Bertolt Brecht

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## Contents

* 1 Life and career
* 1.1 Bavaria (1898–1924)
* 1.2 Weimar Republic Berlin (1925–1933)
* 1.3 Nazi Germany and World War II (1933–1945)
* 1.4 Cold War and final years in East Germany (1945–1956)
* 1.5 Death
* 2 Theory and practice of theater
* 3 Legacy
* 4 Collaborators and associates
* 5 Works
* 6 Attribution
* 7 Footnotes

Eugen Berthold Friedrich Brecht.

Bertolt Brecht (1898-1956) was a prolific German playwright known for elucidating the alienation effect for theater. After fleeing Nazi Germany to the U.S. during World War II, Brecht was surveilled by the FBI for what was perceived to be a Marxist slant to his plays, and people who attempted to produce his plays were a target for political persecution, fines or imprisonment. He was subpoenaed by the House Un-American Activities Committee during the McCarthy era. He later settled in East Berlin and established the theater company Berliner Ensemble with his wife and long-time collaborator, actress Helene Weigel.[1]

Brecht is remembered for requiring his plays to be produced with alienation effects[2], which stand in opposition to the more traditional Stanislovski technique [3] in drama. Whereas the Constantin Stanislavski school of acting attempts to immerse the audience so deeply in belief of its characters that they can imagine themselves as the character, the Brechtian alienation effect deliverately tries to remind the audience that this is a fictional representation. Alienation techniques include tactics as obvious as displaying placards or posters around the set. With theater in the round, merely keeping the audience lit so that each audience member is constantly aware of the rest of the audience can act as an alienation technique.

Brecht is known especially for having staged the The Threepenny Opera with Elisabeth Hauptmann & Kurt Weill and having a life-long collaboration with the composer Hanns Eisler. Influenced by Marxist thought, he wrote didactic Lehrstücke and became a leading theoretician of epic theater (which he called "dialectical theater").

## Life and career[edit]

### Bavaria (1898–1924)[edit]

Eugen Berthold Friedrich Brecht (as a child known as Eugen) was born on 10 February 1898 in Augsburg, Germany, the son of Berthold Friedrich Brecht (1869–1939) and his wife Sophie, née Brezing (1871–1920). Brecht's mother was a devout Protestant and his father a Roman Catholic (who had been persuaded to have a Protestant wedding). The modest house where he was born is today preserved as a Brecht Museum.[4] His father worked for a paper mill, becoming its managing director in 1914.[5] At Augsburg, his maternal grandparents lived in the neighbouring house. They were Pietists and his grandmother influenced Bertolt Brecht and his brother Walter considerably during their childhood.

Due to his grandmother's and his mother's influence, Brecht knew the Bible, a familiarity that would have a life-long effect on his writing. From his mother came the "dangerous image of the self-denying woman" that recurs in his drama.[6] Brecht's home life was comfortably middle class, despite what his occasional attempt to claim peasant origins implied.[7] At school in Augsburg he met Caspar Neher, with whom he formed a life-long creative partnership. Neher designed many of the sets for Brecht's dramas and helped to forge the distinctive visual iconography of their epic theater.

When Brecht was 16, World War I broke out. Initially enthusiastic, Brecht soon changed his mind on seeing his classmates "swallowed by the army".[5] Brecht was nearly expelled from school in 1915 for writing an essay in response to the line Dulce et decorum est pro patria mori from the Roman poet Horace, calling it Zweckpropaganda ("cheap propaganda for a specific purpose") and arguing that only an empty-headed person could be persuaded to die for their country. His expulsion was only prevented by the intervention of Romuald Sauer, a priest who also served as a substitute teacher at Brecht's school.[8]

On his father's recommendation, Brecht sought to avoid being conscripted into the army by exploiting a loophole which allowed for medical students to be deferred. He subsequently registered for a medical course at Munich University, where he enrolled in 1917.[9] There he studied drama with Arthur Kutscher, who inspired in the young Brecht an admiration for the iconoclastic dramatist and cabaret star Frank Wedekind.[10]

From July 1916, Brecht's newspaper articles began appearing under the new name "Bert Brecht" (his first theater criticism for the Augsburger Volkswille appeared in October 1919).[11] Brecht was drafted into military service in the autumn of 1918, only to be posted back to Augsburg as a medical orderly in a military VD clinic; the war ended a month later.[5]

In July 1919, Brecht and Paula Banholzer (who had begun a relationship in 1917) had a son, Frank. In 1920 Brecht's mother died.Template:Sfn Frank died in 1943, fighting for Nazi Germany on the Eastern Front.

