FEAR AND MISERY OF THE III REICH
Fear and Misery of the Third Reich also known as The Private Life of the Master Race, is one of Bertolt Brecht’s most famous plays and the first of his openly anti-Nazi works. It was first performed in 1938. The production employed Brecht’s epic theatre techniques to defamiliarize the behaviour of the characters and to make explicit the play’s underlying message.
The play consists of a series of vignettes, portraying National Socialist Germany of the 1930s as a land of poverty, violence, fear and pretence. Nazi antisemitism is depicted in several of the sketches, including “the Physicist”, “Judicial Process”, and “the Jewish Wife”.
Directed by Marcelo Lazzaratto
Written by Bertolt Brecht
Adilson Ledubino / Ana Carolina Godoy / Ana Paula Perche / Camila Ivo / Carlos Canhameiro / Cláudia Funchal / Davi Valle / Dayanna Abath / Fábio Ferracini / Flávia Hiroki / Flávio Rodrigo / Francisco Wagner / Heidi Monezzi / João Edson / Luciana Gabriel / Luisa Helene / Maria Carolina / Mariana Goulart / Marina Baeder / Mariza Junqueira / Nádia Morali / Paula Mirhan / Tibério César
Alda Abreu / Carlos Gontijo / Carolina Capacle / Caroline Ungaro / Daniela Alves / Janaina Carrer / Leonardo Garcia / Tetembua Dandara / Thaís Rossi / Marilene Grama
Corporal Training Alexandre Caetano e Luis Monteiro
Vocal Coaching Margarida e Sara Lopes
Music and Sound Effects Rafael Vanazzi
Lighting, Set and Costume Design: Marcelo Lazzaratto e Cia. Les Commediens Tropicales
Best Play – Fringe Exhibition 2004, by newspaper Folha de São Paulo
“The play holds the audience’s interest and is very exciting to see students learning to build realism at its maximum” – Beth Néspoli for newspaper Estado de São Paulo
“Fear and Misery of the III Reich’s actors promoted in Curitiba an urban intervention at the height of the good times of the Teatro da Vertigem (Vertigo Theatre)”– Sérgio Coelho, critic at Folha de São Paulo newspaper.
“The play by Lazzaratto and Les Commediens Tropicales convinces from the costumes to the scenarios with the use of their rehearsal and practice spaces at the Performing Arts Department at Unicam. Special mention to the actors, who are able to keep the pace of the piece without compromising the intentions of the original text” – Carlota Cafiero for Correio Popular Newspaper
“The result of such dedication was the reviewers and audience standing ovation and, as the director said, the play should return in November. The unexpected success was a gift to the cast” – Priscila Lobregatte for Vermelho website