":12,"h":12,"abs_x":1149,"abs_y":734}\" data-footnote-id=\"o1sbv\"><a href=\"#footnote-9\" id=\"footnote-marker-9-1\" rel=\"footnote\">[9]</a></sup> en vroeg Kermit Bloomgarden als producent. Maar ook Bloomgarden wees het stuk af. Bloomgarden had zich ook al in <strong>augustus 1952</strong> tot Otto Frank gericht met het verzoek het toneelstuk te mogen produceren.<sup bis_size=\"{"x":132,"y":373,"w":18,"h":12,"abs_x":353,"abs_y":779}\" data-footnote-id=\"8elwv\"><a href=\"#footnote-10\" id=\"footnote-marker-10-1\" rel=\"footnote\">[10]</a></sup> Om uit de impasse te komen, sloten Otto Frank, Cheryl Crawford en Meyer Levin een overeenkomst. Levin kreeg een maand de tijd (tot <strong>21 december 1952</strong>) om zijn stuk aan veertien producenten voor te leggen. Als er geen interesse was, zou hij het stuk terugtrekken.<sup bis_size=\"{"x":654,"y":397,"w":17,"h":12,"abs_x":875,"abs_y":803}\" data-footnote-id=\"y66jd\"><a href=\"#footnote-11\" id=\"footnote-marker-11-1\" rel=\"footnote\">[11]</a></sup> Toen vervolgens alle veertien producenten het stuk afwezen, hield Meyer Levin zich niet aan de afspraak en stelde hij alles in het werk zijn toneelbewerking alsnog opgevoerd te krijgen. In het Otto Frank Archief bevindt zich uitgebreide correspondentie en documentatie over het conflict tussen Meyer Levin en Otto Frank, waarbij Meyer Levin herhaaldelijk de publieke opinie en de Joodse gemeenschap probeerde te mobiliseren ten gunste van zijn toneelbewerking van het dagboek door de pers in te schakelen. <sup bis_size=\"{"x":570,"y":462,"w":18,"h":12,"abs_x":791,"abs_y":868}\" data-footnote-id=\"ygmqn\"><a href=\"#footnote-12\" id=\"footnote-marker-12-1\" rel=\"footnote\">[12]</a></sup></p>\r\n\r\n<p>Toen Cheryl Crawford zich in <strong>april 1953</strong> terugtrok als producente, sloot Otto Frank op <strong>2 oktober 1953</strong> een contract met Kermit Bloomgarden. Crawford zag er vanaf omdat ze genoeg had van de moeilijkheden met Meyer Levin en omdat ze in financiële moeilijkheden was gekomen door de productie van een ander toneelstuk.<sup bis_size=\"{"x":886,"y":520,"w":18,"h":12,"abs_x":1107,"abs_y":926}\" data-footnote-id=\"px498\"><a href=\"#footnote-13\" id=\"footnote-marker-13-1\" rel=\"footnote\">[13]</a></sup> Voor een nieuwe toneelbewerking viel de keuze op het echtpaar Frances Goodrich en Albert Hackett. Zij tekenden het contract op <strong>23 februari 1954</strong>. Carson McCullers, die al <strong>november 1952</strong> door Cheryl Crawford werd benaderd, had eerst toegezegd het toneelstuk te schrijven, maar zij moest zich in <strong>april 1953</strong> vanwege gezondheidsredenen terug trekken.<sup bis_size=\"{"x":943,"y":565,"w":18,"h":12,"abs_x":1164,"abs_y":971}\" data-footnote-id=\"z1mvj\"><a href=\"#footnote-14\" id=\"footnote-marker-14-1\" rel=\"footnote\">[14]</a></sup></p>\r\n\r\n<p>Vanaf <strong>januari 1955</strong> voerde Meyer Levin rechtszaken tegen Otto Frank, Cheryl Crawford en Kermit Bloomgarden waarin hij hen beschuldigde van fraude, contractbreuk en plagiaat.<sup bis_size=\"{"x":20,"y":623,"w":18,"h":12,"abs_x":241,"abs_y":1029}\" data-footnote-id=\"jxv94\"><a href=\"#footnote-15\" id=\"footnote-marker-15-1\" rel=\"footnote\">[15]</a></sup> De aanklacht werd uiteindelijk alleen toegewezen wat betreft plagiaat. Het proces werd in hoger beroep beslecht in een schikking: Otto Frank betaalde Meyer Levin 50.000 dollar die daarbij afstand deed van zijn bewerkingen van het dagboek. (<strong>26 oktober 1959</strong>).<sup bis_size=\"{"x":501,"y":647,"w":17,"h":12,"abs_x":722,"abs_y":1053}\" data-footnote-id=\"y66jd\"><a href=\"#footnote-11\" id=\"footnote-marker-11-2\" rel=\"footnote\">[11]</a></sup> Na deze uitspraak bleef Meyer Levin in het openbaar zijn ongenoegen uiten. Toen hij zijn toneelstuk in <strong>1966</strong> toch in Israël op de planken bracht, liepen de spanningen weer hoog op.<sup bis_size=\"{"x":544,"y":671,"w":18,"h":12,"abs_x":765,"abs_y":1077}\" data-footnote-id=\"mh3bm\"><a href=\"#footnote-16\" id=\"footnote-marker-16-1\" rel=\"footnote\">[16]</a></sup> In zijn boek <em>The Obsession</em> uit <strong>1973</strong> gaf hij zijn eigen visie op de hele affaire.<sup bis_size=\"{"x":1007,"y":671,"w":18,"h":12,"abs_x":1228,"abs_y":1077}\" data-footnote-id=\"i57db\"><a href=\"#footnote-17\" id=\"footnote-marker-17-1\" rel=\"footnote\">[17]</a></sup></p>\r\n\r\n<p>Het aan Meyer Levin toegekende schikkingsbedrag van 50.000 dollar werd in de <strong>jaren ’80</strong> aangegrepen door 'dagboekontkenners' om het dagboek van Anne Frank te bestempelen als een vervalsing, door Meyer Levin geschreven in opdracht van Otto Frank.</p>\r\n\r\n<h1><strong>Frances Goodrich and Albert Hackett</strong></h1>\r\n\r\n<p>De Hacketts begonnen met hun toneelbewerking op <strong>15 december 1953</strong>.<sup bis_size=\"{"x":438,"y":819,"w":18,"h":12,"abs_x":659,"abs_y":1225}\" data-footnote-id=\"3ag9a\"><a href=\"#footnote-18\" id=\"footnote-marker-18-1\" rel=\"footnote\">[18]</a></sup> Op <strong>27 december 1953</strong> zochten de Hacketts voor het eerst contact met Otto Frank.<sup bis_size=\"{"x":937,"y":819,"w":18,"h":12,"abs_x":1158,"abs_y":1225}\" data-footnote-id=\"0763b\"><a href=\"#footnote-19\" id=\"footnote-marker-19-1\" rel=\"footnote\">[19]</a></sup> Daarna ontstond er een intensieve briefwisseling waarbij Otto Frank hen commentaar en advies gaf en al hun vragen beantwoordde. Zo bracht Otto Frank de Hacketts in contact met de in Amerika woonachtige Ernst Meyer en zijn gezin. Dit waren goede vrienden van hem, die de schrijvers veel over de familie Frank, de andere onderduikers en Amsterdam konden vertellen.<sup bis_size=\"{"x":1039,"y":863,"w":18,"h":12,"abs_x":1260,"abs_y":1269}\" data-footnote-id=\"0763b\"><a href=\"#footnote-19\" id=\"footnote-marker-19-2\" rel=\"footnote\">[19]</a></sup>Voor de joods-religieuze aspecten uit het dagboek hadden de Hacketts contact met de liberale rabbijn Max Nussbaum.<sup bis_size=\"{"x":702,"y":887,"w":18,"h":12,"abs_x":923,"abs_y":1293}\" data-footnote-id=\"0763b\"><a href=\"#footnote-19\" id=\"footnote-marker-19-3\" rel=\"footnote\">[19]</a></sup> Nussbaum was de echtgenoot van Ruth Nussbaum-Offenstadt, moeder van Hannah Toby en eerder getrouwd met Fritz Toby. Een bekende foto van Anne en haar vriendinnen in de zandbak (<strong>1937</strong>) werd bij hen in de tuin gemaakt.</p>\r\n\r\n<p>De vierde versie van het toneelscript was de eerste versie die Otto Frank in <strong>juni 1954</strong> onder ogen kreeg.<sup bis_size=\"{"x":624,"y":945,"w":18,"h":12,"abs_x":845,"abs_y":1351}\" data-footnote-id=\"ggc3w\"><a href=\"#footnote-20\" id=\"footnote-marker-20-1\" rel=\"footnote\">[20]</a></sup> Otto Frank vond het resultaat teleurstellend:</p>\r\n\r\n<blockquote>'{…) I am not moved. (…) Whereas with the Levin play I felt that the psychological development and the characters were good, but that I could not judge the dramatic value, my first impression of the Hackett version is to be excellent routine work, but not giving the spirit of the book. (…) Perhaps it is anyhow a base which, with many changes could be worked out to a higher standard. (…) I cannot say that the script is against the spirit of Anne but it is not working up to the high spirit of Anne and in its present form would never convey the message which the book contains. You can imagine that I feel very miserable about the situation.'