For citation:

Sharypina T.A., Kazakova P.D. Russian-German Literary Transfer of the 1930s–40s (S. Tretyakov, F. Wolf, and B. Brecht). Studia Litterarum, 2020, vol. 5, no 2, pp. 146–161. (In German)

DOI: 10.22455/2500-4247-2020-5-2-146-161

Author: T.A. Sharypina
Information about the author:

Tatiana A. Sharypina, DSc in Philology, Professor, Head оf the Department of Foreign Literature, Lobachevsky State University of Nizhni Novgorod, Bolshaya Pokrovskaya St. 37, 603000 Nizhny Novgorod, Russia.

ORCID ID: 0000-0002-8585-8983

E-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.

Author 2: P.D. Kazakova
Information about the author 2:

Polina D. Kazakova, PhD in Philology, Assistant Professor оf the Department of Foreign Linguistics, Lobachevsky State University of Nizhni Novgorod. Bolshaya Pokrovskaya St. 37, 603000 Nizhny Novgorod, Russia.

E-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.

Received: June 14, 2019
Published: June 25, 2020
Issue: 2020 Vol. 5, №2
Department: World Literature
Pages: 146-161

UDK: 821.112.2 + 821.161.1
BBK: 83.3(4Гем) + 83.3(2Рос=Рус)
Keywords: B. Brecht, F. Wolf, S. Tretyakov, literary transfer, optimistic tragedy, catharsis, socialist drama.


The essay examines the influence of Russian literature upon ethical and aesthetic principles and poetics of German socialist drama. After the defeat in the WWI, Germany developed nationalist myths, whereas the international principle prevailed both in Russian literature and culture. The latter fact attracted B. Brecht, J. Becher, F. Wolf, and many others. The essay’s aim is to demonstrate the influence of the playarticle Roar China! A Drama in Seven Scenes by S. Tretyakov on the German socialist drama. It is stated that Brecht (The Good Person of Szechwan, 1938–1941), considering the traditions of the epic theater, tried first of all to awaken the mind of the spectator and to give a clear example of action. In the play Tai Yang erwacht (1931), F. Wolf used all available means of impact to influence the viewer emotionally, aiming to achieve the involvement of the audience into what was going on the stage by means of catharsis, and within the traditions of M. Gorky and A. Fadeyev depicted his heroine in the process of her character development. The versatility and the multidimensional nature of approaches to the development of the Chinese theme is the evidence of the productivity of artistic Russian-German cultural contacts.


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