Some time in either 1920 or 1921, Brecht took a small part in the political cabaret of the Munich comedian Karl Valentin.[12] Brecht's diaries for the next few years record numerous visits to see Valentin perform.[13] Brecht compared Valentin to Charlie Chaplin, for his "virtually complete rejection of mimicry and cheap psychology".Template:Sfn Writing in his Messingkauf Dialogues years later, Brecht identified Valentin, along with Wedekind and Büchner, as his "chief influences" at that time: Template:Blockquote

Brecht's first full-length play, Baal (written 1918), arose in response to an argument in one of Kutscher's drama seminars, initiating a trend that persisted throughout his career of creative activity that was generated by a desire to counter another work (both others' and his own, as his many adaptations and re-writes attest). "Anyone can be creative," he quipped, "it's rewriting other people that's a challenge."[14] Brecht completed his second major play, Drums in the Night, in February 1919.

Between November 1921 and April 1922 Brecht made acquaintance with many influential people in the Berlin cultural scene. Amongst them was the playwright Arnolt Bronnen with whom he established a joint venture, the Arnolt Bronnen / Bertolt Brecht Company. Brecht changed the spelling of his first name to Bertolt to rhyme with Arnolt.

In 1922 while still living in Munich, Brecht came to the attention of an influential Berlin critic, Herbert Ihering: "At 24 the writer Bert Brecht has changed Germany's literary complexion overnight"—he enthused in his review of Brecht's first play to be produced, Drums in the Night—"[he] has given our time a new tone, a new melody, a new vision. [...] It is a language you can feel on your tongue, in your gums, your ear, your spinal column."[15] In November it was announced that Brecht had been awarded the prestigious Kleist Prize (intended for unestablished writers and probably Germany's most significant literary award, until it was abolished in 1932) for his first three plays (Baal, Drums in the Night, and In the Jungle, although at that point only Drums had been produced).[16] The citation for the award insisted that: "[Brecht's] language is vivid without being deliberately poetic, symbolical without being over literary. Brecht is a dramatist because his language is felt physically and in the round."[17] That year he married the Viennese opera singer Marianne Zoff. Their daughter, Hanne Hiob, born in March 1923, was a successful German actress.[5]

In 1923, Brecht wrote a scenario for what was to become a short slapstick film, Mysteries of a Barbershop, directed by Erich Engel and starring Karl Valentin.Template:Sfn Despite a lack of success at the time, its experimental inventiveness and the subsequent success of many of its contributors have meant that it is now considered one of the most important films in German film history.Template:Sfn In May of that year, Brecht's In the Jungle premiered in Munich, also directed by Engel. Opening night proved to be a "scandal"—a phenomenon that would characterize many of his later productions during the Weimar Republic—in which Nazis blew whistles and threw stink bombs at the actors on the stage.[13]

In 1924 Brecht worked with the novelist and playwright Lion Feuchtwanger (whom he had met in 1919) on an adaptation of Christopher Marlowe's Edward II that proved to be a milestone in Brecht's early theatrical and dramaturgical development.Template:SfnTemplate:Sfn Brecht's Edward II constituted his first attempt at collaborative writing and was the first of many classic texts he was to adapt. As his first solo directorial début, he later credited it as the germ of his conception of "epic theater".[18] That September, a job as assistant dramaturg at Max Reinhardt's Deutsches Theater—at the time one of the leading three or four theaters in the world—brought him to Berlin.[19]

### Weimar Republic Berlin (1925–1933)[edit]

In 1923 Brecht's marriage to Zoff began to break down (though they did not divorce until 1927).[20] Brecht had become involved with both Elisabeth Hauptmann and Helene Weigel.Template:Sfn Brecht and Weigel's son, Stefan, was born in October 1924.[21]

In his role as dramaturg, Brecht had much to stimulate him but little work of his own.[22] Reinhardt staged Shaw's Saint Joan, Goldoni's Servant of Two Masters (with the improvisational approach of the commedia dell'arte in which the actors chatted with the prompter about their roles), and Pirandello's Six Characters in Search of an Author in his group of Berlin theaters.Template:Sfn A new version of Brecht's third play, now entitled Jungle: Decline of a Family, opened at the Deutsches Theater in October 1924, but was not a success.Template:Sfn

Template:Quote box At this time Brecht revised his important "transitional poem", "Of Poor BB".[23] In 1925, his publishers provided him with Elisabeth Hauptmann as an assistant for the completion of his collection of poems, Devotions for the Home (Hauspostille, eventually published in January 1927). She continued to work with him after the publisher's commission ran out.Template:Sfn