<sup bis_size=\"{"x":142,"y":1067,"w":20,"h":12,"abs_x":363,"abs_y":1473}\" data-footnote-id=\"r3q65\"><a href=\"#footnote-21\" id=\"footnote-marker-21-1\" rel=\"footnote\">[21]</a></sup></blockquote>\r\n\r\n<p>Bezwaard schreef hij een brief aan de Hacketts met zijn kritiek dat het toneelstuk de diepgang van Annes karakter noch de boodschap van het boek weergaf.<sup bis_size=\"{"x":923,"y":1106,"w":18,"h":12,"abs_x":1144,"abs_y":1512}\" data-footnote-id=\"m6yix\"><a href=\"#footnote-22\" id=\"footnote-marker-22-1\" rel=\"footnote\">[22]</a></sup> Voor de ontwikkeling van Annes karakter beval hij een artikel aan van orthopedagoge Jean Schick-Grossmann waarvoor zij uitgebreid met Otto Frank, Johannes Kleiman en Miep Gies had gesproken.<sup bis_size=\"{"x":109,"y":1151,"w":18,"h":12,"abs_x":330,"abs_y":1557}\" data-footnote-id=\"ysy9b\"><a href=\"#footnote-23\" id=\"footnote-marker-23-1\" rel=\"footnote\">[23]</a></sup></p>\r\n\r\n<p>In New York werkten de Hacketts aan de vierde, vijfde en zesde versie van het stuk.<sup bis_size=\"{"x":502,"y":1188,"w":18,"h":12,"abs_x":723,"abs_y":1594}\" data-footnote-id=\"r0849\"><a href=\"#footnote-24\" id=\"footnote-marker-24-1\" rel=\"footnote\">[24]</a></sup> Deze versies bevielen Otto veel beter: '<em>I admire the way you caught the spirit of the book.'</em><sup bis_size=\"{"x":1039,"y":1188,"w":18,"h":12,"abs_x":1260,"abs_y":1594}\" data-footnote-id=\"vjmot\"><a href=\"#footnote-25\" id=\"footnote-marker-25-1\" rel=\"footnote\">[25]</a></sup>Hij vond de ingevoegde scènes uitstekend in het geheel passen. Ook voor de 'broodsteel'-scene (Hermann van Pels steelt een brood) had hij begrip. Hoewel hij zich afvroeg of er juridische consequenties waren, omdat er nog een broer van Hermann van Pels in de Verenigde Staten in leven was. Bij de brief voegde hij een lijst met '<em>observations'and suggestions</em>' .</p>\r\n\r\n<p>Na de zevende bewerking van het script, kwamen de Hacketts naar Amsterdam waar ze, op <strong>6 december 1954</strong>, voor het eerst Otto Frank ontmoetten. Ze bezochten de dag erop het Achterhuis, de 6e Montessorischool, Merwedeplein 37-II en een ijssalon waar '<em>Jews were allowed'</em>. <sup bis_size=\"{"x":590,"y":1308,"w":18,"h":12,"abs_x":811,"abs_y":1714}\" data-footnote-id=\"e526o\"><a href=\"#footnote-26\" id=\"footnote-marker-26-1\" rel=\"footnote\">[26]</a></sup> Er was een ontmoeting met Lou de Jong die het script controleerde en er werd een uitgebreide fotoreportage van en in het Achterhuis gemaakt door fotografe Maria Austria. Op grond van dit bezoek werd het toneelstuk nogmaals herzien: de achtste versie.</p>\r\n\r\n<p>Rond deze tijd werd het Achterhuis gedurende twee dagen uitvoerig en in detail door Maria Austria gefotografeerd.<sup bis_size=\"{"x":677,"y":1387,"w":18,"h":12,"abs_x":898,"abs_y":1793}\" data-footnote-id=\"l0xpx\"><a href=\"#footnote-27\" id=\"footnote-marker-27-1\" rel=\"footnote\">[27]</a></sup> Otto Frank noteerde in zijn agenda op <strong>8 december 1954</strong>: <em>Fotos. - Austria</em>. Op <strong>11 december 1954</strong>: <em>Fotos met Haket [sic] + Kanin.</em><sup bis_size=\"{"x":464,"y":1411,"w":18,"h":12,"abs_x":685,"abs_y":1817}\" data-footnote-id=\"2s6l7\"><a href=\"#footnote-28\" id=\"footnote-marker-28-1\" rel=\"footnote\">[28]</a></sup></p>\r\n\r\n<p>Omdat het inmiddels te laat in het seizoen was, stelde de producent het toneelstuk uit tot <strong>najaar 1955</strong>.</p>\r\n\r\n<p>Otto Frank beantwoorde een uitgebreide vragenlijst van Joseph Schildkraut, die de rol van Otto Frank in het toneelstuk zou gaan spelen.<sup bis_size=\"{"x":804,"y":1482,"w":18,"h":12,"abs_x":1025,"abs_y":1888}\" data-footnote-id=\"zrzcq\"><a href=\"#footnote-29\" id=\"footnote-marker-29-1\" rel=\"footnote\">[29]</a></sup> Verder liet hij zich nauwgezet op de hoogte houden over de casting, decors, uitnodigingen voor de première etc.<sup bis_size=\"{"x":455,"y":1506,"w":18,"h":12,"abs_x":676,"abs_y":1912}\" data-footnote-id=\"k7oi7\"><a href=\"#footnote-30\" id=\"footnote-marker-30-1\" rel=\"footnote\">[30]</a></sup></p>\r\n\r\n<p>Op <strong>22 augustus 1955</strong> was de eerste repetitie. De try-outs begonnen in Philadelphia op <strong>15 september 1955</strong>.<sup bis_size=\"{"x":645,"y":1543,"w":18,"h":12,"abs_x":866,"abs_y":1949}\" data-footnote-id=\"ncady\"><a href=\"#footnote-31\" id=\"footnote-marker-31-1\" rel=\"footnote\">[31]</a></sup> De recensies waren lovend en ook filmmaatschappijen toonden interesse.<sup bis_size=\"{"x":126,"y":1567,"w":18,"h":12,"abs_x":347,"abs_y":1973}\" data-footnote-id=\"mjg9n\"><a href=\"#footnote-32\" id=\"footnote-marker-32-1\" rel=\"footnote\">[32]</a></sup> Tijdens de try-outs werd de ‘broodsteel’-scene verplaatst van de ochtend naar de nacht vanwege het dramatische effect.<sup bis_size=\"{"x":839,"y":1567,"w":18,"h":12,"abs_x":1060,"abs_y":1973}\" data-footnote-id=\"9jsz4\"><a href=\"#footnote-33\" id=\"footnote-marker-33-1\" rel=\"footnote\">[33]</a></sup></p>\r\n\r\n<p>Op <strong>5 oktober 1955</strong> volgde de première in New York. Otto Frank wilde nooit een toneel- of filmvoorstelling van het dagboek bijwonen. Vlak voor de première wenstte hij de spelers succes en liet hen weten: '<em>You will all realize that for me his play is a part of my life, and the idea that my wife and children as well as I will be presented on the stage is a painful one to me. Therefore it is impossible for me to come and see it.' </em> Otto Frank had zijn succeswensen al op <strong>9 september 1954</strong> gestuurd aan de Hacketts en liet het aan hen over of ze de brief in Philadelphia of in New York aan de spelers wilden laten zien. <sup bis_size=\"{"x":416,"y":1666,"w":18,"h":12,"abs_x":637,"abs_y":2072}\" data-footnote-id=\"qangh\"><a href=\"#footnote-34\" id=\"footnote-marker-34-1\" rel=\"footnote\">[34]</a></sup></p>\r\n\r\n<section bis_size=\"{"x":20,"y":1701,"w":1041,"h":1202,"abs_x":241,"abs_y":2107}\" class=\"footnotes\">\r\n<header bis_size=\"{"x":35,"y":1718,"w":1011,"h":23,"abs_x":256,"abs_y":2124}\">\r\n<h2>Footnotes</h2>\r\n</header>\r\n\r\n<ol>\r\n\t<li data-footnote-id=\"3x6ih\" id=\"footnote-1\"><sup><a href=\"#footnote-marker-1-1\">^</a> </sup><cite>Anne Frank Stichting (AFS), Anne Frank Collectie (AFC), Otto Frank Archief (OFA), reg. code OFA_090: Contract Uitgeverij Contact en Otto Frank aan Contact, 1 augustus 1946.</cite></li>\r\n\t<li data-footnote-id=\"h9vdn\" id=\"footnote-2\"><sup><a href=\"#footnote-marker-2-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Correspondentie van Meyer Levin met Otto Frank, 19 september 1950 e.v.</cite></li>\r\n\t<li data-footnote-id=\"190yv\" id=\"footnote-3\"><sup><a href=\"#footnote-marker-3-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Meyer Levin aan Otto Frank, 10 maart 1951 ('I hope that if you receive any film or stage enquiries, you may direct them to me as I would very much want the opportunity to work on such an adaptation, for I am sure that it will come, and it must be done tenderly, and with utmost fidelity'.).</cite></li>\r\n\t<li data-footnote-id=\"an7fj\" id=\"footnote-4\"><sup><a href=\"#footnote-marker-4-1\">^</a> </sup><cite>Zie AFS, AFC. reg. code OFA_132.