3 Review(s)

Analyzes not just Mueller's texts but also the theatrical events that emerged from them, showing that from the beginning of his career Mueller tried to create democracy both within and outside the theater.The East German playwright Heiner Mueller (1929-1995) is one of the most influential European dramatists and theater directors since Brecht. While critical literature on Mueller often discusses the politics of his works, analysis tends to stop at the level of the text, neglecting the theatrical events that emerge from it and the audiences for which it was written and performed. Situating his study within Mueller's interests in democracy and audience activity,Michael Wood addresses these gaps in scholarship, making an original contribution to the understanding of Mueller's work as playwright and director. In 1985, Mueller spoke of the importance of a "democratic" theater: one thatconfronts theatergoers with densely contradictory material that they must interpret for themselves, reflecting the complexity of material reality and encouraging them to question their participation in political life. Wood's studyshows that Mueller sought to do this in his combined 1988 production of Der Lohndruecker, Der Horatier, and Wolokolamsker Chaussee IV: Kentauren, staged at a time when questions of democracy were at the forefront of East German consciousness. It also demonstrates that from the beginning of his career Mueller tried to make theater that would create a form of democracy both within and outside the theater. Michael Wood is a British Academy Postdoctoral Fellow at the University of Edinburgh, where he received his PhD in 2014.