Concentration camp inmates as cannibals, Jewish councils as Nazi collaborators - with these controversial topics George Taboris and Robert Schindel's dramas set impulses for changes in Shoah literature. Her aesthetics of the grotesque behave agonally to established representational conventions and thus contributed to a complex new conception of survivors, their bodies and images of Jews in the 1960s and 2010s. The grotesque is thus to be seen as a challenge to typical literary memory of the Shoah. The study shows how Taboris Die Kannibalen reflects the changed status of contemporary witnesses (e.g. following the Eichmann trial) and thus paves the way for later remembrance practices such as eyewitness conversations. She also argues that Schindel's dispute with the controversial Jewish councils in Dunkelstein deals with the demise of the generation of witnesses, followed by new modes of representation.