Jump to ContentJump to Main Navigation
Performing the TestimonialRethinking Verbatim Dramaturgies$
Users without a subscription are not able to see the full content.

Amanda Stuart Fisher

Print publication date: 2020

Print ISBN-13: 9781526145741

Published to Manchester Scholarship Online: May 2021

DOI: 10.7765/9781526145758

Show Summary Details
Page of

PRINTED FROM MANCHESTER SCHOLARSHIP ONLINE (www.manchester.universitypressscholarship.com). (c) Copyright Manchester University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSO for personal use.date: 27 September 2021

Germany and the pre-histories of contemporary verbatim theatre: Piscator, Hochhuth and Weiss

Germany and the pre-histories of contemporary verbatim theatre: Piscator, Hochhuth and Weiss

(p.29) 1 Germany and the pre-histories of contemporary verbatim theatre: Piscator, Hochhuth and Weiss
Performing the Testimonial

Amanda Stuart Fisher

Manchester University Press

This chapter interrogates the much-contested notion that verbatim theatre is defined by its claims of truthfulness understood as factualness; it does so by exploring the influence of German director Erwin Piscator on the development of documentary theatre in the first part of the twentieth century. Beginning with Piscator’s early documentary theatre work, where character was structured as an emblematic figure that tended to be representative of the proletariat, this chapter examines how Piscator’s approach to documentary theatre was informed by his exile in America in the 1930s and his growing interest in psychological realism and the Stanislavski-influenced Method he encountered there. Through an exploration of The Deputy (Hochhuth, 1963) and The Investigation (Weiss, 1965), both of which were directed by Piscator, the chapter traces how documentary theatre moved away from representations of social reality and shifted instead towards approaches rooted in truth-telling where the culpable were called to account. Positioning The Deputy and The Investigation as part of a pre-history of contemporary verbatim theatre, the chapter argues that these plays established dramaturgical strategies that engaged in forms of interrogatory truth-telling that emerged, not from a re-enactment of the real, but from a fidelity to the witness and the event.

Keywords:   Erwin Piscator, event, German documentary theatre, Peter Weiss, Rolf Hochhuth, truth

Manchester Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.