By John J. White
Brecht's Furcht und Elend des Dritten Reiches (Fear and distress of the 3rd Reich) provides a compelling documentary photo of lifestyles in Nazi Germany. shut readings of person scenes are observed via an in depth research in their function in the play's total constitution. opposite to the idea that it's a paintings of Aristotelian realism, Brecht is proven to hire covert alienation units which are a vital part of his literary crusade opposed to 3rd Reich Germany. this primary research in English almost about Brecht and fascism bargains a corrective to the overconcentration at the play's inventive elements. It considers Brecht's courting to the preferred Front's crusade opposed to the nationwide Socialist regime. awareness is paid to the play's genesis, and in relation to the English model from Brecht's exile interval, the non-public lifetime of the grasp Race, to the partial shift in concentration from the 3rd Reich of 1933-38 to the conflict anticipated within the unique Furcht und Elend cycle. The play's vital subject of resistance, its propaganda price, and its political and creative reception are addressed inside their ancient and ideological framework. the result's a demanding review of the play's strengths and barriers as a reaction to German totalitarianism.
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Additional info for Bertolt Brecht's Furcht und Elend des Dritten Reiches: A German Exile Drama in the Struggle against Fascism (Studies in German Literature Linguistics and Culture)
Strictly speaking, it was none of these in Brecht’s case, either at the time of writing Die Maßnahme or that of the Washington hearing. The generic conception of fascism to which Brecht initially subscribed was virtually unknown in the West and was certainly not shared by any of the USSR’s former Second World War allies. According to the Bolshevik interpretation of fascism strictly adhered to by the Moscow-based Comintern at the time when Brecht was working on Furcht und Elend, National Socialism (or “German fascism,” as it was called in the Soviet Union) was not simply ruthless Late Capitalism with the gloves finally off.
Rekonstruktion einer Versuchsreihe (Bonn: Bouvier, 1983), 78. ” Die Deutschen und die Judenverfolgung, 1933–1945 (Munich: Siedler, 2006), 31. 27 THE HISTORICAL CONTEXT OF THE FURCHT UND ELEND PROJECT 21 Targeting a more ambitious audience than Brecht could have ever hoped for, either in Europe or America, the Deutschland-Berichte were in theory expected to provide reliable eyewitness reports on the current political climate and major socio-political developments in Third Reich Germany. At the point of circulation, what the Sopade reports usually offered was a digest of prepared written responses to detailed questionnaires forwarded by Sopade border agents (“Grenzsekretäre”) in the regions adjacent to Nazi Germany.
Selected scenes from Furcht und Elend received even more specific framing when they appeared under the umbrella title The Private Life of the Master Race: A Documentary Play, although “Konkretisierung” and “documentary” are by no means synonymous concepts. Although the material has been concretized, there are few literal “documents” in either Furcht und Elend or The Private Life. There is arguably less proper documentation in these depictions of the Third Reich than in Arturo Ui. True, the Nazi lead- 38 See Chapter Eight (“Das dokumentarische Drama”) of Erwin Piscator, Das politische Theater (Reinbek bei Hamburg: Rowohlt, 1963), 70–77.