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Didactic guidelines and blog



1- Our goal is to propose screenings at schools along with educational resources to develop in the classroom. We are developing an international website
where children and teachers will find the materials for free. We will introduce the animation feature film , the documentary and the extra contents

2- the other part of the project is giving the Opera as much exposure as possible, by staging it in regular theaters and by promoting it in schools using specially prepared didactic units to present the topic in class. One of these will be the full translation of the opera, which will make it easier to stage in the schools.


These didactic guidelines have been designed as teaching aids to help the teachers prepare the children for what they will be watching, according to their age. An introduction to the content of the opera to further their understanding and enjoyment. This, in turn, will also offer a good opportunity to talk about the Holocaust, about its history and its political significance, and about the nature of Nazism, racism, and antisemitism.

In a word, it is a useful tool for the teacher, before and after the children watch either the Documentary or Brundibár. Every teacher knows the level and scope of their students, so every teacher will choose the material that best suits their needs.

The guidelines consist of three segments: a general introduction; a second segment with specific information about the music, the staging, and the actors; and a third segment with activities for the students (coordinated by the teacher).


This score is another one rescued after the Holocaust, since its author, the Jewish composer Hans Krása, a native of Prague, was deported to the Terezín internment camp – created by the III Reich and presented by his propaganda as a ‘spa town »To which olders and Jewish artists could withdraw – to arrive at the Auschwitz terminus station. The work, composed in 1938, was performed clandestinely four years later in an orphanage for Jewish children in Prague. Subsequently, Krása, already interned, had to rebuild it by heart, and was interpreted 55 times in Terezín with the help of the children who lived there. This children’s opera, rediscovered in the late 70s, and a symbol of cultural resistance in the face of the fiercest repression, comes to us with a reading capable of extracting the purest horror poetry.