1

P e r f o r m i n g u r b a n m e m o r y
T he f aade of the Ho l l a n d s c h e S c h o u wb u r g :
t heat er , si t e of t er r or , si t e of memor y


David Duindam
Universiteit van Amsterdam






The city is a place of memory, but how does this memory work? In this paper, I will
explore the case-study of the faade of the Hollandsche Schouwburg, an exemplary
urban palimpsest that was a theater in Amsterdam before the war, a deportation center
for J ews during the war, and became a memorial-museum after the war (figure 1).

Figure1
2
Introduction
A city does not embody a material memory in the way a USB-stick, a written account
or an archive does. It is not a medium of cultural memory (Assman, 1992). There are
of course structures that are built with the intention to retain a specific memory of the
past, such as memorials, museums, monuments and archives (Assmann, 1999: 15).
The city as a whole, however, does not remember. Only in exchange with an
individual or a group of people, can an urban artifact support a performance of
memory. This is always a process in the present and never a perfect rendering of the
past. These urban elements are not media that transmit a fixed meaning, but rather
auratic contact zones that enable a production of meaning (Assmann, 1999: 337).
I will look at two conceptualizations of urban memory. The first understands
the city as a (collective) image or cityscape that can be read or interpreted by the
individual (Halbwachs, 1980; Lynch, 1996; Urry, 2002). The second describes the
relationship between the city and an individual as dialectical (Benjamin, 1999: 262-
267; Benjamin, 2002: 416-455). The former position is problematic because it fixes
the image and memory of the city. The latter provides us with a more nuanced
understanding of the relationship between the city and the individual, but reduces the
role of the city to the playground of a semi-conscious flneur. When we examine the
case study, we are confronted with a site of terror. It is therefore difficult to
understand the relationship between the Hollandsche Schouwburg and the passerby as
one of intoxicated flnerie. This paper will look at a third model in which urban
memory is interpreted as a performance between this former theater and the attentive
passerby (Rigney, 2005: 11-28; Winter, 2010: 11-23). The faade is an affordance that
must be read as a script and in so doing saddles the spectator with agency (Hutchby,
2001: 441-456; Lozano-Hemmer and Massumi, 2003; Bal, 2002). The Hollandsche
Schouwburg seduces this viewer to interact but the subject must choose to do so
himself: he is the agent of performance. In this sense, performing the urban memory
of the Hollandsche Schouwburg is a conscious and meaningful act, rather than reading
the city as an image or playful flnerie.