</cite></li>\r\n\t<li data-footnote-id=\"e9zwl\" id=\"footnote-5\"><sup><a href=\"#footnote-marker-5-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Meyer Levin aan Otto Frank, 16 juni 1952.</cite></li>\r\n\t<li data-footnote-id=\"a2c3h\" id=\"footnote-6\"><sup><a href=\"#footnote-marker-6-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_172: Correspondentie van Otto Frank met Cheryl Crawford, 9 juli 1952 en 6 september 1952.</cite></li>\r\n\t<li data-footnote-id=\"gfs7r\" id=\"footnote-7\"><sup><a href=\"#footnote-marker-7-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Otto Frank aan Meyer Levin, 6 november 1952.</cite></li>\r\n\t<li data-footnote-id=\"uq3po\" id=\"footnote-8\"><sup><a href=\"#footnote-marker-8-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Otto Frank aan Meyer Levin, 18 september 1952.</cite></li>\r\n\t<li data-footnote-id=\"o1sbv\" id=\"footnote-9\"><sup><a href=\"#footnote-marker-9-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Meyer Levin aan Otto Frank, 30 oktober 1952.</cite></li>\r\n\t<li data-footnote-id=\"8elwv\" id=\"footnote-10\"><sup><a href=\"#footnote-marker-10-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_172: Telegram Kermit Bloomgarten aan Otto Frank, augustus 1952; AFS, AFC, reg. code OFA_172: Otto Frank aan Edwin Eytan, 13 april 1960; AFS, AFC, reg. code OFA_172: Otto Frank aan Bernard Heller, zonder datum.</cite></li>\r\n\t<li data-footnote-id=\"y66jd\" id=\"footnote-11\"><sup><a href=\"#footnote-marker-11-1\">a</a>, <a href=\"#footnote-marker-11-2\">b</a> </sup><cite>AFS, AFC, reg. code OFA_171: Meyer Mermin aan Otto Frank, 6 december 1952; AFS, AFC, reg. code OFA_171: Meyer Levin aan Otto Frank, 23 december 1952.</cite></li>\r\n\t<li data-footnote-id=\"ygmqn\" id=\"footnote-12\"><sup><a href=\"#footnote-marker-12-1\">^</a> </sup><cite>Zie: AFS, AFC, reg. code OFA_159: Correspondentie van Otto Frank met Meyer Levin en AFS, AFC, reg. code OFA_171: Correspondentie van Otto Frank met zijn Amerikaanse advocaat Meyer Mermin.</cite></li>\r\n\t<li data-footnote-id=\"px498\" id=\"footnote-13\"><sup><a href=\"#footnote-marker-13-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_171: Correspondentie van Meyer Mermin met Otto Frank.</cite></li>\r\n\t<li data-footnote-id=\"z1mvj\" id=\"footnote-14\"><sup><a href=\"#footnote-marker-14-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_172; AFS, AFC, reg. code OFA_171: Contract Otto Frank met de Hacketts, 23 februari 1954.</cite></li>\r\n\t<li data-footnote-id=\"jxv94\" id=\"footnote-15\"><sup><a href=\"#footnote-marker-15-1\">^</a> </sup><cite>AFS, AFC, reg. code 164: Aanklacht Meyer Levin vs. Otto Frank en Cheryl Crawford, 5 januari 1955; AFS, AFC, reg. code 164: Aanklacht Meyer Levin vs Otto Frank en Kermit Bloomgarden, 26 februari 1956.</cite></li>\r\n\t<li data-footnote-id=\"mh3bm\" id=\"footnote-16\"><sup><a href=\"#footnote-marker-16-1\">^</a> </sup><cite>Telegram van advocaat Edward Costikiyan aan Otto Frank met voorstel Levin en het theater te wijzen op de rechtenschending, d.d. 1 december 1966. Otto Frank laat op 3 december weten dat hij daarmee akkoord gaat. AFS, Anne Frank Collectie, reg. code OFA_171, telegrammen tussen Costiyakin en Otto Frank, december 1966.</cite></li>\r\n\t<li data-footnote-id=\"i57db\" id=\"footnote-17\"><sup><a href=\"#footnote-marker-17-1\">^</a> </sup><cite>Meyer Levin, <em>The Obsession</em>, New York, NY: Simon & Schuster, 1973. Zie verder: Lawrence Graver, <em>An obesssion with Anne Frank: Meyer Levin and the Diary</em>, Berkeley, CA: Universoty of California Press, 1995; Ralph Melnick, <em>The stolen legacy of Anne Frank: Meyer Levin, Lillian Hellmann, and the staging of the Diary</em>, New Haven, CT: Yale University Press, 1997.</cite></li>\r\n\t<li data-footnote-id=\"3ag9a\" id=\"footnote-18\"><sup><a href=\"#footnote-marker-18-1\">^</a> </sup><cite>Wisconsin Historical Society (WHS), Madison, WI, Goodrich/Hackett papers 1927-1961, Box no 7, Miscellaneous: A Diary of the diary.</cite></li>\r\n\t<li data-footnote-id=\"0763b\" id=\"footnote-19\"><sup><a href=\"#footnote-marker-19-1\">a</a>, <a href=\"#footnote-marker-19-2\">b</a>, <a href=\"#footnote-marker-19-3\">c</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-1956: Otto Frank aan Frances Goodrich en Albert Hackett, 2 februari 1954.</cite></li>\r\n\t<li data-footnote-id=\"ggc3w\" id=\"footnote-20\"><sup><a href=\"#footnote-marker-20-1\">^</a> </sup><cite>De eerste ruwe versie is klaar op 21 januari 1954, de tweede versie op 26 februari, de derde versie op 22 april en de vierde versie op 21 mei 1954 en wordt uitgetypt en toegestuurd aan de producent, de agente van de Hacketts en aan Otto Frank. WHS, Goodrich/Hackett papers 1927-1961, Box no 2, correspondence 1952-1956.</cite></li>\r\n\t<li data-footnote-id=\"r3q65\" id=\"footnote-21\"><sup><a href=\"#footnote-marker-21-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_171: Otto Frank aan Meyer Mermin, 2 juni 1954.</cite></li>\r\n\t<li data-footnote-id=\"m6yix\" id=\"footnote-22\"><sup><a href=\"#footnote-marker-22-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-1956: Otto Frank aan Frances Goodrich en Albert Hackett, 14 juni 1954.</cite></li>\r\n\t<li data-footnote-id=\"ysy9b\" id=\"footnote-23\"><sup><a href=\"#footnote-marker-23-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-1956: Otto Frank aan Frances Goodrich en Albert Hackett, 6 juli 1954; WHS, Goodrich/Hackett papers 1927-1961: Jean Schick Grossmann, Anne Frank. The Story within her story (ongepubliceerd, 1954).</cite></li>\r\n\t<li data-footnote-id=\"r0849\" id=\"footnote-24\"><sup><a href=\"#footnote-marker-24-1\">^</a> </sup><cite>De zesde versie is de tweede versie die Otto Frank onder ogen krijgt (oktober 1954). De vijfde versie is af op 19 augustus. Op 11 september 1954 wordt begonnen aan de aanpassingen voor zesde versie die op 4 oktober klaar is en kan worden uitgetypt, Zie noot 23.</cite></li>\r\n\t<li data-footnote-id=\"vjmot\" id=\"footnote-25\"><sup><a href=\"#footnote-marker-25-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-1956: Otto Frank aan Frances Goodrich en Albert Hackett, 5 november 1954.</cite></li>\r\n\t<li data-footnote-id=\"e526o\" id=\"footnote-26\"><sup><a href=\"#footnote-marker-26-1\">^</a> </sup><cite>Wisconsin Center for Theatre Research (WCTR), Madison,WI, Goodrich and Hackett papers, box 7: A Diary of the Diary. Met de ijssalon is zeer waarschijnlijk Oase bedoeld.</cite></li>\r\n\t<li data-footnote-id=\"l0xpx\" id=\"footnote-27\"><sup><a href=\"#footnote-marker-27-1\">^</a> </sup><cite>WCTR, Goodrich and Hackett papers, box 7: A diary of the Diary, notitie 10 december 1954.</cite></li>\r\n\t<li data-footnote-id=\"2s6l7\" id=\"footnote-28\"><sup><a href=\"#footnote-marker-28-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_011: Agenda Otto Frank 1954.</cite></li>\r\n\t<li data-footnote-id=\"zrzcq\" id=\"footnote-29\"><sup><a href=\"#footnote-marker-29-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_202: Otto Frank aan Joseph Schildkraut, 4 mei 1955.</cite></li>\r\n\t<li data-footnote-id=\"k7oi7\" id=\"footnote-30\"><sup><a href=\"#footnote-marker-30-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no 2, correspondence 1952-1956.</cite></li>\r\n\t<li data-footnote-id=\"ncady\" id=\"footnote-31\"><sup><a href=\"#footnote-marker-31-1\">^</a> </sup><cite>Anne Frank-Fonds (AFF), Bazel, Hackett Korrespondenz 1954-1960, ongeïnventariseerd archief, doos 51.</cite></li>\r\n\t<li data-footnote-id=\"mjg9n\" id=\"footnote-32\"><sup><a href=\"#footnote-marker-32-1\">^</a> </sup><cite>Zie bijvoorbeeld brief 3 oktober 1955: WHS, Goodrich/Hackett papers 1927-1961, Box no 2, correspondence 1952-1956: Brief Otto Frank aan Frances Goodrich en Albert Hacketts, 3 oktober..</cite></li>\r\n\t<li data-footnote-id=\"9jsz4\" id=\"footnote-33\"><sup><a href=\"#footnote-marker-33-1\">^</a> </sup><cite>AFF, Hackett Korrespondenz, doos 51: Meyer Levin Div. (S. Mermin).</cite></li>\r\n\t<li data-footnote-id=\"qangh\" id=\"footnote-34\"><sup><a href=\"#footnote-marker-34-1\">^</a> </sup><cite>WHS, Goodric/Hackett papers 1927-1961, Box no. 2, correspondence 1952-1956: Otto Frank aan de Hacketts, 9 september 1955.</cite></li>\r\n</ol>\r\n</section>",
