With the question "if I think that the dramaturgy of Kaiser had a decisive importance and if he has changed European stageworks", I can only answer yes.
Bertolt Brecht on Kaiser

Kaiser was the 5th of six sons of Friedrich Kaiser, an insurance seller and he was destined the same career by studying economics. In 1898, Kaiser decides to quit school and leave the country, to become a clerk in Buenos Aires, Argentinia.
In 1900 he returns to Germany because of a malaria illness (and its side effects) for which he is treated at a sanatorium in Berlin. Between 1902 and 1908 he lives with his parents and does his first attempts in writing plays.
In 1908 he marries Magarethe Habenicht, a woman who comes from a rich family, and especially this marriage enables him to pursue an artistic career. His 'The Jewish Widow' is recognized as one of his first satirical works and is also one of his first works to be printed by a renowned publisher. In 1913 he finishes 'The Middle class men from Calais', a work that instantly puts him in between other expressionist writers. The play, which is first performed in 1917, is a success.
From that date, Kaiser starts his most productive period, until the late '20s. First of all his house in Berlin becomes a 'Meetingpoint for talented young writers' (Bertolt Brecht and Iwan Goll). His next works 'Gas I' and 'Gas II' literally ignites the expressionist world. His works tell about machine-age kind of heroes who search everywhere for some kind of fulfillment (in commercial sex, in salvationist religion) but discover through a series of nightmarish episodes that the world is deceitful and illusory: perfectly fitting the radical ideas that bloom around the twenties and (naturally) after the Depression.
Kaiser, also interested in modern music trends and technologies, in the mid-twenties gets befriended with modern composers like Kurt Weill and stage designers like Caspar Neher. The rising Nazi party finds his works too 'pacifistic' and their followers start to cause turmoils at some of his plays and stageworks, notably his 'The Silverlake' (Der Silbersee) in 1933. He finally is removed as a member from the Prusian Academy of Arts in 1938. When he finds out that the Nazis know that he is writing flyers for the Resistance, he flees to Swiss, forced to leave his family behind.
In Swiss he continues his works, completely depending on friends and relatives and seperated from wife and kids. He dies in Ascona in 1945.

Jurgen Schebera's Kurt Weill biography

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