Jan Fischer (Czech actor)

Jan Fischer, also Jan Fišer (19 July 1921, in Prague – 26 September 2011, in Česká Lípa) was a Czech Jewish actor and theatre director. During World War II he was transported to the Jewish ghetto at Terezín where he directed plays. Fischer survived the death camps and returned to Prague after the war to marry his wife Hana (Meissl).[1] Their daughter was the actress Taťana Fischerová.

The artist Franz Peter Kien sketched Fischer in the role of I. P. Omelet in the Terezin production of Gogol's "The Marriage."[2][3]

References

Jan Fischer Archived 2013-09-18 at Archive.today "This is me and my future wife Hana Fischer,née Meisslova, in the center of Prague, on Na prikope Street. The photo was taken after the war in about 1946."
Peter Kien, Elena Makarova, Ira Rabin Franz Peter Kien 2009 "The actor Jan Fischer, whom Kien later drew in the role of I. P. Omelet in the Terezi'n production of Gogol's "The Marriage", was on the same transport. To Terezin we still traveled in regular passenger train cars, like people. Then everything ..."
http://www.makarovainit.com/theatre.html "In that pitch darkness, poetry was living. We read verses to each other, the world of imagination was saving us. It was our world, and the other, real one, in these minutes went far away. Alas, not so far… Nobody was normal, neither we, nor our public, let alone the time and place of the happening. In this situation theater gained a different, extraordinary dimension. Culture became the limit of our existence, the world of the highest freedom that we could ever reach. Jan Fischer, actor in Terezin, theater director"

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[1] Jan Fischer Archived 2013-09-18 at Archive.today "This is me and my future wife Hana Fischer,née Meisslova, in the center of Prague, on Na prikope Street. The photo was taken after the war in about 1946."

[2] Peter Kien, Elena Makarova, Ira Rabin Franz Peter Kien 2009 "The actor Jan Fischer, whom Kien later drew in the role of I. P. Omelet in the Terezi'n production of Gogol's "The Marriage", was on the same transport. To Terezin we still traveled in regular passenger train cars, like people. Then everything ..."

[3] ttp://www.makarovainit.com/theatre.html "In that pitch darkness, poetry was living. We read verses to each other, the world of imagination was saving us. It was our world, and the other, real one, in these minutes went far away. Alas, not so far… Nobody was normal, neither we, nor our public, let alone the time and place of the happening. In this situation theater gained a different, extraordinary dimension. Culture became the limit of our existence, the world of the highest freedom that we could ever reach. Jan Fischer, actor in Terezin, theater director"