"description_en": "<p>In the contract with publisher Contact<strong> (1946</strong>), Otto Frank had explicitly arranged that he would retain the translation and film rights to the diary.<sup data-footnote-id=\"3x6ih\"><a href=\"#footnote-1\" id=\"footnote-marker-1-1\" rel=\"footnote\">[1]</a></sup> After Meyer Levin's stage adaptation was rejected, writer couple Frances Goodrich and Albert Hackett were commissioned to write it <strong>in late 1953</strong>. Their play <em>The Diary of Anne Frank</em> premiered on Broadway on <strong>5 October 1955</strong>, after try-outs in Philadelphia. The play, produced by Kermit Bloomgarden and directed by Carson Kanin, received the Pulitzer Prize, among other awards, and was translated into many languages and performed in many countries.<em> </em></p>\r\n\r\n<h1><strong>Meyer Levin</strong></h1>\r\n\r\n<p>Meyer Levin read the French edition of the diary and sought contact with Otto Frank through the publisher (Calman-Lévy).<sup data-footnote-id=\"h9vdn\"><a href=\"#footnote-2\" id=\"footnote-marker-2-1\" rel=\"footnote\">[2]</a></sup> He was moved by the diary and saw it as his task to translate it into English. He helped Otto Frank find an English and American publisher and was convinced from the start of the diary's potential for film and stage adaptation.<sup data-footnote-id=\"190yv\"><a href=\"#footnote-3\" id=\"footnote-marker-3-1\" rel=\"footnote\">[3]</a></sup> Levin put Otto Frank in touch with the diary's English publisher, Vallentine Mitchell.<sup data-footnote-id=\"an7fj\"><a href=\"#footnote-4\" id=\"footnote-marker-4-1\" rel=\"footnote\">[4]</a></sup> He approached several people from the theatre and film world and made a passionate appeal to Otto Frank to let him write the play.<sup data-footnote-id=\"e9zwl\"><a href=\"#footnote-5\" id=\"footnote-marker-5-1\" rel=\"footnote\">[5]</a></sup><strong> In early September 1952,</strong> Otto Frank agreed, but with the caveat that Meyer Levin's suggested producer, Cheryl Crawford, would judge the quality of the play.<sup data-footnote-id=\"a2c3h\"><a href=\"#footnote-6\" id=\"footnote-marker-6-1\" rel=\"footnote\">[6]</a></sup> Otto Frank felt he could not do this himself because he was too emotionally involved.<sup data-footnote-id=\"gfs7r\"><a href=\"#footnote-7\" id=\"footnote-marker-7-1\" rel=\"footnote\">[7]</a></sup></p>\r\n\r\n<p><strong>By mid-September 1952,</strong> Meyer Levin's stage adaptation was ready.<sup data-footnote-id=\"uq3po\"><a href=\"#footnote-8\" id=\"footnote-marker-8-1\" rel=\"footnote\">[8]</a></sup> But Cheryl Crawford rejected it<strong> (October 1952</strong>). Meyer Levin did not accept this <sup data-footnote-id=\"o1sbv\"><a href=\"#footnote-9\" id=\"footnote-marker-9-1\" rel=\"footnote\">[9]</a></sup> and asked Kermit Bloomgarden to be producer. But Bloomgarden also rejected the play. Bloomgarden had also turned to Otto Frank in <strong>August 1952</strong>, asking to produce the play.<sup data-footnote-id=\"8elwv\"><a href=\"#footnote-10\" id=\"footnote-marker-10-1\" rel=\"footnote\">[10]</a></sup> To get out of the impasse, Otto Frank, Cheryl Crawford and Meyer Levin struck a deal. Levin was given one month (until <strong>21 December 1952</strong>) to submit his play to 14 producers. If there was no interest, he would withdraw the play.<sup data-footnote-id=\"y66jd\"><a href=\"#footnote-11\" id=\"footnote-marker-11-1\" rel=\"footnote\">[11]</a></sup> When subsequently all fourteen producers rejected the play, Meyer Levin did not keep his end of the bargain and made every effort to still get his stage adaptation performed. The Otto Frank Archive holds extensive correspondence and documentation on the conflict between Meyer Levin and Otto Frank, in which Meyer Levin repeatedly tried to mobilise public opinion and the Jewish community in favour of his stage adaptation of the diary by engaging the press. <sup data-footnote-id=\"ygmqn\"><a href=\"#footnote-12\" id=\"footnote-marker-12-1\" rel=\"footnote\">[12]</a></sup></p>\r\n\r\n<p>When Cheryl Crawford stepped down as producer in <strong>April 1953</strong>, Otto Frank signed a contract with Kermit Bloomgarden on <strong>2 October 1953</strong>. Crawford resigned because she had had enough of the difficulties with Meyer Levin and because she had run into financial difficulties producing another play.<sup data-footnote-id=\"px498\"><a href=\"#footnote-13\" id=\"footnote-marker-13-1\" rel=\"footnote\">[13]</a></sup> For a new stage adaptation, the choice fell on married couple Frances Goodrich and Albert Hackett. They signed the contract on <strong>23 February 1954</strong>. Carson McCullers, who had already been approached by Cheryl Crawford in <strong>November 1952</strong>, had initially agreed to write the play, but she had to withdraw in April <strong>1953</strong> due to health reasons.<sup data-footnote-id=\"z1mvj\"><a href=\"#footnote-14\" id=\"footnote-marker-14-1\" rel=\"footnote\">[14]</a></sup></p>\r\n\r\n<p>From <strong>January 1955</strong>, Meyer Levin filed lawsuits against Otto Frank, Cheryl Crawford and Kermit Bloomgarden accusing them of fraud, breach of contract and plagiarism.<sup data-footnote-id=\"jxv94\"><a href=\"#footnote-15\" id=\"footnote-marker-15-1\" rel=\"footnote\">[15]</a></sup> The charges were eventually upheld only in terms of plagiarism. The trial was settled on appeal in a settlement: Otto Frank paid Meyer Levin $50,000, and the latter then waived his adaptations of the diary.<strong> (26 October 1959</strong>).<sup data-footnote-id=\"y66jd\"><a href=\"#footnote-11\" id=\"footnote-marker-11-2\" rel=\"footnote\">[11]</a></sup> After this ruling, Meyer Levin continued to publicly voice his displeasure. When he did stage his play in Israel in <strong>1966</strong>, tensions again ran high.<sup data-footnote-id=\"mh3bm\"><a href=\"#footnote-16\" id=\"footnote-marker-16-1\" rel=\"footnote\">[16]</a></sup> In his <strong>1973</strong> book <em>The Obsession</em>, he gave his own take on the whole affair.<sup data-footnote-id=\"vm5jj\"><a href=\"#footnote-17\" id=\"footnote-marker-17-1\" rel=\"footnote\">[17]</a></sup></p>\r\n\r\n<p>The $50,000 settlement amount awarded to Meyer Levin was seized upon by 'diary deniers' in the <strong>1980s</strong> to label the diary of Anne Frank as a forgery, written by Meyer Levin at the behest of Otto Frank.