Only a very few were bothered by the more complex moral question of whether it was “right” to sing and dance while in prison. Nadezhda Joffe was one of them: “When I look back at my five years, I am not ashamed to recall them and I have nothing to blush about. There is only the question of the amateur theater . . . Essentially there was nothing wrong with it, and yet . . . our distant ancestors, in approximately analogous conditions, hung up their lutes and said they wouldn’t sing in bondage.” 153
Some prisoners, particularly those of non-Soviet origin, also had their doubts about the productions. One Polish prisoner, arrested during the war, wrote that the camp theater was “designed to destroy your self-respect further . . . Sometimes there were ‘artistic’ performances, or some sort of strange orchestra, but it was not done for the satisfaction of the soul. Rather, it was designed to show you their [Soviet] ‘culture,’ to unnerve you further.”154
Still, for those who felt uncomfortable, it was not necessary to participate in the official performances. A striking number of political prisoners who wrote memoirs—and this may explain why they wrote memoirs—attribute their survival to their ability to “tell stories”: to entertain criminal prisoners by recounting the plots of novels or of films. In the world of the camps and the prisons, where books were scarce and films were rare, a good storyteller was highly prized. Leonid Finkelstein says that he will be “forever grateful to a thief who, on my first prison day, recognized this potential in me, and said, ‘You’ve probably read a lot of books. Tell them to people, and you will be living very well.’ And indeed I was living better than the rest. I had some notoriety, some fame . . . I ran into people who said, ‘You are Leonchik-Romanist [Leonchik-the-storyteller], I heard about you in Taishet.’” Because of this skill, Finkelstein was invited, twice a day, into the brigadier leader’s hut where he received a mug of hot water. In the quarry where he was then working, “that meant life.” Finkelstein found, he said, that Russian and foreign classics worked best: he had far less success retelling the plots of more recent Soviet novels.155
Others found the same. On her hot, stuffy train to Vladivostok, Evgeniya Ginzburg learned that “there were material advantages in reciting poetry . . . For instance, after each act of Griboyedov’s The Misfortune of Being Clever, I was given a drink of water out of someone else’s mug as a reward for ‘services to the community.’” 156
Alexander Wat retold Stendhal’s The Red and the Black to a group of bandits while in prison.157 Alexander Dolgun recounted the plot of Les Misérables.158 Janusz Bardach told the story of The Three Musketeers: “I felt my status rise with every twist of the plot.”159 In response to the thieves who dismissed the starving politicals as “vermin,” Colonna-Czosnowski also defended himself by telling them “my own version of a film, suitably embellished for maximum dramatic effect, which I had seen in Poland some years earlier. It was a ‘Cops and Robbers’ story, taking place in Chicago, involving Al Capone. For good measure, I threw in Bugsy Malone, maybe even Bonnie and Clyde. I decided to include everything I could remember, plus some extra refinements which I invented on the spur of the moment.” The story impressed its listeners, and they asked the Pole to repeat it many times: “Like children, they would listen intently. They didn’t mind hearing the same stories over and over again. Like children, too, they liked me to use the same words every time. They also noticed the slightest change or the smallest omission . . . within three weeks of my arrival I was a different man.”160
Yet an artistic gift did not need to earn a prisoner money or bread in order to save his life. Nina Gagen-Torn describes a musical historian, a lover of Wagner, who managed to write an opera while in the camps. Voluntarily, she chose to work cleaning camp sewers and outhouses, since this otherwise unpleasant job gave her enough freedom to think through her music.161 Aleksei Smirnov, one of contemporary Russia’s leading advocates of press freedom, tells the story of two literary scholars who, while in the camps, created a fictitious eighteenth-century French poet, and wrote pastiche eighteenth-century French verse.162 Gustav Herling also derived enormous benefit from the “lessons” in the history of literature which he received from a former professor: his teacher, he speculated, may have benefited even more.163
