- represents 'art' side of the battle of incompatability between the regime and the free-thinking artistic community
- just as Wiesler shows the effect of artistic influence on the regime, Dreyman shows how the regime can cause a change in his artistic character. Similarily to Wiesler, this change is positive, i.e. 'for the greater good'. At the start, Dreyman is described as the only playwright (or, indeed, artist) in the DDR who 'toes the line'. However, after discovering Christa-Maria's 'affair' with Hempf, Dreyman changes and begins to rebel, e.g. by writing the article for Der Spiegel.
- his appartment is colourful and homely, full of books and other products of the freedom of thought craved by the intellectual artistic community that are suppressed by the regime. This contrasts with Wiesler's grey and…