</p>\r\n\r\n<h1><strong>Frances Goodrich and Albert Hackett</strong></h1>\r\n\r\n<p>The Hacketts began their stage adaptation on <strong>15 December 1953</strong>.<sup data-footnote-id=\"3ag9a\"><a href=\"#footnote-18\" id=\"footnote-marker-18-1\" rel=\"footnote\">[18]</a></sup> On <strong>27 December 1953</strong>, the Hacketts first sought contact with Otto Frank.<sup data-footnote-id=\"0763b\"><a href=\"#footnote-19\" id=\"footnote-marker-19-1\" rel=\"footnote\">[19]</a></sup> Thereafter, an intensive correspondence ensued in which Otto Frank gave them comments and advice and answered all their questions. This is how Otto Frank put the Hacketts in touch with Ernst Meyer and his family, who lived in America. These were good friends of his, who could tell the writers a lot about the Frank family, the other people in hiding and Amsterdam.<sup data-footnote-id=\"0763b\"><a href=\"#footnote-19\" id=\"footnote-marker-19-2\" rel=\"footnote\">[19]</a></sup> For the Jewish-religious aspects of the diary, the Hacketts were in contact with liberal rabbi Max Nussbaum.<sup data-footnote-id=\"0763b\"><a href=\"#footnote-19\" id=\"footnote-marker-19-3\" rel=\"footnote\">[19]</a></sup> Nussbaum was the husband of Ruth Nussbaum-Offenstadt, mother of Hannah Toby and previously married to Fritz Toby. A famous photo of Anne and her friends in the sandpit<strong> (1937</strong>) was taken in their garden.</p>\r\n\r\n<p>The fourth version of the play script was the first version Otto Frank got to read in <strong>June 1954</strong>.<sup data-footnote-id=\"ggc3w\"><a href=\"#footnote-20\" id=\"footnote-marker-20-1\" rel=\"footnote\">[20]</a></sup> Otto Frank found the result disappointing:</p>\r\n\r\n<blockquote>'(…) I am not moved. (…) Whereas with the Levin play I felt that the psychological development and the characters were good, but that I could not judge the dramatic value, my first impression of the Hackett version is to be excellent routine work, but not giving the spirit of the book. (…) Perhaps it is anyhow a base which, with many changes could be worked out to a higher standard. (…) I cannot say that the script is against the spirit of Anne but it is not working up to the high spirit of Anne and in its present form would never convey the message which the book contains. You can imagine that I feel very miserable about the situation.'<sup data-footnote-id=\"r3q65\"><a href=\"#footnote-21\" id=\"footnote-marker-21-1\" rel=\"footnote\">[21]</a></sup></blockquote>\r\n\r\n<p>Concerned, he wrote a letter to the Hacketts criticising that the play did not reflect the depth of Anne's character nor the message of the book.<sup data-footnote-id=\"m6yix\"><a href=\"#footnote-22\" id=\"footnote-marker-22-1\" rel=\"footnote\">[22]</a></sup> For the development of Anne's character, he recommended an article by remedial educationalist Jean Schick-Grossmann for which she had spoken extensively with Otto Frank, Johannes Kleiman and Miep Gies.<sup data-footnote-id=\"ysy9b\"><a href=\"#footnote-23\" id=\"footnote-marker-23-1\" rel=\"footnote\">[23]</a></sup></p>\r\n\r\n<p>In New York, the Hacketts worked on the fourth, fifth and sixth versions of the play.<sup data-footnote-id=\"r0849\"><a href=\"#footnote-24\" id=\"footnote-marker-24-1\" rel=\"footnote\">[24]</a></sup> These versions pleased Otto much better:<em> 'I admire the way you caught the spirit of the book.'</em><sup data-footnote-id=\"vjmot\"><a href=\"#footnote-25\" id=\"footnote-marker-25-1\" rel=\"footnote\">[25]</a></sup> He thought the inserted scenes fitted in superbly. He also had sympathy for the 'bread stealing' scene (Hermann van Pels steals a loaf of bread). Although he wondered whether there would be any legal consequences, as a brother of Hermann van Pels was still alive in the United States. He attached to the letter a list of<em> 'observations and suggestions</em>'.</p>\r\n\r\n<p>After the seventh version of the script, the Hacketts came to Amsterdam where, on <strong>6 December 1954</strong>, they met Otto Frank for the first time. They visited the Secret Annex, the 6th Montessori school, Merwedeplein 37-II and an ice cream parlour where<em> 'Jews were allowed'</em> the following day. <sup data-footnote-id=\"e526o\"><a href=\"#footnote-26\" id=\"footnote-marker-26-1\" rel=\"footnote\">[26]</a></sup> There was a meeting with Lou de Jong, who checked the script, and an extensive photo-reportage of and in the Secret Annex was made by photographer Maria Austria. Based on this visit, the play was revised again: the eighth version.</p>\r\n\r\n<p>Around this time, the Secret Annex was photographed extensively and in detail by Maria Austria for two days.<sup data-footnote-id=\"l0xpx\"><a href=\"#footnote-27\" id=\"footnote-marker-27-1\" rel=\"footnote\">[27]</a></sup> Otto Frank noted in his diary on <strong>8 December 1954</strong>: Ph<em>otos.</em> - <em>Austria</em>. On <strong>11 December 1954</strong>: <em>Photos with Haket [sic] + Kanin.</em><sup data-footnote-id=\"2s6l7\"><a href=\"#footnote-28\" id=\"footnote-marker-28-1\" rel=\"footnote\">[28]</a></sup></p>\r\n\r\n<p>As it was now too late in the season, the producer postponed the play until <strong>autumn 1955</strong>.</p>\r\n\r\n<p>Otto Frank answered an extensive list of questions from Joseph Schildkraut, who was to play the role of Otto Frank in the play.<sup data-footnote-id=\"zrzcq\"><a href=\"#footnote-29\" id=\"footnote-marker-29-1\" rel=\"footnote\">[29]</a></sup> Furthermore, he was kept closely informed about the casting, sets, invitations to the premiere, etc.<sup data-footnote-id=\"k7oi7\"><a href=\"#footnote-30\" id=\"footnote-marker-30-1\" rel=\"footnote\">[30]</a></sup></p>\r\n\r\n<p>The first rehearsal was on <strong>22 August 1955</strong>. Try-outs began in Philadelphia on <strong>15 September 1955</strong>.<sup data-footnote-id=\"ncady\"><a href=\"#footnote-31\" id=\"footnote-marker-31-1\" rel=\"footnote\">[31]</a></sup> There were rave reviews, and film companies also showed interest.<sup data-footnote-id=\"mjg9n\"><a href=\"#footnote-32\" id=\"footnote-marker-32-1\" rel=\"footnote\">[32]</a></sup> During the try-outs, the 'bread stealing' scene was moved from morning to night for dramatic effect.<sup data-footnote-id=\"9jsz4\"><a href=\"#footnote-33\" id=\"footnote-marker-33-1\" rel=\"footnote\">[33]</a></sup></p>\r\n\r\n<p>It was followed by its New York premiere on <strong>5 October 1955</strong>. Otto Frank never wanted to attend a stage or film screening of the diary. Just before the premiere, he wished the actors well and let them know: '<em>You will all realize that for me his play is a part of my life, and the idea that my wife and children as well as I will be presented on the stage is a painful one to me. Therefore it is impossible for me to come and see it.' </em> Otto Frank had already wished success to the Hacketts on <strong>9 September 1954</strong>, leaving it up to them whether to show the letter to the players in Philadelphia or in New York. <sup data-footnote-id=\"qangh\"><a href=\"#footnote-34\" id=\"footnote-marker-34-1\" rel=\"footnote\">[34]</a></sup></p>\r\n\r\n<section class=\"footnotes\">\r\n<header>\r\n<h2>Footnotes</h2>\r\n</header>\r\n\r\n<ol>\r\n\t<li data-footnote-id=\"3x6ih\" id=\"footnote-1\"><sup><a href=\"#footnote-marker-1-1\">^</a> </sup><cite>Anne Frank Stichting (AFS), Anne Frank Collectie (AFC), Otto Frank Archief (OFA), reg. code OFA_090: Contract Uitgeverij Contact en Otto Frank aan Contact, 1 augustus 1946.