T HE ORIGINAL title of his haunting new play, Sir Tom Stoppard confides, was “A Family Album”. The name was changed, but the album survives. The curtain rises on an assimilated Jewish household in Vienna in the winter of 1899, where Hermann, a prosperous convert to Catholicism, and Ludwig, his brother-in-law, are discussing the liberality of Austria and the necessity of Zionism. “To a homeland for the Jews!” they toast. “Happy Christmas!” As children gambol around them, Ludwig’s sister, Wilma, and Grandma Emilia flip through old pictures. “It’s still an amazing thing to me,” Wilma reflects, “to know the faces of the dead!” As for a relative who lived before photography, “no one knows what she looked like any more than if she’d been some kind of rumour.”
汤姆·斯托帕德（Tom Stoppard Condides）爵士的新剧本的原始标题是“一张家庭专辑”。名字更改了，但专辑得以幸存。1899年冬天，窗帘在维也纳的一个被同化的犹太家庭上升起，赫尔曼（Hermann）是一个繁荣的天主教，他的姐夫路德维希（Ludwig）正在讨论奥地利的自由和犹太复国主义的必要性。“去犹太人的家园！”他们吐司。“圣诞节快乐！”当孩子们周围的孩子们时，路德维希的姐姐威尔玛和艾米莉亚奶奶翻阅了旧照片。威尔玛反映：“对我来说，这仍然是一件了不起的事情，知道死者的面孔！”至于一个在摄影前生活的亲戚，“没有人知道她的样子，而不是她是某种谣言。”
