Abstract

This study delineates the fundamental principles of Heiner Müller's revolutionary poetic project and, in detailed analyses of three recent plays, shows how these strategies are realized in specific discursive structures of his texts. Heiner Müller, arguably the most important German playwright since Brecht, is seen to undermine both bourgeois and orthodox socialist models of drama, history, and revolution, and to create a new dramatic discourse of anonymous voices hitherto excluded from aesthetic production.