"Aber dies ist nichts für Deutschland, das weiß und fühle ich"

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The book explores the evolution of German-language drama post-1945, beginning with an introduction to key trends. It discusses the philosophical perspectives of Karl Jaspers and Theodor W. Adorno on guilt, followed by analyses of significant works by Günther Weisenborn, Carl Zuckmayer, and Wolfgang Borchert. The narrative then shifts to "Eli," a mystical play reflecting Israel's suffering, examining its exile context, poetic foundations, and various interpretations, including its reception as a radio play and theatrical performance. Next, "Abram im Salz" is analyzed as an embodiment of total theater, detailing its creation and poetic significance. The discussion continues with "Nachtwache," addressing its origins and themes of guilt, alongside Jörg Herchet's operatic adaptation. "Simson fällt durch Jahrtausende" is examined in the context of 1950s and 60s theater, focusing on total theater's role in depicting societal disintegration. The transition from total theater to mimetic scenes in Nelly Sachs' work is explored, highlighting the crisis-driven poetics of fragmentation and the role of dance. The text delves into intertextualities among Sachs, Luigi Nono, and Heiner Müller, emphasizing music's integral role in their narratives. Finally, unpublished scenes from Sachs' dramatic legacy are described, concluding with reflections on the overarching themes and connections within the works discussed.