The claims were made by Rolf
Hochhuth, a German and author of a 1963 play called "The Deputy" in which Pius was depicted as a coward who did not stand up to Adolf Hitler.
Tambien la recuperacion, a finales de los ochenta, de la veta sobre el antisemitismo cristiano y sobre la actitud de la Iglesia de Roma hacia los judios y la <<cuestion judia>> entre los siglos XIX y XX (en cuyo debate iniciado por la obra de teatro de
Hochhuth sobre los <<silencios>> de Pio xII, veinte anos atras, ya habia intervenido) queda dentro de esta reflexion.
In the play, the heroic character Father Riccardo declares, "A deputy of Christ who sees these things and nonetheless permits reasons of state to seal his lips that pope is a criminal." Authored by Rolf
Hochhuth, an unknown 31-year-old playwright who had belonged to the Hitler Youth, the play was brought to the stage by its legendary and by then elderly Jewish director, Erwin Piscator, and Leo Kerz, a Jewish refugee and The Deputy's costume and set designer.
But Deschner's portrait of a commercialized church and a calculating Pius XII corresponds more closely to the fictional account found in Rolf
Hochhuth's 1963 play The Deputy than to historical truths.
Describe tambien con detalle la fortuna historiografica --y sobre todo mediatica--de la figura del papa Pacelli, a partir de la obra de teatro de Rolf
Hochhuth en 1963 y del libro de John Cornwell en 1999, con el nacimiento de lo que Garcia Pelegrin llama una <<leyenda negra>>.
The author considers the association of Nazism with the devil in the literary works of German writers Klaus Mann, Thomas Mann, Else Lasker-SchEler, and Rolf
Hochhuth, who saw the devil as impacting Germans' acceptance and implementation of Nazi ideas.
Part of creating this image was the 1963 theatrical play The Deputy, which was written by Marxist German playwright Rolf
Hochhuth and portrayed Pius as a self-serving man who failed to act or protest during the Holocaust.
One discusses songwriters and the Stasi in the GDR, others Rolf
Hochhuth, Ingeborg Bachmann, Peter Handke, and so on.
Con el antecedente del "docudrama" originado en los anos treinta con las obras del aleman Edwin Piscator y posteriormente desarrollado por sus compatriotas Peter Weiss, Rolf
Hochhuth y Heinar Kipphart en los sesenta, Vicente Lenero incursiona en el teatro documental, de 1968 a 1972, considerando al teatro como el medio idoneo para poner en la mesa de discusion temas polemicos de actualidad, cuestionando la historia oficial y planteando la imposibilidad de una verdad absoluta.