In 1925 in Mannheim the artistic exhibition Neue Sachlichkeit ("New Objectivity") had given its name to the new post-Expressionist movement in the German arts. With little to do at the Deutsches Theater, Brecht began to develop his Man Equals Man project, which was to become the first product of "the 'Brecht collective'—that shifting group of friends and collaborators on whom he henceforward depended."[24] This collaborative approach to artistic production, together with aspects of Brecht's writing and style of theatrical production, mark Brecht's work from this period as part of the Neue Sachlichkeit movement.Template:Sfn The collective's work "mirrored the artistic climate of the middle 1920s", Willett and Manheim argue:

> with their attitude of Neue Sachlichkeit (or New Matter-of-Factness), their stressing of the collectivity and downplaying of the individual, and their new cult of Anglo-Saxon imagery and sport. Together the "collective" would go to fights, not only absorbing their terminology and ethos (which permeates Man Equals Man) but also drawing those conclusions for the theater as a whole which Brecht set down in his theoretical essay "Emphasis on Sport" and tried to realise by means of the harsh lighting, the boxing-ring stage and other anti-illusionistic devices that henceforward appeared in his own productions.Template:Sfn

In 1925, Brecht also saw two films that had a significant influence on him: Chaplin's The Gold Rush and Eisenstein's Battleship Potemkin.Template:Sfn Brecht had compared Valentin to Chaplin, and the two of them provided models for Galy Gay in Man Equals Man.Template:Sfn Brecht later wrote that Chaplin "would in many ways come closer to the epic than to the dramatic theater's requirements."Template:Sfn They met several times during Brecht's time in the United States, and discussed Chaplin's Monsieur Verdoux project, which it is possible Brecht influenced.Template:Sfn

In 1926 a series of short stories was published under Brecht's name, though Hauptmann was closely associated with writing them.Template:Sfn Following the production of Man Equals Man in Darmstadt that year, Brecht began studying Marxism and socialism in earnest, under the supervision of Hauptmann.Template:Sfn "When I read Marx's Capital", a note by Brecht reveals, "I understood my plays." Marx was, it continues, "the only spectator for my plays I'd ever come across."Template:Sfn Inspired by the developments in USSR, Brecht wrote a number of agitprop plays, praising the bolshevik collectivism (replaceability of each member of the collective in Man Equals Man) and the Red Terror (The Decision).Template:Citation needed

Template:Quote box In 1927 Brecht became part of the "dramaturgical collective" of Erwin Piscator's first company, which was designed to tackle the problem of finding new plays for its "epic, political, confrontational, documentary theater".[25] Brecht collaborated with Piscator during the period of the latter's landmark productions, Hoppla, We're Alive! by Toller, Rasputin, The Adventures of the Good Soldier Schweik, and Konjunktur by Lania.Template:Sfn Brecht's most significant contribution was to the adaptation of the unfinished episodic comic novel Schweik, which he later described as a "montage from the novel".[26] The Piscator productions influenced Brecht's ideas about staging and design, and alerted him to the radical potentials offered to the "epic" playwright by the development of stage technology (particularly projections).[27] What Brecht took from Piscator "is fairly plain, and he acknowledged it" Willett suggests:

> The emphasis on Reason and didacticism, the sense that the new subject matter demanded a new dramatic form, the use of songs to interrupt and comment: all these are found in his notes and essays of the 1920s, and he bolstered them by citing such Piscatorial examples as the step-by-step narrative technique of Schweik and the oil interests handled in Konjunktur ('Petroleum resists the five-act form').[28]

Brecht was struggling at the time with the question of how to dramatize the complex economic relationships of modern capitalism in his unfinished project Joe P. Fleischhacker (which Piscator's theater announced in its programme for the 1927–28 season). It wasn't until his Saint Joan of the Stockyards (written between 1929 and 1931) that Brecht solved it.Template:Sfn In 1928 he discussed with Piscator plans to stage Shakespeare's Julius Caesar and Brecht's own Drums in the Night, but the productions did not materialize.Template:Sfn

The year 1927 also saw the first collaboration between Brecht and the young composer Kurt Weill.[29] Together they began to develop Brecht's Mahagonny project, along thematic lines of the biblical Cities of the Plain but rendered in terms of the Neue Sachlichkeit's Amerikanismus, which had informed Brecht's previous work.[30] They produced The Little Mahagonny for a music festival in July, as what Weill called a "stylistic exercise" in preparation for the large-scale piece. From that point on Caspar Neher became an integral part of the collaborative effort, with words, music and visuals conceived in relation to one another from the start.[31] The model for their mutual articulation lay in Brecht's newly formulated principle of the "separation of the elements", which he first outlined in "The Modern Theater Is the Epic Theater" (1930). The principle, a variety of montage, proposed by-passing the "great struggle for supremacy between words, music and production" as Brecht put it, by showing each as self-contained, independent works of art that adopt attitudes towards one another.[32]

In 1930 Brecht married Weigel; their daughter Barbara Brecht was born soon after the wedding.[33] She also became an actress and would later share the copyrights of Brecht's work with her siblings.

Brecht formed a writing collective which became prolific and very influential. Elisabeth Hauptmann, Margarete Steffin, Emil Burri, Ruth Berlau and others worked with Brecht and produced the multiple teaching plays, which attempted to create a new dramaturgy for participants rather than passive audiences. These addressed themselves to the massive worker arts organisation that existed in Germany and Austria in the 1920s. So did Brecht's first great play, Saint Joan of the Stockyards, which attempts to portray the drama in financial transactions.

This collective adapted John Gay's The Beggar's Opera, with Brecht's lyrics set to music by Kurt Weill. Retitled The Threepenny Opera (Die Dreigroschenoper) it was the biggest hit in Berlin of the 1920s and a renewing influence on the musical worldwide. One of its most famous lines underscored the hypocrisy of conventional morality imposed by the Church, working in conjunction with the established order, in the face of working-class hunger and deprivation:

Erst kommt das Fressen
Dann kommt die Moral.

First the grub (lit. "eating like animals, gorging")
Then the morality.

|

The success of The Threepenny Opera was followed by the quickly thrown together Happy End. It was a personal and a commercial failure. At the time the book was purported to be by the mysterious Dorothy Lane (now known to be Elisabeth Hauptmann, Brecht's secretary and close collaborator). Brecht only claimed authorship of the song texts. Brecht would later use elements of Happy End as the germ for his Saint Joan of the Stockyards, a play that would never see the stage in Brecht's lifetime. Happy End's score by Weill produced many Brecht/Weill hits like "Der Bilbao-Song" and "Surabaya-Jonny".

The masterpiece of the Brecht/Weill collaborations, Rise and Fall of the City of Mahagonny (Aufstieg und Fall der Stadt Mahagonny), caused an uproar when it premiered in 1930 in Leipzig, with Nazis in the audience protesting. The Mahagonny opera would premier later in Berlin in 1931 as a triumphant sensation.

Brecht spent the last years of the Weimar-era (1930–1933) in Berlin working with his "collective" on the Lehrstücke. These were a group of plays driven by morals, music and Brecht's budding epic theater. The Lehrstücke often aimed at educating workers on Socialist issues. The Measures Taken (Die Massnahme) was scored by Hanns Eisler. In addition, Brecht worked on a script for a semi-documentary feature film about the human impact of mass unemployment, Kuhle Wampe (1932), which was directed by Slatan Dudow. This striking film is notable for its subversive humour, outstanding cinematography by Günther Krampf, and Hanns Eisler's dynamic musical contribution. It still provides a vivid insight into Berlin during the last years of the Weimar Republic.

### Nazi Germany and World War II (1933–1945)[edit]

Template:Quote box Fearing persecution, Brecht left Nazi Germany in February 1933, just after Hitler took power. After brief spells in Prague, Zurich and Paris, he and Weigel accepted an invitation from journalist and author Karin Michaëlis to move to Denmark. The family first stayed with Karin Michaëlis at her house on the small island of Thurø close to the island of Funen. They later bought their own house in Svendborg on Funen. This house located at Skovsbo Strand 8 in Svendborg became the residence of the Brecht family for the next six years, where they often received guests including Walter Benjamin, Hanns Eisler and Ruth Berlau. During this period Brecht also travelled frequently to Copenhagen, Paris, Moscow, New York and London for various projects and collaborations.

When war seemed imminent in April 1939, he moved to Stockholm, Sweden, where he remained for a year.[34] After Hitler invaded Norway and Denmark, Brecht left Sweden for Helsinki, Finland,[35] where he lived and waited for his visa for the United States until 3 May 1941.[36] During this time he wrote the play Mr Puntila and his Man Matti (Herr Puntila und sein Knecht Matti) with Hella Wuolijoki, with whom he lived in Template:Interlanguage link.

During the war years, Brecht became a prominent writer of the Exilliteratur.[37] He expressed his opposition to the National Socialist and Fascist movements in his most famous plays: Life of Galileo, Mother Courage and Her Children, The Good Person of Szechwan, The Resistible Rise of Arturo Ui, The Caucasian Chalk Circle, Fear and Misery of the Third Reich, and many others.

Brecht co-wrote the screenplay for the Fritz Lang-directed film Hangmen Also Die! which was loosely based on the 1942 assassination of Reinhard Heydrich, the Nazi Deputy Reich Protector of the German-occupied Protectorate of Bohemia and Moravia, Heinrich Himmler's right-hand man in the SS, and a chief architect of the Holocaust, who was known as "The Hangman of Prague" (Template:Lang-de). Hanns Eisler was nominated for an Academy Award for his musical score. The collaboration of three prominent refugees from Nazi Germany – Lang, Brecht and Eisler – is an example of the influence this generation of German exiles had on American culture.

Hangmen Also Die! was Brecht's only script for a Hollywood film. The money he earned from writing the film enabled him to write The Visions of Simone Machard, Schweik in the Second World War and an adaptation of Webster's The Duchess of Malfi.

Brecht's refusal to speak in support of Carola Neher, who died in the GULAG after being arrested during Joseph Stalin's Great Purge, was harshly criticised by Russian emigres living throughout the West.[38]

### Cold War and final years in East Germany (1945–1956)[edit]

Brecht and Weigel on the roof of the Berliner Ensemble during the International Workers' Day demonstrations in 1954

In the years of the Cold War and "Red Scare", Brecht was blacklisted by movie studio bosses and interrogated by the House Un-American Activities Committee.[39] Along with about 41 other Hollywood writers, directors, actors and producers, he was subpoenaed to appear before the HUAC in September 1947. Although he was one of 19 witnesses who declared that they would refuse to appear, Brecht eventually decided to testify. He later explained that he had followed the advice of attorneys and had not wanted to delay a planned trip to Europe. On 30 October 1947 Brecht testified that he had never been a member of the Communist Party.[39] He made wry jokes throughout the proceedings, punctuating his inability to speak English well with continuous references to the translators present, who transformed his German statements into English ones unintelligible to himself. HUAC vice-chairman Karl Mundt thanked Brecht for his co-operation. The remaining witnesses, the so-called Hollywood Ten, refused to testify and were cited for contempt. Brecht's decision to appear before the committee led to criticism, including accusations of betrayal. The day after his testimony, on 31 October, Brecht returned to Europe.

He lived in Zurich in Switzerland for a year. In February 1948 in Chur, Brecht staged an adaptation of Sophocles' Antigone, based on a translation by Hölderlin. It was published under the title Antigonemodell 1948, accompanied by an essay on the importance of creating a "non-Aristotelian" form of theater.

In 1949 he moved to East Berlin and established his theater company there, the Berliner Ensemble. He retained his Austrian nationality (granted in 1950) and overseas bank accounts from which he received valuable hard currency remittances. The copyrights on his writings were held by a Swiss company.[40]

Though he was never a member of the Communist Party, Brecht had been schooled in Marxism by the dissident communist Karl Korsch. Korsch's version of the Marxist dialectic influenced Brecht greatly, both his aesthetic theory and theatrical practice. Brecht received the Stalin Peace Prize in 1954.[41] His proximity to Marxist thought made him controversial in Austria, where his plays were boycotted by directors and not performed for more than ten years.

Brecht wrote very few plays in his final years in East Berlin, none of them as famous as his previous works. He dedicated himself to directing plays and developing the talents of the next generation of young directors and dramaturgs, such as Manfred Wekwerth, Benno Besson and Carl Weber. At this time he wrote some of his most famous poems, including the "Buckow Elegies".

At first Brecht apparently supported the measures taken by the East German government against the uprising of 1953 in East Germany, which included the use of Soviet military force. In a letter from the day of the uprising to SED First Secretary Walter Ulbricht, Brecht wrote that: "History will pay its respects to the revolutionary impatience of the Socialist Unity Party of Germany. The great discussion [exchange] with the masses about the speed of socialist construction will lead to a viewing and safeguarding of the socialist achievements. At this moment I must assure you of my allegiance to the Socialist Unity Party of Germany."[42]

Graves of Helene Weigel and Bertolt Brecht in the Dorotheenstadt Cemetery

Brecht's subsequent commentary on those events, however, offered a very different assessment—in one of the poems in the Elegies, "Die Lösung" (The Solution), a disillusioned Brecht writes a few months later:

> After the uprising of the 17th of June
>  The Secretary of the Writers Union
>  Had leaflets distributed in the Stalinallee
>  Stating that the people
>  Had forfeited the confidence of the government
>  And could win it back only
>  By increased work quotas.

>  Would it not be easier
>  In that case for the government
>  To dissolve the people
>  And elect another?[43]

Brecht's involvement in agitprop and lack of clear condemnation of purges resulted in criticism from many contemporaries who became disillusioned with communism earlier. Fritz Raddatz who knew Brecht for a long time described his attitude as "broken", "escaping the problem of Stalinism", ignoring his friends being murdered in the USSR, keeping silence during show trials such as Slánský trial.[44]

After Khrushchev's "Secret Speech", the report read on the 20th Congress of the CPSU, which brought the crimes of Stalinism to the public, Brecht wrote poems critical of Stalin and his cult, unpublished during Brecht's lifetime. In the best-known of them, "The Tsar Spoke to Them" (Der Zar hat mit ihnen gesprochen),[45][46] Brecht mocked the epithets applied to Stalin as "the honoured murderer of the people"[47] and compared his state terror policies with the ones of the Russian Tsar Nicholas II, famous for violent suppression of a peaceful demonstration on "Bloody Sunday" and later protests which resulted in the 1905 Russian Revolution.[46]

> the sun of the peoples burned its worshippers.
>  [...]
>  when young he was conscientious
>  when old he was cruel
>  young
>  he was not god
>  who becomes god
>  becomes dumb.[48]

### Death[edit]

Brecht died on 14 August 1956[49] of a heart attack at the age of 58. He is buried in the Dorotheenstadt Cemetery on Chausseestraße in the Mitte neighbourhood of Berlin, overlooked by the residence he shared with Helene Weigel.

According to Stephen Parker, who reviewed Brecht's writings and unpublished medical records, Brecht contracted rheumatic fever as a child, which led to an enlarged heart, followed by life-long chronic heart failure and Sydenham's chorea. A report of a radiograph taken of Brecht in 1951 describes a badly diseased heart, enlarged to the left with a protruding aortic knob and with seriously impaired pumping. Brecht's colleagues described him as being very nervous, and sometimes shaking his head or moving his hands erratically. This can be reasonably attributed to Sydenham's chorea, which is also associated with emotional lability, personality changes, obsessive-compulsive behavior, and hyperactivity, which matched Brecht's behavior. "What is remarkable," wrote Parker, "is his capacity to turn abject physical weakness into peerless artistic strength, arrhythmia into the rhythms of poetry, chorea into the choreography of drama."[50]

## Theory and practice of theater[edit]

Statue of Brecht outside the Berliner Ensemble's theater in Berlin

Brecht developed the combined theory and practice of his "Epic theater" by synthesizing and extending the experiments of Erwin Piscator and Vsevolod Meyerhold to explore the theater as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism.

Epic Theater proposed that a play should not cause the spectator to identify emotionally with the characters or action before him or her, but should instead provoke rational self-reflection and a critical view of the action on the stage. Brecht thought that the experience of a climactic catharsis of emotion left an audience complacent. Instead, he wanted his audiences to adopt a critical perspective in order to recognize social injustice and exploitation and to be moved to go forth from the theater and effect change in the world outside.[51] For this purpose, Brecht employed the use of techniques that remind the spectator that the play is a representation of reality and not reality itself. By highlighting the constructed nature of the theatrical event, Brecht hoped to communicate that the audience's reality was equally constructed, and as such, was changeable.

Brecht's modernist concern with drama-as-a-medium led to his refinement of the "epic form" of the drama. This dramatic form is related to similar modernist innovations in other arts, including the strategy of divergent chapters in James Joyce's novel Ulysses, Sergei Eisenstein's evolution of a constructivist "montage" in the cinema, and Picasso's introduction of cubist "collage" in the visual arts.[52]

One of Brecht's most important principles was what he called the Verfremdungseffekt (translated as "defamiliarization effect", "distancing effect", or "estrangement effect", and often mistranslated as "alienation effect").[53] This involved, Brecht wrote, "stripping the event of its self-evident, familiar, obvious quality and creating a sense of astonishment and curiosity about them".[54] To this end, Brecht employed techniques such as the actor's direct address to the audience, harsh and bright stage lighting, the use of songs to interrupt the action, explanatory placards, the transposition of text to the third person or past tense in rehearsals, and speaking the stage directions out loud.Template:Sfn

In contrast to many other avant-garde approaches, however, Brecht had no desire to destroy art as an institution; rather, he hoped to "re-function" the theater to a new social use. In this regard he was a vital participant in the aesthetic debates of his era—particularly over the "high art/popular culture" dichotomy—vying with the likes of Theodor W. Adorno, György Lukács, Ernst Bloch, and developing a close friendship with Walter Benjamin. Brechtian theater articulated popular themes and forms with avant-garde formal experimentation to create a modernist realism that stood in sharp contrast both to its psychological and socialist varieties. "Brecht's work is the most important and original in European drama since Ibsen and Strindberg," Raymond Williams argues,Template:Sfn while Template:Ill dubs him "the most important materialist writer of our time."Template:Sfn

Brecht was also influenced by Chinese theater, and used its aesthetic as an argument for Verfremdungseffekt. Brecht believed, "Traditional Chinese acting also knows the alienation [sic] effect, and applies it most subtly.Template:Sfn The [Chinese] performer portrays incidents of utmost passion, but without his delivery becoming heated."Template:Sfn Brecht attended a Chinese opera performance and was introduced to the famous Chinese opera performer Mei Lanfang in 1935.[55] However, Brecht was sure to distinguish between Epic and Chinese theater. He recognized that the Chinese style was not a "transportable piece of technique",Template:Sfn and that epic theater sought to historicize and address social and political issues.Template:Sfn

Brecht used his poetry to criticize European culture, including Nazis, and the German bourgeoisie. Brecht's poetry is marked by the effects of the First and Second World Wars.

Throughout his theatric production, poems are incorporated into his plays with music. In 1951, Brecht issued a recantation of his apparent suppression of poetry in his plays with a note titled On Poetry and Virtuosity. He writes:

> We shall not need to speak of a play's poetry ... something that seemed relatively unimportant in the immediate past. It seemed not only unimportant, but misleading, and the reason was not that the poetic element had been sufficiently developed and observed, but that reality had been tampered with in its name ... we had to speak of a truth as distinct from poetry ... we have given up examining works of art from their poetic or artistic aspect, and got satisfaction from theatrical works that have no sort of poetic appeal ... Such works and performances may have some effect, but it can hardly be a profound one, not even politically. For it is a peculiarity of the theatrical medium that it communicates awarenesses and impulses in the form of pleasure: the depth of the pleasure and the impulse will correspond to the depth of the pleasure.

Brecht's most influential poetry is featured in his Manual of Piety (Devotions), establishing him as a noted poet.

## Legacy[edit]

Brecht's widow, the actress Helene Weigel, continued to manage the Berliner Ensemble until her death in 1971; it was primarily devoted to performing Brecht's plays.

Besides being an influential dramatist and poet, some scholars have stressed the significance of Brecht's original contributions in political and social philosophy.[56]

Brecht's collaborations with Kurt Weill have had some influence in rock music. The "Alabama Song" for example, originally published as a poem in Brecht's Hauspostille (1927) and set to music by Weill in Mahagonny, has been recorded by The Doors, on their self-titled debut album, as well as by David Bowie and various other bands and performers since the 1960s.

Brecht's son, Stefan Brecht, became a poet and theater critic interested in New York's avant-garde theater.

Brecht's plays were a focus of the Schauspiel Frankfurt when Harry Buckwitz was general manager, including the world premiere of Die Gesichte der Simone Machard in 1957.[57]

## Collaborators and associates[edit]

Collective and collaborative working methods were inherent to Brecht's approach, as Fredric Jameson (among others) stresses. Jameson describes the creator of the work not as Brecht the individual, but rather as 'Brecht': a collective subject that "certainly seemed to have a distinctive style (the one we now call 'Brechtian') but was no longer personal in the bourgeois or individualistic sense." During the course of his career, Brecht sustained many long-lasting creative relationships with other writers, composers, scenographers, directors, dramaturgs and actors; the list includes: Elisabeth Hauptmann, Margarete Steffin, Ruth Berlau, Slatan Dudow, Kurt Weill, Hanns Eisler, Paul Dessau, Caspar Neher, Teo Otto, Karl von Appen, Ernst Busch, Lotte Lenya, Peter Lorre, Therese Giehse, Angelika Hurwicz, Carola Neher and Helene Weigel herself. This is "theater as collective experiment [...] as something radically different from theater as expression or as experience."[58]

## Works[edit]

See the Works tab of this article.

## Attribution[edit]

Some content on this page may previously have appeared on Wikipedia.

## Footnotes[edit]

1. ↑ The introduction of this article draws on the following sources: Template:Harvtxt; Template:Harvtxt; Template:Harvtxt; Template:Harvtxt; Template:Harvtxt; Template:Harvtxt.
2. ↑ Alienation Effect in Encyclopedia Britannica online.
3. ↑ The book "An Actor Prepares" was first published in 1936 and is the first volume of the translations of Constantin Stanislavski's books on acting, which were published as a trilogy in English, though originally meant to be published as two books in Russian.
4. ↑ Brecht-Weigel-Gedenkstätte-Chausseestraße 125-10115.
5. ↑ 5.0 5.1 5.2 5.3 Thomson 1994
6. ↑ Thomson 1994 See also Smith 1991.
7. ↑ See Brecht's poem "Of Poor B.B." (first version, 1922), in Brecht (2000b, 107–108).
8. ↑ (1989) Kultur gegen Krieg, Wissenschaft für den Frieden (in de). Würzburg, Germany: Königshausen & Neumann. ISBN 978-3-88479-401-2.
9. ↑ Thomson 1994, p. 24 and Sacks 1994, p. xvii.
10. ↑ Thomson 1994, p. 24. In his Messingkauf Dialogues, Brecht cites Wedekind, along with Büchner and Valentin, as his "chief influences" in his early years: "he", Brecht writes of himself in the third person, "also saw the writer Wedekind performing his own works in a style which he had developed in cabaret. Wedekind had worked as a ballad singer; he accompanied himself on the lute." (Brecht 1965, p. 69). Kutscher was "bitterly critical" of Brecht's own early dramatic writings (Willet and Manheim 1970, vii).
11. ↑ Thomson 1994, p. 24 and Willett 1967, p. 17
12. ↑ Sacks 1994, p. xx and McDowell 1977.
13. ↑ 13.0 13.1 McDowell 2000
14. ↑ Quoted in Thomson 1994, p. 25.
15. ↑ Herbert Ihering's review for Drums in the Night in the Berliner Börsen-Courier on 5 October 1922. Quoted in Willett & Manheim 1970, pp. viii–ix.
16. ↑ See Thomson & Sacks 1994, p. 50 and Willett & Manheim 1970, pp. viii–ix.
17. ↑ Herbert Ihering, quoted in Willett & Manheim 1970, p. ix.
18. ↑ Meech 1994, pp. 54–55 and Benjamin 1983, p. 115. See the article on Edward II for details of Brecht's germinal 'epic' ideas and techniques in this production.
19. ↑ Brecht was recommended for the job by Erich Engel; Carl Zuckmayer was to join Brecht in the position. See Sacks 1994, p. xviii, Willett 1967, p. 145, and Willett & Manheim 1970, p. vii.
20. ↑ Ewen 1967, p. 159 and Völker 1976, p. 65
21. ↑ Hayman 1983, p. 104 and Völker 1976, p. 108
22. ↑ According to Willett, Brecht was disgruntled with the Deutsches Theater at not being given a Shakespeare production to direct. At the end of the 1924–1925 season, both his and Carl Zuckmayer's (his fellow dramaturg) contracts were not renewed. (Willett 1967, p. 145). Zuckmayer relates how: "Brecht seldom turned up there; with his flapping leather jacket he looked like a cross between a lorry driver and a Jesuit seminarist. Roughly speaking, what he wanted was to take over complete control; the season's programme must be regulated entirely according to his theories, and the stage be rechristened 'epic smoke theater', it being his view that people might actually be disposed to think if they were allowed to smoke at the same time. As this was refused him he confined himself to coming and drawing his pay." (Quoted by Willett 1967, p. 145.
23. ↑ Willett and Manheim point to the significance of this poem as a marker of the shift in Brecht's work towards "a much more urban, industrialized flavour" (Willett & Manheim 1970, p. viii).
24. ↑ Willett & Manheim 1970, p. viii; Joel Schechter writes: "The subjugation of an individual to that of a collective was endorsed by the affirmations of comedy, and by the decision of the coauthors of Man is Man (Emil Burri, Slatan Dudow, Caspar Neher, Bernhard Reich, Elisabeth Hauptmann) to call themselves 'The Brecht Collective'."Schechter 1994, p. 74
25. ↑ Willett 1998, p. 103 and Willett 1978, p. 72. In his book The Political Theater, Piscator wrote: "Perhaps my whole style of directing is a direct result of the total lack of suitable plays. It would certainly not have taken so dominant form if adequate plays had been on hand when I started" (1929, 185).
26. ↑ See Brecht's Journal entry for 24 June 1943. Brecht claimed to have written the adaptation (in his Journal entry), but Piscator contested that; the manuscript bears the names "Brecht, [Felix] Gasbarra, Piscator, G. Grosz" in Brecht's handwriting (Willett 1978, p. 110). See also Willett 1978, pp. 90–95. Brecht wrote a sequel to the novel in 1943, