Abstract
Considering the multi-discursive capacity inherent to the Romantic genre according to Bahktin, this essay focus on establishing approximations between the uses of theater supported by Höfgen in the novel Mephisto, by Klaus Mann, and the Nazifacist political context as the stage to which the actor must prepare. Thus, considering Sarrazac’s discussions about modern drama, we map Höfgen’s acting methods, considering his ethical crisis in the aesthetic and political context of Nazism.
Keywords:
Mephisto; dramatic theories; Nazism; ethical crisis