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 eu Modernism within the moment half the 20 th century. Combining exploratory aesthetic openness with an uncompromising moral force, Weiss's literary works, specially the performs Marat/Sade (1964), The research (1968), and Holderlin (1971), in addition to the unconventional The Aesthetics of Resistance (1975-81) proceed to supply important issues of reference for any dialogue of tradition and politics in our instances. Berwald's learn serves as a finished creation to Weiss's paintings and imaginative and prescient. The introductory bankruptcy outlines Weiss's existence and paintings in exile. 3 chapters offer targeted discussions of Weiss's theater paintings, from his early ugly performs and the documentary dramas from the Sixties that deal with Auschwitz, Angola, and Vietnam, to his most complicated performs during which intellectuals are staged as outsiders. the following 4 chapters talk about Weiss's prose works, which come with his autobiographical novels from the early Nineteen Sixties, essays and notebooks on paintings and politics, and his summum opus, The Aesthetics of Resistance.
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Extra info for An Introduction to the Works of Peter Weiss (Studies in German Literature Linguistics and Culture)
The war, however, continued, and the United States emerged as communist Vietnam’s main enemy until 1975. Despite their technologically much more advanced military machinery, which not only heavily bombed the whole country for years, but which also committed war crimes against civilians, the United States lost the war. It should be noted that Weiss’s partisan perspective prevented him from addressing the fact that both sides committed war crimes. In 1976, Vietnam was reunited. Weiss is not the only playwright who wrote a drama about the Vietnam wars while they were still continuing.
14–15) Another critique is aimed at Trotsky’s belief in the necessity of a strong party apparatus. Machajski warns him that the bureaucracy and hierarchy of a party will become a goal in itself and corrupt the revolutionary ideals by perpetuating the exploitation of the many by a selfappointed elite. Trotsky, however, dismisses Machajski’s doubts as out19 dated and equals progress with scientific organizational work. Passages like this, which call for open discussions of the best way to realize revo- 40 E STAGING WRITERS AS OUTCASTS lution, have contributed to the aggressive reaction to Weiss’s play by the Eastern bloc countries.
174) In the eleventh scene, the patients and inmates excessively enjoy their pantomimic depiction of a series of executions. When Coulmier stands up, the second prisoner in Sade’s play is beheaded, and the institution’s stage becomes the venue of a brief ballgame. Sade again ignores Coulmier’s protest (175–76). The following scene, titled “Gespräch über Tod und Leben,” shows the first dialogue between Sade and Marat. Sade postulates the cruel indifference of nature towards any form of violence, from murder and torture to the possible complete eradication of mankind.
An Introduction to the Works of Peter Weiss (Studies in German Literature Linguistics and Culture) by Olaf Berwald