511:(with Hilde Sochor as Grusche, Fritz Muliar as village judge Azdak and Kurt Sowinetz as Schauwa) earned "unanimous, almost demonstrative applause for Vienna's bravest theater" in 1964 (Ernst Lothar on April 27, 1964 in the "Express"). The "Salzburger Nachrichten" wrote: "If Brecht's banishment was interrupted for the first time with 'Mother Courage', it now seems to have been lifted with the 'Chalk Circle'" and "Die Bühne" called the performance a "theatrical event". The "Wiener Montag," however, still saw in the play "a pure Marxist doctrinal demonstration" and wrote: "After three hours of 'pleasure,' one left the theater ice-cold to the fingertips and disgusted by such political rallies on stage."
381:
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343:, who was a member of the directorate of the Salzburg Festival, he was granted Austrian citizenship in Salzburg on April 12, 1950. The Austrian public, however, was not informed and when it became known through an indiscretion in the fall of 1951, a storm of protest ensued. Brecht had been living in East Berlin since 1948 and was considered a sympathizer of the East-German Communist regime.
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with Helene Weigel, Ernst Busch and Otto Tausig, a re-staging of the Berlin
Ensemble's production from January 1951. Shortly before the premiere, the Theaterfreunde, Scala's audience organization, organized another Brecht evening in which the choir of Brown-Boveri, a Soviet-administered company, sang
538:
On
December 14, 1958, as part of a guest performance by the Deutsches Theater Berlin, an evening of songs and recitations was held at the Vienna Konzerthaus. The Brecht matinee included "Songs. Poems. Stories." which had been performed for the first time in Berlin on February 10, 1957. The majority
445:
When the
Communist Party stopped financial support for La Scala after the withdrawal of the Soviet occupying powers, the theater had to close in 1956. Karl Paryla played the title role in Brecht's Life of Galileo one last time at La Scala in 1956. Paryla, his wife Hortense Raky, the Scala director
433:
Only the New
Theater at La Scala, an ensemble of returned émigrés and committed anti-fascists (many of them communists), located in the Soviet occupation sector of Vienna, devoted itself to Brecht's plays. In 1953, under the artistic direction of Bertolt Brecht himself, Manfred Wekwerth staged
408:
After a performance of Brecht's "Mother
Courage and Her Children" at the Graz Opera House on May 30, 1958, FORVM offered thirteen Brecht opponents a platform under the title "Should Brecht be Played in the West?" Hans Weigel demanded that theaters must avoid Brecht and Friedrich Torberg argued
545:
In the
Federal Republic of Germany, too, a Brecht boycott was propagated intermittently in 1953 and after the building of the Berlin Wall in 1961, but it did not catch on. The Munich critic Joachim Kaiser called the Austrian "Brecht boycott" a "remarkable journalistic triumph.
393:. Brecht's dismissive attitude toward the June 17, 1953 uprising in the GDR, whose violent suppression by Soviet troops he apparently approved of, strengthened the front of his Western opposition. In mid-1953, Brecht declared his solidarity with the SED in a letter to
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and most recently because of the building of the Berlin Wall. The performance was a gamble; the press spoke of a "blockade breaker" premiere on
February 23, 1963 (with Dorothea Neff, who was awarded the Kainz Medal for her performance, in the title role,
404:
In 1954, Hans Weigel and
Friedrich Torberg launched a campaign against Brecht performances in Vienna. In the political-literary magazine FORVM (whose sponsor at the time was the CIA field organization "Congrès pour la Liberté de la Culture").
351:, governor of Salzburg, for "undermining the Festival." At a meeting of the Salzburg Festival Board of Trustees on October 31, 1951, Klaus insulted von Einem as a "disgrace to Austria" and a "liar" and demanded his immediate dismissal.
539:
of the
Viennese press kept quiet about the concert. In the Volksstimme, the central organ of the Austrian Communist Party, Edmund Theodor Kauer took the Brecht evening as an opportunity to criticize the continuing Brecht boycott."
362:). Other newspapers spoke of the "devil's poet," the "literary spawn," and "the greatest cultural scandal of the Second Republic." Brecht was now discredited in Austria's official cultural scene, and a collaboration with the
388:
In the climate of the Cold War, a polemical media campaign had raged against Brecht's work and person, making it almost impossible for
Viennese theaters to perform his plays. They were dismissed as propaganda for the
748:
Quoted in: Michael Hansel: … ein Lackerl Geifer zu erzeugen. In: Marcel Atze, Marcus G. Patka (Hrsg.): Die Gefahren der ‚Vielseitigkeit‘. Friedrich Torberg 1908–1979. Jüdisches Museum Wien, Holzhausen 2008, p.
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As late as 1973, in the course of the Forum Stadtpark's split from the Austrian P.E.N. Club, Alfred Kolleritsch and Klaus Hoffer called Friedrich Torberg a "Brecht-blocker" and "CIA protégé" in the magazine
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The leading theaters, above all the Vienna Burgtheater and the Theater in der Josefstadt, henceforth refused to play Brecht. Gottfried von Einem was expelled from the Festival Board at the instigation of
281:
Bertolt Brecht's plays were rarely performed in Vienna in the 1920s and 1930s, and even immediately after the Second World War there were only occasional productions of his dramas. In 1946, for example,
668:
Thomas Eickhoff: Politische Dimensionen einer Komponisten-Biographie im 20. Jahrhundert – Gottfried von Einem. Beihefte zum Archiv der Musikwissenschaft, Vol. XLIII, 1998.
