BERLIN — Seven young actors come barreling down a ramp on the stage of the Maxim Gorki Theater.
“Do you believe in God?” they bellow. “Do you know the Fifth Commandment?”
But they quickly switch to talking about Instagram, YouTube, political correctness and the rise of the far right in Germany.
It’s a jarring mix of the historical and the contemporary in Nurkan Erpulat’s new production of “Youth Without God,” based on the 1937 novel by Odon von Horvath, the prolific writer whose books and plays about everyday existence in the shadow of fascism have had a new lease on life.
It may come as a surprise that one of the most popular playwrights throughout the German-speaking world nowadays has been dead for 80 years.
But in recent seasons, European directors have rushed to rediscover Horvath, who chronicled the struggles of ordinary people during a time of political menace and social uncertainty that some have compared to our own. New York will soon get rare a taste of his writing, too.
Horvath, born in 1901 in a part of Austria-Hungary that is now Croatia, spent his early life crisscrossing the empire, from Budapest to Vienna to Bratislava. He later lived in Germany, which he fled for Austria after the Nazis took power in 1933. Following the Anschluss in 1938, he fled, again, this time to Paris. That same year he was killed during a storm by a falling tree branch. He was 36 years old.
Of all of Horvath’s work, “Youth Without God,” about a young high school teacher who watches as his students slip into the brutal conformity of Nazi ideology, has acquired fresh relevance in our own age of anxiety. Horvath’s morally astute observations have earned him comparisons to Brecht and Camus. His exploration of individual responsibility and agency inside systems of violence and repression have made him a go-to author for people struggling to make sense of a world under threat by resurgent nationalism, social atomization and environmental catastrophe.
Working from a new stage adaptation by the young Swiss writer Tina Müller, Mr. Erpulat’s production of “Youth Without God” shifts the perspective from the unnamed teacher — the book’s narrator — to the students, who speak about their values, desires, frustrations and fears.
In the novel, the teacher is denounced for telling his class that, contrary to what radio broadcasts have taught them, black people are human beings. In a particularly effective update, actors in the Gorki’s production discuss an online portal set up last year by the far-right party Alternative for Germany, where students could rat out teachers who criticize it.
Mr. Erpulat, a Turkish-born resident director at the Gorki, said in an interview that he didn’t want the “youth” of the play’s title to seem like brainwashed cogs in a wheel.
“What the teacher does for much of the book is try to shift blame onto the next generation,” Mr. Erpulat said during a rehearsal break. “It’s something I remember my parents’ generation doing with me, and now we’re doing it with the next generation.”
“And this tendency to shift accountability is what Horvath is holding up to scrutiny,” he said.
Other directors have been drawn to Horvath’s works because they have the texture of lived experience.
“He knew the milieus he was writing about,” said Zino Wey, a young Swiss director who recently directed “Youth Without God” in Stuttgart, Germany. “It would be wrong to say that our situation nowadays is like Germany in the ‘30s, but for sure we are seeing some tendencies that make his literature and drama super up-to-date.”
Horvath, he added, “questions really big issues, like how you want to create society, how you understand the world, and what are the moments that cause us to fail?”
Michael Thalheimer, a German director who has staged Horvath’s “Faith, Hope and Charity” at the prestigious Burgtheater in Vienna, and “Tales from the Vienna Woods” at the Deutsches Theater in Berlin said he loved “the doomsday mood in Horvath.”
“Horvath said, ‘Stupidity never dies,’” Mr. Thalheimer said. “This will always be there in human relationships, in our thoughts, in our language. When you see how people behave nowadays, you realize nothing has changed.”
But Mr. Thalheimer said he still considered Horvath a humanist.
“You need to love human beings in order to create characters like Horvath did,” he said. “There must be some hope and love for these characters, despite their egoism and their stupidity.”
Horvath’s work is far less known — and his plays are far less produced — in the United States. But in December he’ll get a rare high-profile production in New York, where the British director Richard Jones will stage Horvath’s final play, “Judgment Day,” at the Park Avenue Armory.
Christopher Shinn, the Obie Award-winning playwright who is adapting “Judgment Day” for the Armory production, said in an email that Horvath “has an incredibly contemporary quality — his account of how we are driven psychologically just seems really compelling today.”
“He is deep but accessible, and political without being particularly ideological — he gives you very few, if any, places to feel safe and comfortable, or smart and enlightened, in his work,” Mr. Shinn said. “At the same time his work is quite funny, there’s a lot of humor in how honest he is about actual human behavior. So he’s deeply serious without being glum — there is a spark to his work even as it enters its most tragic zones.”
Mr. Shinn said that he also considered Horvath a keen diagnostician of group psychology and people’s “addiction to gossip, to scandal, to violence.”
“He grasped how dangerous our communal life can become when our primary values are superficial and sensation-based,” Mr. Shinn said.
While a sizable number of Horvath’s works have been dusted off and rediscovered in recent years, “Youth Without God” very much remains the play of the moment, given its explicit political overtones. The most eagerly awaited production is a new staging by the German director Thomas Ostermeier, expected at the Salzburg Festival this summer.
“It was my condition for working at the Salzburg Festival,” Mr. Ostermeier said recently in an interview at the Berlin Schaubühne, where he is the artistic director, “because of the government in Austria and the overall climate, the atmosphere in the country.”
“I do believe it’s even worse than in Germany,” he added, referring to the governing coalition in Austria between the conservative People’s Party and the far-right Freedom Party, which was founded by ex-Nazis in the 1950s.
“I wanted to do this play and nothing else,” he said.B:
六合猜谜语【那】【女】【人】【不】【甘】【心】【地】【咬】【了】【咬】【唇】，【做】【出】【一】【副】【自】【以】【为】【很】【了】【解】【宋】【轻】【染】【的】【样】【子】，【又】【说】【道】： “【慕】【太】【太】，【您】【不】【必】【这】【样】【仇】【视】【我】。【世】【上】【没】【有】【不】【偷】【腥】【的】【男】【人】，【就】【算】【不】【是】【我】，【也】【会】【是】【别】【人】。” 【她】【话】【音】【一】【转】：“【何】【况】【您】【和】【慕】【总】【是】【因】【为】【家】【族】【联】【姻】【才】【在】【一】【起】【的】，【一】【点】【感】【情】【基】【础】【都】【没】【有】，【两】【个】【人】【互】【不】【干】【涉】，【各】【玩】【各】【的】，【难】【道】【不】【好】【吗】？” 【这】【话】【听】【起】
【江】【如】【练】【揉】【了】【揉】【苏】【澄】【的】【短】【发】，【笑】【道】：“【看】【大】【夫】？” “【是】【啊】，【天】【天】【晚】【上】【梦】【见】【男】【人】，【我】【还】【以】【为】【我】【精】【神】【出】【问】【题】【了】【呢】！” 【苏】【澄】【笑】【着】，【杏】【目】【中】【带】【着】【樱】【花】【般】【淡】【粉】【的】【娇】【羞】。 【现】【在】【江】【如】【练】【给】【她】【的】【感】【觉】，【没】【有】【那】【么】【疏】【远】，【也】【不】【再】【觉】【得】【那】【么】【神】【秘】。 【就】【像】【是】【空】【气】【与】【阳】【光】，【无】【时】【无】【刻】【的】【存】【在】，【平】【淡】【却】【又】【是】【苏】【澄】【心】【里】【最】【重】【要】【的】【无】【法】【缺】【少】
“【王】【师】【傅】，【我】【要】【五】【个】【青】【面】【馒】【头】、【两】【个】【黄】【面】【包】【子】。”**【驾】【轻】【就】【熟】【的】【说】【道】。 “【清】【瑶】【妹】【妹】【你】【要】【吃】【什】【么】？”**【这】【才】【想】【起】【给】【清】【瑶】【点】【吃】【的】。 【清】【瑶】【说】【道】，“【那】【我】【也】【要】【一】【个】【青】【面】【馒】【头】【吧】。” “【一】【个】【够】【吃】【吗】？【会】【不】【会】【少】【了】？”**【问】【道】。 【清】【瑶】【点】【点】【头】【道】，“【够】【了】，【我】【人】【小】。【吃】【不】【了】【多】【少】【东】【西】。” **【拿】【着】【几】【个】【馒】【头】
【双】【方】【打】【的】【旗】【鼓】【相】【当】，【采】【任】【突】【然】【停】【下】【来】，【没】【有】【过】【去】【帮】【忙】【的】【意】【思】。 “【老】【大】，【他】【们】【有】【一】【个】【星】【体】【镜】【高】【期】【强】【者】，【我】【们】【与】【他】【们】【合】【并】【肯】【定】【能】【够】【更】【加】【安】【全】，【为】【什】【么】【要】【停】【下】？【我】【们】【直】【接】【过】【去】【帮】【忙】【他】【们】【肯】【定】【会】【让】【我】【们】【加】【入】【他】【们】【队】【伍】【的】。” 【庄】【必】【大】【概】【猜】【到】【采】【任】【的】【心】【思】，【不】【就】【是】【怕】【合】【并】【以】【后】【他】【不】【能】【再】【主】【导】【大】【家】【吗】？【之】【前】【自】【己】【只】【是】【说】【谁】【都】【坑】【有】六合猜谜语【司】【徒】【端】【游】【刃】【有】【余】【的】，【和】【李】【小】【姐】【的】【秘】【书】【在】【那】【里】【进】【行】【周】【旋】。 【清】【雯】【则】【是】，【百】【无】【聊】【赖】【的】【看】【着】【李】【小】【姐】【画】【画】，【终】【于】【在】【司】【徒】【端】【和】【秘】【书】【快】【要】，【再】【也】【没】【有】【话】【说】【的】【时】【候】，【小】【姐】【画】【完】【了】。 【将】【自】【己】【画】【完】【的】【那】【一】【幅】【画】，【三】【两】【把】【扯】【下】【来】，【揉】【成】【一】【团】，【丢】【进】【了】【旁】【边】【的】【垃】【圾】【桶】，【清】【雯】【急】【忙】【伸】【出】【手】【去】，【却】【仍】【然】【没】【能】【拯】【救】【它】，【而】【李】【小】【姐】【似】【乎】【这】【时】【候】，【才】【发】
“【还】【没】【到】【地】【方】【吗】？” “【前】【面】【就】【是】！” “【我】【看】【此】【处】【风】【景】【甚】【好】，【可】【否】【让】【我】【独】【占】【这】【美】【景】【一】【会】【儿】?” “【啊】?【可】【是】【这】……” 【倾】【世】【月】【转】【身】【对】【王】【莱】【说】：“【不】【要】【让】【任】【何】【人】【来】【打】【扰】【我】，【拜】【托】【了】。” 【王】【莱】：“！” 【王】【莱】【瞬】【间】【鸡】【血】【状】【态】：“【好】【的】【没】【问】【题】！【绝】【对】【给】【你】【好】【好】【守】【着】【连】【只】【苍】【蝇】【都】【不】【可】【能】【放】【他】【通】【行】！！” “【哎】
【出】【于】【随】【便】【玩】【玩】、【反】【正】【闲】【着】【也】【是】【闲】【着】、【不】【想】【去】【大】【势】【力】【摸】【鱼】【等】【诸】【多】【心】【态】，【同】【时】【也】【是】【因】【为】【自】【己】【的】【建】【筑】【技】【术】【真】【的】【还】【不】【错】，【小】【楠】【并】【没】【有】【放】【过】【这】【篇】【帖】【子】。 【他】【联】【系】【了】【发】【帖】【人】，【也】【就】【是】Ender_Rain【留】【下】【的】QQ。 【然】【后】…… 【小】【楠】【永】【远】【不】【会】【忘】【记】【那】【个】【晚】【上】，【他】【打】【开】【电】【脑】，【登】【录】QQ，【输】【入】【从】【论】【坛】【抄】【下】【来】【的】QQ【号】，【点】【击】
【张】【孝】【嵩】【在】【何】【明】【远】【的】【带】【领】【下】，【进】【入】【了】【东】【曹】，【他】【身】【边】【只】【带】【了】【十】【几】【个】【卫】【士】，【鉴】【于】【上】【一】【次】【阿】【史】【那】【献】【被】【杀】【的】【教】【训】，【他】【把】【将】【军】【们】【留】【在】【了】【外】【面】，【一】【旦】【有】【难】，【何】【明】【远】【摄】【于】【城】【外】【的】【大】【军】，【也】【不】【敢】【轻】【举】【妄】【动】。 【进】【城】【之】【后】，【康】【茂】【真】【一】【直】【把】【手】【放】【在】【了】【刀】【把】【上】，【时】【刻】【警】【惕】【着】【身】【边】【的】【一】【切】。 【而】【何】【明】【远】，【却】【还】【是】【一】【副】【人】【畜】【无】【害】【的】【样】【子】，【和】【抵】【达】【安】【西】