This critical study aims to examine historical realism in Hildesheimer’s dramaturgy on the basis that his notion of Absurd does not originate from a purely existential perspective, nor from a merely aesthetic intent. In this respect, the play Nachtstück (1963) reveals significant references to the traumatic memory of Auschwitz and to the ‘question of guilt’ in West Germany, which represented a long-term unresolved issue during the post-war decades.