</cite></li>\r\n\t<li data-footnote-id=\"h9vdn\" id=\"footnote-2\"><sup><a href=\"#footnote-marker-2-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Correspondentie van Meyer Levin met Otto Frank, 19 september 1950 e.v.</cite></li>\r\n\t<li data-footnote-id=\"190yv\" id=\"footnote-3\"><sup><a href=\"#footnote-marker-3-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Meyer Levin aan Otto Frank, 10 maart 1951 ('I hope that if you receive any film or stage enquiries, you may direct them to me as I would very much want the opportunity to work on such an adaptation, for I am sure that it will come, and it must be done tenderly, and with utmost fidelity'.).</cite></li>\r\n\t<li data-footnote-id=\"an7fj\" id=\"footnote-4\"><sup><a href=\"#footnote-marker-4-1\">^</a> </sup><cite>Zie AFS, AFC. reg. code OFA_132.</cite></li>\r\n\t<li data-footnote-id=\"e9zwl\" id=\"footnote-5\"><sup><a href=\"#footnote-marker-5-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Meyer Levin aan Otto Frank, 16 juni 1952.</cite></li>\r\n\t<li data-footnote-id=\"a2c3h\" id=\"footnote-6\"><sup><a href=\"#footnote-marker-6-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_172: Correspondentie van Otto Frank met Cheryl Crawford, 9 juli 1952 en 6 september 1952.</cite></li>\r\n\t<li data-footnote-id=\"gfs7r\" id=\"footnote-7\"><sup><a href=\"#footnote-marker-7-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Otto Frank aan Meyer Levin, 6 november 1952.</cite></li>\r\n\t<li data-footnote-id=\"uq3po\" id=\"footnote-8\"><sup><a href=\"#footnote-marker-8-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Otto Frank aan Meyer Levin, 18 september 1952.</cite></li>\r\n\t<li data-footnote-id=\"o1sbv\" id=\"footnote-9\"><sup><a href=\"#footnote-marker-9-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Meyer Levin aan Otto Frank, 30 oktober 1952.</cite></li>\r\n\t<li data-footnote-id=\"8elwv\" id=\"footnote-10\"><sup><a href=\"#footnote-marker-10-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_172: Telegram Kermit Bloomgarten aan Otto Frank, augustus 1952; AFS, AFC, reg. code OFA_172: Otto Frank aan Edwin Eytan, 13 april 1960; AFS, AFC, reg. code OFA_172: Otto Frank aan Bernard Heller, zonder datum.</cite></li>\r\n\t<li data-footnote-id=\"y66jd\" id=\"footnote-11\"><sup><a href=\"#footnote-marker-11-1\">a</a>, <a href=\"#footnote-marker-11-2\">b</a> </sup><cite>AFS, AFC, reg. code OFA_171: Meyer Mermin aan Otto Frank, 6 december 1952; AFS, AFC, reg. code OFA_171: Meyer Levin aan Otto Frank, 23 december 1952.</cite></li>\r\n\t<li data-footnote-id=\"ygmqn\" id=\"footnote-12\"><sup><a href=\"#footnote-marker-12-1\">^</a> </sup><cite>Zie: AFS, AFC, reg. code OFA_159: Correspondentie van Otto Frank met Meyer Levin en AFS, AFC, reg. code OFA_171: Correspondentie van Otto Frank met zijn Amerikaanse advocaat Meyer Mermin.</cite></li>\r\n\t<li data-footnote-id=\"px498\" id=\"footnote-13\"><sup><a href=\"#footnote-marker-13-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_171: Correspondentie van Meyer Mermin met Otto Frank.</cite></li>\r\n\t<li data-footnote-id=\"z1mvj\" id=\"footnote-14\"><sup><a href=\"#footnote-marker-14-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_172; AFS, AFC, reg. code OFA_171: Contract Otto Frank met de Hacketts, 23 februari 1954.</cite></li>\r\n\t<li data-footnote-id=\"jxv94\" id=\"footnote-15\"><sup><a href=\"#footnote-marker-15-1\">^</a> </sup><cite>AFS, AFC, reg. code 164: Aanklacht Meyer Levin vs. Otto Frank en Cheryl Crawford, 5 januari 1955; AFS, AFC, reg. code 164: Aanklacht Meyer Levin vs Otto Frank en Kermit Bloomgarden, 26 februari 1956.</cite></li>\r\n\t<li data-footnote-id=\"mh3bm\" id=\"footnote-16\"><sup><a href=\"#footnote-marker-16-1\">^</a> </sup><cite>Telegram van advocaat Edward Costikiyan aan Otto Frank met voorstel Levin en het theater te wijzen op de rechtenschending, d.d. 1 december 1966. Otto Frank laat op 3 december weten dat hij daarmee akkoord gaat. AFS, Anne Frank Collectie, reg. code OFA_171, telegrammen tussen Costiyakin en Otto Frank, december 1966.</cite></li>\r\n\t<li data-footnote-id=\"vm5jj\" id=\"footnote-17\"><sup><a href=\"#footnote-marker-17-1\">^</a> </sup><cite>Meyer Levin, <em>The Obsession</em>, New York, NY: Simon & Schuster, 1973. Zie verder: Lawrence Graver, <em>An obesssion with Anne Frank: Meyer Levin and the Diary</em>, Berkeley, CA: Universoty of California Press, 1995; Ralph Melnick, <em>The stolen legacy of Anne Frank: Meyer Levin, Lillian Hellmann, and the staging of the Diary</em>, New Haven, CT: Yale University Press, 1997.</cite></li>\r\n\t<li data-footnote-id=\"3ag9a\" id=\"footnote-18\"><sup><a href=\"#footnote-marker-18-1\">^</a> </sup><cite>Wisconsin Historical Society (WHS), Madison, WI, Goodrich/Hackett papers 1927-1961, Box no 7, Miscellaneous: A Diary of the Diary.</cite></li>\r\n\t<li data-footnote-id=\"0763b\" id=\"footnote-19\"><sup><a href=\"#footnote-marker-19-1\">a</a>, <a href=\"#footnote-marker-19-2\">b</a>, <a href=\"#footnote-marker-19-3\">c</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-1956: Otto Frank aan Frances Goodrich en Albert Hackett, 2 februari 1954.</cite></li>\r\n\t<li data-footnote-id=\"ggc3w\" id=\"footnote-20\"><sup><a href=\"#footnote-marker-20-1\">^</a> </sup><cite>De eerste ruwe versie is klaar op 21 januari 1954, de tweede versie op 26 februari, de derde versie op 22 april en de vierde versie op 21 mei 1954 en wordt uitgetypt en toegestuurd aan de producent, de agente van de Hacketts en aan Otto Frank. WHS, Goodrich/Hackett papers 1927-1961, Box no 2, correspondence 1952-1956.</cite></li>\r\n\t<li data-footnote-id=\"r3q65\" id=\"footnote-21\"><sup><a href=\"#footnote-marker-21-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_171: Otto Frank aan Meyer Mermin, 2 juni 1954.</cite></li>\r\n\t<li data-footnote-id=\"m6yix\" id=\"footnote-22\"><sup><a href=\"#footnote-marker-22-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-1956: Otto Frank aan Frances Goodrich en Albert Hackett, 14 juni 1954.</cite></li>\r\n\t<li data-footnote-id=\"ysy9b\" id=\"footnote-23\"><sup><a href=\"#footnote-marker-23-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers: Otto Frank aan Frances Goodrich en Albert Hackett, 6 juli 1954; WHS, Goodrich/Hackett papers 1927-1961: Jean Schick Grossmann, Anne Frank. The Story within her story (ongepubliceerd, 1954).</cite></li>\r\n\t<li data-footnote-id=\"r0849\" id=\"footnote-24\"><sup><a href=\"#footnote-marker-24-1\">^</a> </sup><cite>De zesde versie is de tweede versie die Otto Frank onder ogen krijgt (oktober 1954). De vijfde versie is af op 19 augustus. Op 11 september 1954 wordt begonnen aan de aanpassingen voor zesde versie die op 4 oktober klaar is en kan worden uitgetypt, Zie noot 23.</cite></li>\r\n\t<li data-footnote-id=\"vjmot\" id=\"footnote-25\"><sup><a href=\"#footnote-marker-25-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no. 2, correspondence 1952-195: Otto Frank aan Frances Goodrich en Albert Hackett, 5 november 1954.