The article examines two phases in JOHANNES R. BECHER’S response to the Russian Revolution and its aesthetic consequences, by looking at the two versions of his play Arbeiter Bauern Soldaten (Workers Peasants Soldiers; 1919/1924). In the first phase, BECHER expresses his enthusiasm for the revolution and combines communist ideology with the expressionistic pathos of awakening into a new and groundbreaking future. In the second phase, the topic of the Russian Revolution is, paradoxically, more autobiographically-shaped, and it is accompanied by stronger arguments in support of collectivism.
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