With "The Deputy," premiered by Erwin Piscator at the Berliner Freie Volksbühne, a new playwright made his voice heard in 1963, whose work sparked previously unknown controversies. Afterplay venues had to request police protection, the audience stormed the stage, politicians took public stances, parliaments debated the drama, and the media engaged with it extensively. Not only the political urgency of the question raised—should the Pope remain silent about the systematic extermination of European Jews by Nazi Germany—but especially the naturalness with which theater had once again become a place for public discourse shocked or excited many. Following "The Deputy," a dozen more plays emerged. And although Rolf Hochhuth has utilized nearly all literary genres, he is first and foremost a dramatist. He has experimented with many forms of theater. Alongside the grand drama ("The Deputy," "Soldiers," "Guerrillas") stands the chamber play ("Jurists," "Female Doctors"), next to the modernization of an ancient theme ("Lysistrata," here in a new version as "Island Comedy") is the turbulent comedy ("The Midwife"), and alongside the monodrama ("Death of the Hunter") is the broad panorama of "Summer 14." "All Dramas" is the first complete collection of Hochhuth's works for the stage. It allows one to grasp the work of one of the most important and influential German writers of the second half of the 20th century and to be moved by the "contained intellectual fervor" that emanates from it.