Borchert: the voice of the generation, "In the street before...

Borchert: the voice of the generation

Wolfgang Borchert (1921 - 1947) was the first writer from the "generation of returners" who claimed to be piercing and talented. A man of great talent, personal courage and a tragic part, he passed away at the age of 26 without learning about the famous glory that came to him posthumously.

The son of the teacher and writer, Borchert early expressed his poetic talent and even made his way to the press, although at the age of 18 he first met the Gestapo, was arrested, but was released because of a lack of evidence. At the same time, an artistic gift was revealed in him, but he did not have time to develop: Borchert was mobilized in the Wehrmacht, took part in the battle near Moscow, was wounded, got to the infirmary, and thence again into the Gestapo paws on charges of self-shooting. This was punishable by death. Borchert spent a painful hundred days awaiting execution, after which he was released and sent to the front for a "redemption of guilt". There he was frostbitten, got jaundice and was no longer suitable for drill. For some time he worked in the front theater and was arrested for the third time. The Military Field Court appointed him nine months in prison for risking parody with the Reichsminister of Goebbels propaganda. Borchert was again sent to the active army as a panzergrenader, in order to wash the guilt before the Reich with blood.

May 13, 1945 Borchert falls prisoner to the French, but is released, successfully played the role of a madman, after which he passes hundreds of kilometers along the roads of a devastated Germany. To live for him, mutilated by war and doomed, remains two years. He again tries to perform on stage, but is seriously ill and is already getting up. He can only pour out overflowing feelings and impressions on paper: these are poems, stories, radio plays and drama "In the street before the door."

On the eve of the premiere in Hamburg Borchert dies. But his play is already translated into many languages, taken to be staged in different parts of the world. Fortunately, he was mistaken when he pre-sent a sad, but not fulfilled sub-title to his composition. "A play that no theater will want to put, no viewer - to look at".

"In the street in front of the door": the fate of the soldier

The theme of the play is painful for millions of compatriots Borchert. The time of action is 1945. The protagonist is one of the gray-green mass of the survivors, the non-commissioned officer Beckmann. He spent thousands of days at the front, froze, was wounded, taken prisoner , turned into an invalid. He is among those who, when he returned, discovered that he did not have a home. That Germany is a cold, homeless, night streets under a raging rain. He is touching and funny, in a ragged overcoat, gas-mask glasses, uncleaned boots, with a field bag on his shoulder. Each of the five scenes of the play is another painful encounter between the hero and the locked door.

And it - symbolizes human meanness, callousness, cowardice. Nobody needs it, nobody expects it. First, his wife does not accept him: forgetting the unhappy, he lives with another, the same poor fellow. He is again in the street, hungry, restless. He dreams that he rushed to Elba, but the river does not accept him, throws him out into the street like a "snot suicide." For a short time he was hosted by a woman waiting for her husband, but when he returns on crutches, who has lost his leg, an invalid, Beckman feels remorse and again leaves the street. Visits Beckman his boss, a colonel, a self-satisfied warrior, on whose conscience thousands of lives are ruined because of his incompetent command. The thick-skinned warrior hears in Beckman's desperate monologue only a sign of his comic talent and recommends that he turn to a cabaret for a job. The colonel is informed that he "wanted to be brave, but preferred to remain a coward". He, in a fatherly way, convinces Beckmann, "that art has nothing to do with the truth and that you will not go far in the truth." Leaving not salting the bread from the director of the cabaret, Beckman tries the last opportunity, comes to the house of his parents. But there he is met by a fatigued woman Frau , reporting that his parents, exhausted by disasters, voluntarily passed away, poisoned with gas. At the same time, the husband Frau Hlam sincerely complains about the fact that on the suicide gas it would be possible to "cook a whole month".

There is a character in the play called Friend. He is Beckman's partner and interlocutor. The bearer of another "optimistic point of view", who argues that one must make ends meet, eat bread with margarine and put up with everything. Both Beckman and the playwright themselves seem not to accept such a consoling philosophy. But where is the way out? Borchert makes it clear: the viewers of his play must reflect on this.

While still in Gestapo prison, Borchert wrote poems that he would like to express the pain of his generation. When in the play Beckman converses with the Colonel who radiates complacency, he is interested in the hero, why he did not rise to the rank of officer. To this, Beckman replies that he had a "weak voice", that is, in fact, lacked rigidity. But in the play itself Borchert sounded a strong, piercing voice of the playwright, humanist and antifascist, the spokesman of the moods of the best people of his generation.

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