Wow, you read that old post on Brecht and what a pile of B.S. his theories of theater were. It's my experience that once you've seen through Brecht, his stuff becomes a lot less watchable. That's especially true of the stuff without Kurt Weill's music. The one discussed with music by Hans Eisler is, as stated, a lot like Springtime for Hitler, only real.
There is a rule of thumb I've developed that someone who fled the United States for the GDR (there should definitely be quotation marks around the "D") even in the 1950s wasn't especially interested in democracy.
Marxism, lest anyone not understand, was never a democratic ideology, it is far closer to fascism than it is to democracy. In its body count amassed in virtually every place where it was given a test of time proves it's far closer to Nazism. I think it would be fair to say that any real, serious about it, Marxist would have to be anti-democracy. That's certainly how it worked in real life.
Read the one I like the best from that whole string of posts, you don't mention it.
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