By Olaf Berwald

The performs and prose works of the German author, director, and political activist Peter Weiss (1916-1982) have been immensely influential within the shaping of ecu Modernism within the moment 1/2 the 20 th century. Combining exploratory aesthetic openness with an uncompromising moral force, Weiss's literary works, specifically the performs Marat/Sade (1964), The research (1968), and Holderlin (1971), in addition to the radical The Aesthetics of Resistance (1975-81) proceed to supply important issues of reference for any dialogue of tradition and politics in our occasions. Berwald's learn serves as a complete creation to Weiss's paintings and imaginative and prescient. The introductory bankruptcy outlines Weiss's existence and paintings in exile. 3 chapters offer specific discussions of Weiss's theater paintings, from his early ugly performs and the documentary dramas from the Sixties that handle Auschwitz, Angola, and Vietnam, to his most intricate performs during which intellectuals are staged as outsiders. the next 4 chapters speak about Weiss's prose works, which come with his autobiographical novels from the early Sixties, essays and notebooks on artwork and politics, and his summum opus, The Aesthetics of Resistance.

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Trotsky is examined by a doctor, whose cynical comments indicate that he has connections to Stalin’s secret service. From the stage background, a long scene from the Stalinist Moscow show trials emerges. The final two scenes of the play, “Das Testament” (The Last Will) and “Die Hinrichtung” (The Execution), show the last days of Trotsky’s Mexican exile. As is the case throughout the play, discussions with befriended intellectuals, artists, and activists form the center of the drama. The painter Diego Rivera and the writer and founder of surrealism, André Breton, visit Trotsky, who has just survived an assassination attempt.

23 “Auf keinen Fall dürfen mit Schminke und Maskierung Wechsel von europäischer zu afrikanischer Rolle, und umgekehrt, gezeigt werden. Die Schauspieler, gleich welche Hautfarbe sie haben, sprechen abwechselnd für Europäer und Afrikaner. Nur in ihrer Spielweise nehmen sie Stellung zu den Konflikten. [. ” 24 “Natürlich bin ich als fortschrittlicher Mann / dafür daß jeder sich entwickeln kann / Juana die Zeitung [. ] / [. ” 26 “Bei Nacht umzingelten die Truppen das Dorf / [. ” 27 See for example 261; 254.

Vom Kasper-Spiel wäre hier das Grobschlächtige, Possenhafte zu entnehmen, die starken Effekte, das laut Herausgerufene, oft falsch Betonte, das Aggressive und Grauenhafte unter der scheinbaren Lustigkeit. Vom Kabuki-Theater die akrobatische Beherrschtheit der Bewegungen, das Unnaturalistische, die verfremdete Stimmenbehandlung [. ]” 25 Werke 4, 263: “Sehr wichtig ist die Musikbegleitung. [. ” 26 Werke 4, 262–63: “[. ] vielmehr soll das Böse, Gehässige, Geängstigte und Verschlagene herauskommen [.

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