Act I Scene Analysis of 'The Diary of Anne Frank'

Act I

Scene 1

 [The scene remains the same throughout the play. It is the top floor

of a warehouse and office building in Amsterdam, Holland. The

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sharply peaked roof of the building is outlined against a sea of other

rooftops, stretching away into the distance. Nearby is the belfry of a

church tower, the Westertoren, whose carillon1

 rings out the hours.

Occasionally faint sounds float up from below: the voices of

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children playing in the street, the tramp of marching feet, a boat

whistle from the canal.

The three rooms of the top floor and a small attic space above are

exposed to our view. The largest of the rooms is in the center, with

two small rooms, slightly raised, on either side. On the right is a

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bathroom, out of sight. A narrow steep flight of stairs at the back

leads up to the attic. The rooms are sparsely furnished with a few

chairs, cots, a table or two. The windows are painted over, or

covered with makeshift blackout curtains.2

 In the main room there is

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a sink, a gas ring for cooking and a woodburning stove for warmth.

The room on the left is hardly more than a closet. There is a skylight

in the sloping ceiling. Directly under this room is a small steep

stairwell, with steps leading down to a door. This is the only entrance

from the building below. When the door is opened we see that it has

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been concealed on the outer side by a bookcase attached to it.

The curtain rises on an empty stage. It is late afternoon,

November 1945.

The rooms are dusty, the curtains in rags. Chairs and tables are

overturned.

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The door at the foot of the small stairwell swings open. Mr. Frank

comes up the steps into view. He is a gentle, cultured European in his

middle years. There is still a trace of a German accent in his speech.

He stands looking slowly around, making a supreme effort at

self-control. He is weak, ill. His clothes are threadbare.

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After a second he drops his rucksack on the couch and moves slowly

about. He opens the door to one of the smaller rooms, and then

abruptly closes it again, turning away. He goes to the window at

the back, looking off at the Westertoren as its carillon strikes the

hour of six, then he moves restlessly on.

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From the street below we hear the sound of a barrel organ3

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children’s voices at play. There is a many-colored scarf hanging

from a nail. Mr. Frank takes it, putting it around his neck. As he

starts back for his rucksack, his eye is caught by something lying on

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the floor. It is a woman’s white glove. He holds it in his hand and

suddenly all of his self-control is gone. He breaks down, crying.

1

1. carillon (KAR uh lon) n. set of

bells, each producing one note

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of the scale.

2

2. blackout curtains dark curtains

that conceal all lights that

might be visible to bombers

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from the air. 3

4

5

6

7

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8

3. barrel organ mechanical 9

musical instrument often

played by street musicians in

past decades.

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NOTES

CLOSE READ

ANNOTATE: Mark details in

paragraphs 1–5 that describe

the dimensions, or sizes, of the

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various rooms.

QUESTION: Why do the

playwrights note these details of

the setting?

CONCLUDE: What is the effect

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of these details?

102 UNIT 2 • The Holocaust

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NOTES

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We hear footsteps on the stairs. Miep Gies comes up, looking for

Mr. Frank. Miep is a Dutch girl of about twenty-two. She wears a

coat and hat, ready to go home. She is pregnant. Her attitude

toward Mr. Frank is protective, compassionate.]

Miep. Are you all right, Mr. Frank?

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Mr. Frank. [Quickly controlling himself] Yes, Miep, yes.

Miep. Everyone in the office has gone home . . . It’s after six.

[Then pleading] Don’t stay up here, Mr. Frank. What’s the use

of torturing yourself like this?

Mr. Frank. I’ve come to say good-bye . . . I’m leaving here,

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Miep.

Miep. What do you mean? Where are you going? Where?

Mr. Frank. I don’t know yet. I haven’t decided.

Miep. Mr. Frank, you can’t leave here! This is your home!

Amsterdam is your home. Your business is here, waiting for

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you . . . You’re needed here . . . Now that the war is over,

there are things that . . .