The image of the city
Maurice Halbwachs argues in his seminal The Collective Memory that individual
memory is always produced within social, collective frameworks.
3
Our memories remain collective [] and are recalled to us through others
even though only we were participants in the events or saw the things
concerned. In reality, we are never alone. Other men need not be physically
present, since we always carry with us and in us a number of distinct persons
(Halbwachs, 1980: 23).
In the first example of this book, Halbwachs is walking through London for the first
time in his life. Even though he is alone, he is still accompanied by historians,
architects and painters that point him to specific elements. They do so through books,
signs, maps, and tour guides. Some landmarks remind him of literary renderings.
Many impressions during my first visit to London St. Paul's, Mansion House,
the Strand, or the Inns of Court reminded me of Dickens' novels read in
childhood, so I took my walk with Dickens. [] I can [] recognize in
myself many ideas and ways of thinking that could not have originated with
me (Halbwachs, 1980: 23-24).
Halbwachs description of his walk through London is quite reductive and his
conclusion premature. Whether a walk in a city we know nothing about would have
the same effect remains unanswered. He knows the outcome of this little experiment
before he has actually started it: all individual memory is collectively formed. If we
analyze what actually happens in this example, we are confronted with multiple
processes of interpreting media (the maps and tour guides), recollecting things we
have read and heard before (in books and conversations) and reproducing a fictional
image of the city (through Dickens novels). Reducing these complicated processes to
the thesis that we are never alone and therefore memory is always collective can
hardly provide us with a deeper understanding of urban memory. What is striking is
the passive role of the city. For Halbwachs, the practice of walking through London is
nothing more than connecting preconceived and collective memories to readable
landmarks. Many idea or way of thinking did not originated with me, but rather in
the walkers virtual group of friends. The visitor has a prefixed image of the city that
is made up of well-known sights and other stereotypes. His walk can only confirm this
image and is therefore not a new experience but rather a confirmation of what he
already knows.
Kevin Lynch explains how this process works. In his The Image of the City,
Lynch analyzes the mental image of cities that is held by its citizens. His work
concentrates [] on one particular visual quality: the apparent clarity or legibility
of the cityscape. By this we mean the ease with which its parts can be recognized and
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can be organized into a coherent pattern (Lynch, 1996: 2). This legibility is based on
recognizable symbols such as landmarks. The reason people reduce a city to such a
legible pattern is to feel safer. Because people understand that this image is a
reductive representation, it is (ideally) an open structure, adaptable to change and
communicable to others.
A highly [legible] city in this peculiar sense would seem well formed, distinct,
remarkable; it would invite the eye and the ear to greater attention and
participation. [] Such a city would be one that could be apprehended over
time as a pattern of high continuity with many distinctive parts clearly
interconnected (Lynch, 1996: 10).
This perspective can shed light on the example of Halbwachs. There is a certain
stereotypical and communicable image of the city that comes to us in many different
shapes and forms. For Halbwachs, this image replaces an actual experience; for
Lynch, it is a starting point for new experiences. Thus, when we read in a guide that
London is famous for its pubs and we visit these locales, we do not explore a memory
that is given to us by the guide, but rather experience these pubs in order to get to
know the city.
The legibility and communicability of such an image of the city makes it an
attractive object for the tourist gaze and therefore an appealing tool for marketing.
J ohn Urry argues that tourists are focused on visualization: they consume places
through their gazes. The image they have of a city is captured through []
photographs, postcards, films, models and so on. These enable the gaze to be
endlessly reproduced and recaptured (Urry, 2002: 3). Tourists often visit places and
take pictures of landmarks they already know, which according to Urry leads to a
hermeneutic circle. What is sought for in a holiday is a set of photographic images,
which have already been seen in tour company brochures or on TV programmes
(Urry, 2002: 129). This hermeneutic circle is precisely why the city as an image
cannot provide us with new insights on the process of urban memory. The image is a
stereotype that can easily be communicated, but has no other content than itself. It
does not do justice to the actual history or memory of a city, nor does it intend to do
so. A city is not just a collection of readable signs that can be communicated through
other means. To get to know a city, you must spend time there: visiting London is not
the same as reading Dickens and a handful of history books, even if these practices
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enhance each other. The experience of being in the city is an essential characteristic of
the flneur that provides us with an alternative perspective on urban memory.

The city and the flneur
Walter Benjamins famous figure of the flneur is not a first-time tourist, but
intimately familiar with a city. In a book review of Franz Hessels Spazieren in Berlin,
Benjamin describes the author as the reincarnation of the 19
th
century flneur:
Hessel does not describe; he narrates. Even more, he repeats what he has heard.
Spazieren in Berlin is an echo of the stories the city has told him ever since he
was a child an epic book through and through, a process of memorizing
while strolling around, a book for which memory has acted not as the source
but as the Muse. It goes along the streets in front of him, and each street is a
vertiginous experience. Each leads downward, if not to the Mothers, than at
least to a past that is all the more spellbinding as it is not just the authors own
private past. [] The city as a mnemonic for the lonely walker: it conjures up
more than his childhood and youth, more than its own history (Benjamin, 1999:
262).
The flneur is idle and intoxicated, he strolls aimlessly and half dreaming, making
studies of his environment and remembering the city through his soles. Howard
Eiland describes how the flneur [] experiences an uncanny thickening and
layering of phenomena, an effect of superimposition, in which remembered events or
habitations show through the present time and place (Eiland, 2007: 122). This is
what Benjamin calls the colportage phenomenon of space that turns buildings and
streets into palimpsests and the flneur into an archeologist. When he walks through
the city, [] far-off times and place interpenetrate the landscape and the present
moment ((Benjamin, 2002: 419). The flneur remembers the city through his feet
and does so intoxicated, half-dreaming, because[] remembering and awaking are
most intimately related (Benjamin, 2002: 389).
An important characteristic of the flneur is mobility; he wanders around in a
hectic city filled with a plenitude of sensory impulses (Simmel, 2002: 11-19). His
flnerie is a creative reconstruction of past and present and during his walks his mind
can wander off, enclose itself and distance itself from the immediate here-and-now.
This artful play and constant mobility makes the flneur a slippery figure hard to pin
down, who is never fully conscious and always in a state of awakening (or falling
asleep, one could argue). The city is not a predetermined image or cityscape of fixed
signs, but rather a playground for the flneurs imagination. This figure is the product
6
of 19
th
century Paris and spaces such as arcades and boulevards, and is a highly
privileged and male subject (Wolff, 1985: 37-46). Benjamin recognizes some
incarnations, such as the sandwich man and the writer Hessel, but the real flnerie has
ceased to exist. The issue at hand, however, is not about the historical correctness of
this figure, but rather if we can use the insights of Benjamin to come to a better
understanding how urban memory functions in the case of the Hollandsche
Schouwburg. Both the constant mobility and the playfulness are problematic here,
since I am interested in how a specific site or terror interacts with the urban subject.
The flneur protested against the increasing velocity of modernity with his
turtle, and against the division of labor with his idleness (Benjamin, 2002: 422, 427).
But how can we understand such a protest in the postwar, post-Holocaust Amsterdam?
Parts of this city are haunted by their past and need interpreters that remember the city
through their soles; but this remembering is not a playful, mobile and privileged
remembering of the idle flneur. It rather is a commitment to the past and the memory
of those that have perished. The memory of the war is not aimless but meaningful and
affective. This does not mean that the Hollandsche Schouwburg is a fixed sign that
needs to be read, but rather an open invitation that the attentive passerby can reject or
accept. Its memory is to be performed by a conscious and willful individual. Because
this is a performance, it has the ability to be affective and productive, rather than
retroactive and passive. In this sense, the Hollandsche Schouwburg is a mnemonic
tool that leads to a memory that is not only his or her own, but is produced in
interaction with this memorial museum.

