Bertolt Brecht termed it “cold execution”. He was thinking of the way the US government, in the era of the House Un-American Activities Committee (Huac), could murder its opponents not by directly killing them but by cutting them off from what kept them alive. Where the cold war was waged without bullets, these cold executions were enacted, for example, on any blacklisted artist who could no longer work in Hollywood.
It is an idea picked up by Lebanese artists Lina Majdalanie and Rabih Mroué who use the story of the playwright in exile as a way of thinking about displacement in our own era. Brecht, no doubt seeing the writing on the wall, got out of his native Germany soon after the burning of the Reichstag in 1933. It took him several countries, eight years and a journey across land and sea to reach the US. As Majdalanie and Mroué wryly point out, getting back to Europe after the US questioned his communist affiliations took only a day.