</cite></li>\r\n\t<li data-footnote-id=\"e526o\" id=\"footnote-26\"><sup><a href=\"#footnote-marker-26-1\">^</a> </sup><cite>Wisconsin Center for Theatre Research (WCTR), Madison,WI, Goodrich and Hackett papers, box 7: A Diary of the Diary. Met de ijssalon is zeer waarschijnlijk Oase bedoeld.</cite></li>\r\n\t<li data-footnote-id=\"l0xpx\" id=\"footnote-27\"><sup><a href=\"#footnote-marker-27-1\">^</a> </sup><cite>WCTR, Goodrich and Hackett papers, box 7: A diary of the Diary, notitie 10 december 1954.</cite></li>\r\n\t<li data-footnote-id=\"2s6l7\" id=\"footnote-28\"><sup><a href=\"#footnote-marker-28-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_011: Agenda Otto Frank 1954.</cite></li>\r\n\t<li data-footnote-id=\"zrzcq\" id=\"footnote-29\"><sup><a href=\"#footnote-marker-29-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_202: Otto Frank aan Joseph Schildkraut, 4 mei 1955.</cite></li>\r\n\t<li data-footnote-id=\"k7oi7\" id=\"footnote-30\"><sup><a href=\"#footnote-marker-30-1\">^</a> </sup><cite>WHS, Goodrich/Hackett papers 1927-1961, Box no 2, correspondence 1952-1956.</cite></li>\r\n\t<li data-footnote-id=\"ncady\" id=\"footnote-31\"><sup><a href=\"#footnote-marker-31-1\">^</a> </sup><cite>Anne Frank-Fonds (AFF), Bazel, Hackett Korrespondenz 1954-1960, ongeïnventariseerd archief, doos 51.</cite></li>\r\n\t<li data-footnote-id=\"mjg9n\" id=\"footnote-32\"><sup><a href=\"#footnote-marker-32-1\">^</a> </sup><cite>Zie bijvoorbeeld brief 3 oktober 1955: WHS, Goodrich/Hackett papers 1927-1961, Box no 2, correspondence 1952-1956: Brief Otto Frank aan Frances Goodrich en Albert Hacketts, 3 oktober..</cite></li>\r\n\t<li data-footnote-id=\"9jsz4\" id=\"footnote-33\"><sup><a href=\"#footnote-marker-33-1\">^</a> </sup><cite>AFF, Hackett Korrespondenz, doos 51: Meyer Levin Div. (S. Mermin).</cite></li>\r\n\t<li data-footnote-id=\"qangh\" id=\"footnote-34\"><sup><a href=\"#footnote-marker-34-1\">^</a> </sup><cite>WHS, Goodric/Hackett papers 1927-1961, Box no. 2, corresepondence 1952-1956: Otto Frank aan de Hacketts, 9 september 1955.</cite></li>\r\n</ol>\r\n</section>",
"summary": "The American stage version of the Diary of Anne Frank premiered in 1955.",
"summary_nl": "In 1955 verscheen de Amerikaanse toneelversie van het dagboek van Anne Frank op de planken.",
"summary_en": "The American stage version of the Diary of Anne Frank premiered in 1955.",
"same_as": null,
"parent": 396124643,
"files": []
},
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{
"type": "subject",
"instance": {
"id": 396124407,
"image": null,
"url": "https://research.annefrank.org/en/onderwerpen/59a72c2a-c340-45bc-8ef5-d0a634dfb416/",
"published": true,
"uuid": "59a72c2a-c340-45bc-8ef5-d0a634dfb416",
"name": "Emigration from Europe",
"name_nl": "Emigratie uit Europa",
"name_en": "Emigration from Europe",
"description": "<p>The ultimate destination of many refugees was the United States; there were also those who left for South Africa, Palestine and Latin America. But emigration could not be taken for granted. Those who wanted to leave entered a bureaucratic mill of countless forms for exit permits, transit permits, entry visas, court declarations and sureties. The queues waiting at aid organisations, consulates, embassies and travel agencies were endless. Rules were constantly changing and emigration countries were making high financial demands. As anti-Jewish measures and threats of war increased, panic to get away grew. In the end, only a relatively small group managed to flee the persecution of Jews in Europe.<sup data-footnote-id=\"bsj3b\"><a href=\"#footnote-1\" id=\"footnote-marker-1-1\" rel=\"footnote\">[1]</a></sup></p>\r\n\r\n<p>The Frank, Van Pels and Fritz Pfeffer families also made attempts to get away from Europe. Otto Frank tried to set up a business in England as early as <strong>1937</strong> and applied for a visa at the American consulate in Rotterdam in <strong>1938</strong>. Both attempts came to nothing. When World War II broke out in <strong>1939</strong>, it became even more difficult to flee. After the German invasion in <strong>1940</strong>, the Frank family tried to go to the United States again in <strong>1941</strong>. They were helped by American friends and Julius and Walter Holländer, Edith's brothers, who had already managed to flee to the United States. This was all to be in vain.<sup data-footnote-id=\"xd9f8\"><a href=\"#footnote-2\" id=\"footnote-marker-2-1\" rel=\"footnote\">[2]</a></sup></p>\r\n\r\n<p>The Van Pels family was not lucky either. Despite their Dutch citizenship, they did not feel safe in the Netherlands. In <strong>1939</strong>, they applied for visas at the US consulate in Rotterdam. They ended up on a waiting list that was already so long that their chances were slim.<sup data-footnote-id=\"xd9f8\"><a href=\"#footnote-2\" id=\"footnote-marker-2-2\" rel=\"footnote\">[2]</a></sup> Their attempt to move on failed, although some relatives of Hermann van Pels and Auguste Röttgen did manage to emigrate to North America, South America and other overseas destinations.</p>\r\n\r\n<p>Fritz Pfeffer's immigration card states that he wanted to go to Australia, but he also tried to go to Aruba. He also applied for emigration to Chile. But he too failed to get away from the Netherlands.</p>\r\n\r\n<p>On <strong>25 November 1941</strong>, all German Jews living abroad lost their nationality and thus became stateless. As a result, emigration became impossible.</p>\r\n\r\n<section class=\"footnotes\">\r\n<header>\r\n<h2>Footnotes</h2>\r\n</header>\r\n\r\n<ol>\r\n\t<li data-footnote-id=\"bsj3b\" id=\"footnote-1\"><sup><a href=\"#footnote-marker-1-1\">^</a> </sup><cite>Gertjan Broek, <a href=\"https://www.annefrank.org/en/anne-frank/go-in-depth/impossibilities-escaping-1933-1942/\" target=\"_blank\"><em>The (im)possibilities of escaping. Jewish emigration 1933 – 1942</em></a>, Website Anne Frank House.</cite></li>\r\n\t<li data-footnote-id=\"xd9f8\" id=\"footnote-2\"><sup><a href=\"#footnote-marker-2-1\">a</a>, <a href=\"#footnote-marker-2-2\">b</a> </sup><cite>Rebecca Erbelding & Gertjan Broek, <a href=\"https://us-holocaust-museum.medium.com/german-bombs-and-us-bureaucrats-how-escape-lines-from-europe-were-cut-off-1b3e14137cc4\" target=\"_blank\"><em>German bombs and US bureaucrats: how escape lines from Europe were cut off</em></a>, Washington, DC: United States Holocaust Memorial Museum, 2018.</cite></li>\r\n</ol>\r\n</section>",
"description_nl": "<p>Het uiteindelijke reisdoel van veel vluchtelingen was de Verenigde Staten, er waren er ook die naar Zuid-Afrika, Palestina en Latijns-Amerika vertrokken. Maar emigratie was niet vanzelfsprekend. Wie weg wilde kwam in een bureaucratische molen terecht van ontelbare formulieren voor uitreisvergunningen, doorreisvergunningen, inreisvisa, gerechtelijke verklaringen en borgstellingen. De rijen wachtenden bij hulporganisaties, consulaten, ambassades en reisbureaus waren eindeloos. Regels veranderden voortdurend en emigratielanden stelden hoge financiële eisen. Naarmate anti-Joodse maatregelen en oorlogsdreiging toenamen, groeide de paniek om weg te komen. Uiteindelijk heeft maar een relatief kleine groep de Jodenvervolging in Europa weten te ontvluchten.<sup data-footnote-id=\"bgn18\"><a href=\"#footnote-1\" id=\"footnote-marker-1-1\" rel=\"footnote\">[1]</a></sup></p>\r\n\r\n<p>Ook de families Frank, Van Pels en Fritz Pfeffer hebben pogingen ondernomen uit Europa weg te komen. Otto Frank probeerde al vanaf <strong>1937</strong> geprobeerd een zaak op te zetten in Engeland en deed in <strong>1938</strong> een visumaanvraag gedaan bij het Amerikaanse consulaat in Rotterdam. Beide pogingen liepen op niets uit. Toen in <strong>1939</strong> de Tweede Wereldoorlog uitbrak, werd het nog moelijker om te vluchten. Na de Duitse inval in <strong>1940</strong> probeerde de familie Frank in <strong>1941</strong> opnieuw naar de Verenigde Staten te gaan. Ze worden daarbij geholpen door Amerikaanse vrienden en Julius en Walter Holländer, de broers van Edith, die er al in zijn geslaagd naar de Verenigde Staten te vluchten. Tevergeefs.<sup data-footnote-id=\"xlh47\"><a href=\"#footnote-2\" id=\"footnote-marker-2-1\" rel=\"footnote\">[2]</a></sup></p>\r\n\r\n<p>Het gezin van Pels had ook geen geluk. Ondanks hun Nederlanderschap voelden zij zich niet veilig in Nederland. In <strong>1939</strong> deden zij een visumaanvraag bij het Amerikaanse consulaat in Rotterdam. Zij kwamen op een wachtlijst te staan die al zo lang was dat hun kansen gering waren.<sup data-footnote-id=\"xlh47\"><a href=\"#footnote-2\" id=\"footnote-marker-2-2\" rel=\"footnote\">[2]</a></sup> Hun poging om verder te trekken mislukte, al zijn er enkele familieleden van Hermann van Pels en Auguste Röttgen er wel in geslaagd naar Noord-, Zuid-Amerika of een andere bestemming overzee te emigreren.</p>\r\n\r\n<p>Op de vreemdelingenkaart van Fritz Pfeffer staat dat hij naar Australië wilde, maar hij probeerde ook naar Aruba te gaan. Verder deed hij een emigratieaanvraag voor Chili. Maar het lukte ook hem niet weg te komen uit Nederland.</p>\r\n\r\n<p>Op <strong>25 november 1941</strong> verloren alle in het buitenland wonende Duitse Joden hun nationaliteit en werden daarmee stateloos. Emigratie werd daarmee onmogelijk.</p>\r\n\r\n<section class=\"footnotes\">\r\n<header>\r\n<h2>Footnotes</h2>\r\n</header>\r\n\r\n<ol>\r\n\t<li data-footnote-id=\"bgn18\" id=\"footnote-1\"><sup><a href=\"#footnote-marker-1-1\">^</a> </sup><cite>Gertjan Broek, <a href=\"https://www.annefrank.org/nl/anne-frank/verdieping/de-on-mogelijkheden-om-te-vluchten-joodse-emigratie-1933-1942/\" target=\"_blank\"><em>De (on)mogelijkheden om te vluchten: Joodse emigratie 1933-1942</em></a>, Website Anne Frank Stichting.</cite></li>\r\n\t<li data-footnote-id=\"xlh47\" id=\"footnote-2\"><sup><a href=\"#footnote-marker-2-1\">a</a>, <a href=\"#footnote-marker-2-2\">b</a> </sup><cite>Rebecca Erbelding & Gertjan Broek, <a href=\"https://us-holocaust-museum.medium.com/german-bombs-and-us-bureaucrats-how-escape-lines-from-europe-were-cut-off-1b3e14137cc4\" target=\"_blank\"><em>German bombs and US bureaucrats: how escape lines from Europe were cut off</em></a>, Washington, DC: United States Holocaust Memorial Museum, 2018.</cite></li>\r\n</ol>\r\n</section>",
"description_en": "<p>The ultimate destination of many refugees was the United States; there were also those who left for South Africa, Palestine and Latin America. But emigration could not be taken for granted. Those who wanted to leave entered a bureaucratic mill of countless forms for exit permits, transit permits, entry visas, court declarations and sureties. The queues waiting at aid organisations, consulates, embassies and travel agencies were endless. Rules were constantly changing and emigration countries were making high financial demands. As anti-Jewish measures and threats of war increased, panic to get away grew. In the end, only a relatively small group managed to flee the persecution of Jews in Europe.<sup data-footnote-id=\"bsj3b\"><a href=\"#footnote-1\" id=\"footnote-marker-1-1\" rel=\"footnote\">[1]</a></sup></p>\r\n\r\n<p>The Frank, Van Pels and Fritz Pfeffer families also made attempts to get away from Europe. Otto Frank tried to set up a business in England as early as <strong>1937</strong> and applied for a visa at the American consulate in Rotterdam in <strong>1938</strong>. Both attempts came to nothing. When World War II broke out in <strong>1939</strong>, it became even more difficult to flee. After the German invasion in <strong>1940</strong>, the Frank family tried to go to the United States again in <strong>1941</strong>. They were helped by American friends and Julius and Walter Holländer, Edith's brothers, who had already managed to flee to the United States. This was all to be in vain.<sup data-footnote-id=\"xd9f8\"><a href=\"#footnote-2\" id=\"footnote-marker-2-1\" rel=\"footnote\">[2]</a></sup></p>\r\n\r\n<p>The Van Pels family was not lucky either. Despite their Dutch citizenship, they did not feel safe in the Netherlands. In <strong>1939</strong>, they applied for visas at the US consulate in Rotterdam. They ended up on a waiting list that was already so long that their chances were slim.<sup data-footnote-id=\"xd9f8\"><a href=\"#footnote-2\" id=\"footnote-marker-2-2\" rel=\"footnote\">[2]</a></sup> Their attempt to move on failed, although some relatives of Hermann van Pels and Auguste Röttgen did manage to emigrate to North America, South America and other overseas destinations.</p>\r\n\r\n<p>Fritz Pfeffer's immigration card states that he wanted to go to Australia, but he also tried to go to Aruba. He also applied for emigration to Chile. But he too failed to get away from the Netherlands.</p>\r\n\r\n<p>On <strong>25 November 1941</strong>, all German Jews living abroad lost their nationality and thus became stateless. As a result, emigration became impossible.</p>\r\n\r\n<section class=\"footnotes\">\r\n<header>\r\n<h2>Footnotes</h2>\r\n</header>\r\n\r\n<ol>\r\n\t<li data-footnote-id=\"bsj3b\" id=\"footnote-1\"><sup><a href=\"#footnote-marker-1-1\">^</a> </sup><cite>Gertjan Broek, <a href=\"https://www.annefrank.org/en/anne-frank/go-in-depth/impossibilities-escaping-1933-1942/\" target=\"_blank\"><em>The (im)possibilities of escaping. Jewish emigration 1933 – 1942</em></a>, Website Anne Frank House.</cite></li>\r\n\t<li data-footnote-id=\"xd9f8\" id=\"footnote-2\"><sup><a href=\"#footnote-marker-2-1\">a</a>, <a href=\"#footnote-marker-2-2\">b</a> </sup><cite>Rebecca Erbelding & Gertjan Broek, <a href=\"https://us-holocaust-museum.medium.com/german-bombs-and-us-bureaucrats-how-escape-lines-from-europe-were-cut-off-1b3e14137cc4\" target=\"_blank\"><em>German bombs and US bureaucrats: how escape lines from Europe were cut off</em></a>, Washington, DC: United States Holocaust Memorial Museum, 2018.</cite></li>\r\n</ol>\r\n</section>",
"summary": "Between 1933 and 1941, about 280,000 Jews fled Nazi Germany and 130,000 fled Hitler-annexed Austria. Many sought refuge in neighbouring countries. For many, however, this was just a stopover on the way to safer places.",
"summary_nl": "Tussen 1933 en 1941 vluchtten ongeveer 280.000 Joden uit nazi-Duitsland en 130.000 uit het door Hitler geannexeerde Oostenrijk. Velen zochten hun toevlucht in de omringende landen. Voor velen was dit echter slechts een tussenstop op weg naar veiliger oorden.",
"summary_en": "Between 1933 and 1941, about 280,000 Jews fled Nazi Germany and 130,000 fled Hitler-annexed Austria. Many sought refuge in neighbouring countries. For many, however, this was just a stopover on the way to safer places.",
"same_as": null,
"parent": null,
"files": [
835
]
},
"score": 0.0
}
]
}
