This article focuses on the designs for and staging of the play The Diary of Anne Frank (1955), and considers the ways in which the sets of the Secret Annex both documented and transformed the hiding place to convey its isolation and confinement to the audience. It also explores how the decoration and furnishings of Anne’s recreated bedroom reflected broader postwar-era cultural messages about coming of age, adolescent girls, and their material surroundings during that period. Published in English in 1952, Anne Frank: The Diary of a Young Girl chronicled the more than two years that Anne, her family, and four other Jews spent in hiding during World War II in an annex in Amsterdam during the Nazi occupation of the Netherlands. The success of the English-language book led to a theatrical adaptation by Frances Goodrich and Albert Hackett. Directed by Garson Kanin and with sets by Boris Aronson, the play opened on Broadway in 1955. Rooted in documentary-like details and based in large part upon a real space, the sets for The Diary of Anne Frank nevertheless reflect aesthetic choices firmly situated in postwar US discourse.

中文翻译：

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安妮·弗兰克的日记：为青少年设计的秘密附件和设计

本文重点介绍戏剧《安妮·弗兰克日记》（1955 年）的设计和舞台表演，并考虑秘密附件的场景记录和改造藏身之处以向观众传达其孤立和禁闭的方式。它还探讨了安妮重建的卧室的装饰和家具如何反映了更广泛的战后文化信息，包括那个时期的成年、青春期女孩和她们的物质环境。1952 年以英文出版的《安妮·弗兰克：一个年轻女孩的日记》记载了二战期间安妮、她的家人和其他四名犹太人在纳粹占领荷兰期间躲藏在阿姆斯特丹的一个附属建筑中的两年多时间. 这本英文书的成功促成了弗朗西斯·古德里奇和阿尔伯特·哈克特的戏剧改编。