Although it cannot be considered spiritual to political, the main character Hendrik Höfgen did undergo a transformation. The actor’s character beg...
... middle of paper ...
...ng to erase Jewish influence in the arts (Strobl 179). This included not only the physical removal of undesirables from a profession that housed a larger than average segment of the Jewish population, but also bans from attending art performances and repression or “re-authoring” of successful pieces they had already written (Steinweis 104-125). Simply put, the theater arts were undergoing radical reformation, and anything from a shoddy political past to a single non-Aryan grandparent may have foreshadowed one’s expulsion, not to mention any suspicious current activities. To be a successful theater performer was serving a dutiful function to the present regime and a place well rewarded, but it was a position as tenuous in changing times as scholasticism during society’s move away from the church, making it a very suitable profession for the Faust of the 1930s and ‘40s.
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