After first detailing the historical and aesthetic position of Max Frisch’ "Andorra" (1961) and briefly discussing the model-play with a special focus on the structural and thematic saliency of ‘truth ’and ‘falsehood’, this essay contends that Andorra marked a significant milestone in pseudo and post-brechtian theatre facing the problem of representation in the second half of 20th Century. Frisch critically adopts and updates Brecht "Modell"-notion as a way of re-discussing the tension of individual and social, 'true’ and ‘false’ identity and memory in German-speaking Drama about antisemitism, thus opening to the likewise post-brechtian, diverse scenic re-enacting of personal and collective traumas in Peter Weiss‘ "The Investigation" (1965) and in George Tabori’s "The Cannibals" (1968).