412:
The theater magazine "Die Bühne" joined in the anti-Brecht campaign by printing the refusals of theater directors Franz Stoß and Ernst Haeussermann to play Brecht.
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Manfred Mugrauer: Ernst Busch in Wien. In: Mitteilungen der Alfred Klahr Gesellschaft. vol. 17, no. 4, December 2010, pp. 1–13, online at: klahrgesellschaft.at.
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Günther Nenning: Warum Brecht im Westen gespielt werden soll. Zur Aufführung der „Mutter Courage“ im Grazer Schauspielhaus. In: FORVM, vol 5, no. 54, 1958.
470:. His theater was even offered money to cancel the show. The production had previously been postponed several times, first due to the illness of actress
339:
Brecht was stateless after the National Socialists revoked his German citizenship in 1935. A scandal ensued when, on the recommendation of the composer
257:, his work was boycotted for ten years. Between 1953 and 1963, no established Viennese theater performed his works. The initiators were the publicists
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Torberg and Weigel accused Scala of staging allegedly "communist tendency plays". The actors were dubbed "communist agents" by Hans Weigel.
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1966 saw Brecht's first performance at Vienna's Burgtheater, Life of Galileo directed by Kurt Meisel with Curd Jürgens in the title role.
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songs composed by Hanns Eisler. However, "Scala" was boycotted by the press and became a battle site in the cultural Cold War in Austria.
425:, were denounced as "crypto-communists." In return, Heer called Hans Weigel a "little McCarthy," which earned him a conviction for libel.
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failed, although Brecht had been envisaged by Gottfried von Einem to lead a "renewal of the Festival" and had been planning a "counter-
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McVeigh, Joseph (2015). "The Cold War in the Coffeehouse: Hans Weigel and His Circle of Writers in the Café Raimund".
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Wolfgang Heinz and the actress Erika Pelikowsky then found a new artistic home at Brecht's own theater in Berlin, the
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There were isolated exceptions to the Brecht boycott at theaters outside of Vienna. The Graz Opera House performed
138:
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Joachim Kaiser: Heißer Krieg gegen kühle Dramen. Zu Torbergs Anti-Brecht-Thesen. In: Der Monat, vol. 14, 1961.
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Manfred Scheuch: Mit vollen Hosen. In: derstandard.at. 11 August 2006, referenced on 7 November 2020.
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418:, on the other hand, advocated a performance of Brecht's works in FORVM despite certain misgivings.
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609:"Der Brecht-Boykott. Als Kommunist verpönt." In: oe1.orf.at, 16 August 2006, seen 7 November 2020.
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on May 30, 1958. At the Salzburg Landestheater, Fritz Klingenbeck dared to perform Brecht's
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Edmund Theodor Kauer: Das Brecht-Ensemble in Wien. In: Volksstimme, 16 December 1958.
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Friedrich Torberg: Dreierlei Theater. In: FORVM, vol. 5, no. 55/56, July/August 1958.
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505:(1968) at the Volkstheater, thus setting a reappraisal of Brecht's work into motion.
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as the army chaplain, Hilde Sochor as Yvette, Kurt Sowinetz as the canvasser, and
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Hans Weigel lecturing in the Vienna Hofburg on the occasion of the 1974 Book Week.
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815:. Evelyn Schreiner, Ulf Birbaumer, Volkstheater. Wien: J & V. 1989.
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Headlines included "Cultural Bolshevik Atomic Bomb Dropped on Austria" (
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In the 1962/63 season, Vienna's Volkstheater, under the direction of
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As part of an anti-communist campaign in Austria against the author
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Heißer Krieg gegen kühle Dramen. Zu Torbergs Anti-Brecht-Thesen
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Spurensuche Vater : Bühnenbildner, Regisseur, Prinzipal
450:, since there were no more engagements for them in Austria.
358:) and "Who Smuggled the Communist Horse into German Rome?" (
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in 1960. In 1963, the State Theater of Linz also performed
767:. Paulus Manker (2. Aufl ed.). Wien: Amalthea. 2010.
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vehemently against "softening" the anti-Communist front.
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Vom Boykott zur Anerkennung : Brecht und Österreich
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100 Jahre Volkstheater : Theater, Zeit, Geschichte
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Vom Boykott zur Anerkennung. Brecht und Österreich.
152:. Unsourced material may be challenged and removed.
421:The few voices that opposed the boycott, such as
861:[Brecht drama at Vienna's Burgtheater].
567:Löcker, Wien / München 1983, ISBN 3-85409-064-1.
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53:Learn how and when to remove these messages
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212:Learn how and when to remove this message
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865:(in German). 30 October 1966
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429:The New Theater at La Scala
304:was the director. In 1948,
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314:at Vienna's La Scala with
161:"Brecht boycott in Vienna"
16:Boycott in Cold War Vienna
684:. München: LangenMüller.
525:The Good Person of Sezuan
503:The Good Person of Sezuan
298:Theater in der Josefstadt
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