The memory of the Holocaust
Both Halbwachs and Benjamin wrote their theses before World War II; and both have
died as a result of this conflict.
1
Where Halbwachs interpreted the city as a readable
collection of landmarks that are known prior to our visit, Benjamin was interested in
the playful memory of the flneur. When it comes to the memory of the Holocaust in
the case of the Hollandsche Schouwburg, neither model suffices.
The Holocaust has had a great influence on memory studies. It confronted
Europe with an event that could not be easily remembered or forgotten (Assmann,
2006: 74-81). In the Netherlands, this memory was actively repressed by the Dutch

1
Benjamin committed suicide during his flight from the Nazis, while Halbwachs died in the
concentration camp Buchenwald.
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government during the first few decades after the war. In the 1980s, the Holocaust
became an ethical imperative and central to the memory of the war (van Vree, 1995:
89-115). In contemporary Holland most people are aware of the atrocities that took
place during World War II. The memory of the war is not direct but mediated by a
culture infused with this traumatizing episode. This postmemory (Hirsch, 1997;
Hirsch, 2008: 103-128), prosthetic memory (Landsberg, 2004) or cultural memory
(Assman, 1992) is the result of a web of iconic photographs, Hollywood movies,
museum, memorials, and other cultural practices that western subjects are exposed
to.
2
Each new practice elaborates on this network of shared memories: it both refers
to this web and has the power to add something or even revise it. A visit to Birkenau
might not provide you with new facts, but it can be a meaningful and emotional
experience that charges the knowledge of the Holocaust you acquired through
education and reading books. Inspired by Walter Benjamins notion of aura,
3
Aleida
Assmann calls these sites of terror auratic contact zones (Assmann, 1999: 337-339). It
is auras paradoxical nature of being close and yet separated from the authentic place
that makes these sites of terror so expressive and irreducible. They therefore have a
special place in the network of mediated memories. Halbwachs referred to this
network as a collection of collective memories without observing that the act of
remembering is a process in the present. Ann Rigney writes:
Whether a private or a collective matter, recollection is not a matter of stable
memories that can be retrieved like wine bottles from a cellar or,
alternatively, that can be lost in transit. Instead, it is an active and constantly
shifting relationship to the past, in which the past is changed retrospectively in
the sense that its meaning is changed (Rigney, 2005: 17).
The memory of the Holocaust is not suitable for inconsequential and playful flnerie,
but appeals to a meaningful, emotional and even ethical relationship to the past.
4
This

2
The overwhelming influence of the memory of the Holocaust is more common in some regions than
in others. I use the term western subject to refer to individuals that have been raised in a culture where
the memory of the Holocaust plays an essential role. As I have pointed out before, the recognition of
this memory was not always a given in the Netherlands, nor in other countries. For a comparison with
France and Poland, see Frank van Vree, "Auschwitz and the Origins of Contemporary Historical
Culture", Atilla Pk, J rn Rsen and J utta Scherrer (eds.), European History: Challenge for a Common
Future, Hamburg: Edition Krber-Stiftung, 2002, pp. 202-220. I do not argue that outside the western
world, the Holocaust is not remembered, or that every individual in the western world acknowledges
the memory of this historical event in equal measure.
3
She quotes Benjamin: We define the aura of the latter as the unique phenomenon of a distance,
however close it may be. (apud Assmann, 1999: 338; translation by Harry Zorn)
4
Aleida Assmann warned for the potential politicization of this ethical interpretation (Assmann, 2006:
79-81).
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is a memory that is performed rather than transmitted and can therefore maintain an
affective bond with the past. J ay Winter argues:
The performative act rehearses and recharges the emotion which gave the
initial memory or story imbedded in it its sticking power, its resistance to
erasure or oblivion. Hence affect is always inscribed in performative acts in
general and in the performance of memory in particular. (Winter, 2010: 12)
With this in mind, we can start to explore how the urban subject can interact with the
faade of the Hollandsche Schouwburg and how this can result in an affective and
meaningful performance of memory in the present.

Performing urban memory
According to the architect Aldo Rossi, monuments are important permanent urban
artifacts: they constitute the memory and therefore the soul of a city. These
monuments have somehow absorbed the historical events that have taken place at
these sites. Peter Eisenman explains:
For Rossi, the city is a theater of human events. This theater is no longer just a
representation; it is a reality. It absorbs events and feelings, and every new
event contains within it a memory of the past and a potential memory of the
future (Eisenman, 1982: 7).
A city cannot be designed as a whole and grows over time; monuments have an
important role in this process. They serve to bring the past into the present, providing
a past that can still be experienced (Eisenman, 1982: 6).
Unfortunately, Rossi does not explain how these monuments relate to people
and vice versa. My case study might help us to examine this dialectical relationship:
the Hollandsche Schouwburg is a good example of a monument that has absorbed an
historical event. It was built as a theater and not as a memorial. It still has both the
appearance and the name of the former theater that was housed here, besides some
minor changes. As such it is not a sign that can be interpreted, but an urban artifact
that was a stage of the Holocaust in the very fabric of the city, unlike the camps
outside of Amsterdam. The period that the theater functioned as a deportations center
overshadow both its pre- and postwar periods. If we want to test Rossis ideas, we
have to scrutinize how the urban memory of the Hollandsche Schouwburg can be
performed by the alert passerby. In order to do so, I will look at Mieke Bals
conceptualization of performance and performativity. In her chapter Performance and
Performativity, she argues that the viewer can be saddled with agency. This notion is
9
more suitable to the memory of this former deportation center than the semi-conscious
state of the intoxicated flneur.
Bal starts out with the difference between performance and performativity: the
former is an execution of an artwork, the latter is a theoretical concept connected to
language in the sense Austin introduced it (Austin, 1962). As such, they seem to be
wholly different. When we consider the role of memorizing and reiteration that a
rehearsal entails before we come to an actual performance, performativity is inserted
in the process. The two concepts are not the same, but they are connected. Austin
introduced performativity as [] the unique occurrence of an act in the here-and-
now. [] But as we have learned since then, performativity misses its effectivity if
the act is not cushioned in a culture that remembers what that act can do (Bal, 2002:
176). This culture resembles the network of mediated memories of the Holocaust that
a western subject has been exposed to as described above. Any new encounter with
the Holocaust is framed by a culture that has nurtured its remembrance. J ay Winter
argues that [] the performative act both describes a condition and recreates it.
Memories return to past experience but add their traces to the initial stories (Winter,
2010: 11).
Can we understand the interaction between the visitor and the faade of the
Hollandsche Schouwburg in terms of agency? Bal analyzes how an installation
artwork by Coleman turns the viewer into the performer. In this encounter, the viewer
is offered a script that he can decide to follow or not. The viewer is the agent of
performance. But, at the same time, the play performed by the viewer is not pre-
scripted, prescribed (Bal, 2002: 186). The viewer has an actual choice: he can
decline to interact with the work and therefore [] is given and saddled with
agency. [] The viewer who allows herself to be seduced into this play accepts to
perform the work (Bal, 2002: 207).

The faade of the Hollandsche Schouwburg as an affordance
Is there a script in the case of the faade of the Hollandsche Schouwburg that can be
followed or not? And in what sense is the urban subject required to follow this script,
or free to interact with this faade?
We can look at the term of affordance for a nuanced understanding of the
relationship between script and subject. This concept is a middle-ground between
determinism (the possible applications of an artifact is determined by its design) and
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social constructivism (the use an artifact is determined by its user). Ian Hutchby
explains:
Affordances are functional in the sense that they are enabling, as well as
constraining, factors in a given organism's attempt to engage in some activity;
for instance, walking, or hiding, photocopying a document, and so on. Certain
objects, environments or artefacts have affordances which enable the
particular activity while others do not. [...] The relational aspect, by contrast,
draws our attention to the way that the affordances of an object may be
different for one species than for another. Water surfaces do not have the
affordance of walk-on-ability for a lion or a crocodile, but they do for an insect
waterboatman (Hutchby, 2001: 448).
Affordances can be learned: an amateur photographer will not be able to use a camera
in the technical way of a professional photographer. And affordances can arise after
something was established: the television and telephone cables that are now used to
access the internet where there before internet even existed.
Rafael Lozano-Hemmer and Brian Massumi apply this concept to buildings.
The faade of a building is [] an affordance. (Lozano-Hemmer and Massumi,
2003: 32) They argue that most people know how to interact with generic types of
buildings, but at the same time need to learn how to use it. For instance, when a
faade tells the passerby he is standing in front of a shop, he knows he can enter
without asking for permission; when it is a private home, he will need to ring the
doorbell. It is built into our learned relationship to that generic building type
(Lozano-Hemmer and Massumi, 2003: 32). This affordance acts like a script: it tells
the passerby how he can or cannot interact with this building.
However, this does not always work that simple: not all faades function like
clear-cut signs. The Hollandsche Schouwburg, for instance, still looks like a theater in
spite of its current function. The only assistance that is provided comes from the blue
posters at the front with the sentence Geen voorstelling van te maken (scenes
beyond imagination).
5
An attentive passerby can read these posters and begin to
understand that he is not standing in front of a theater, but rather a site of memory.
There is an actual interaction between the subject and the object, rather than a
straightforward interpretation of urban signs. This relationship is both [] fusional
(an integral experience whose overall quality is attributable as much to touch and
other senses as to vision) and durational (presenting not just as an object but an

5
This title plays with the double meaning of the Dutch word voorstelling, which means both a
theatrical performance and imagination.
11
unfolding) (Lozano-Hemmer and Massumi, 2003: 31-32). The content of this
relationship is thus not predetermined, but rather unfolds in time. It is not despite the
fact that this faade suggests something different than what is offered, but rather
because of this initial confusion, that the passerby has to invest himself in
understanding this urban artifact.
The relation always arrives [] in advance of its next sequential unfolding. In
other words, its arrival is a promised event that has yet to occur: an
appointment with a known by not yet actually afforded outcome. To afford
oneself of the outcome is to eventuate the relationship, to perform it, to follow
through with its actual step-by-step unfolding (Lozano-Hemmer and Massumi,
2003: 32)

Conclusion
A city is not a collection of readable signs but rather a historically formed
environment of urban artifacts. Benjamins flneur recognized the palimpsest nature
of the city and tried to reconnect with the past through the present. The urban memory
of the Holocaust, however, presents us with a different kind of past: not one that is
playful and on the verge of extinction, but rather complicated and omnipresent in the
culture of the Netherlands. The memory of the Hollandsche Schouwburg is framed in
a larger network of mediated cultural practices.
Urban artifacts that are not designed as memorials can constitute the soul of
the city. These palimpsest monuments are auratic contact zones that enable the
inhabitants of a city to connect to a past that is always already distant. To interact with
a site of memory, a subject must be embedded in a culture that recognizes and
remembers the (historical) significance of such a site.
A visit to a concentration camp, such as Birkenau or Westerbork, is framed by
the conscious activity of going to such a site. You can prepare for what you are going
to see. Walking around in the city, however, does not necessarily provide such a
frame; because Amsterdam, like any city, is historically shaped, going to the bakery
around the corner is potentially a vertiginous experience. When an attentive
passerby crosses the Hollandsche Schouwburg without exactly knowing what it is, but
being fully aware of the horrors of the Holocaust, he might be seduced to look a
second and even third time. What is this theater doing here? And when he notices that
the faade is deceiving him, that he is actually standing in front of a site of terror, he
is saddled with agency. The affordance of this faade is an unfolding, rather than a
12
given. He is offered a choice: to acknowledge this interaction as part of the network of
mediated memories or to walk on unaffected. The fact that the faade covers up the
buildings history and inserts it as a normalized part of the everyday urban texture is a
reminder of the Nazis candid method: the J ews of Amsterdam were deported right in
front of the eyes of the Dutch population. The passerby is saddled with agency to
acknowledge and perform the memory of this site. The fact that this memory is not
simple represented or given, but must be performed, makes it a meaningful act of
memory and a potentially affective experience.

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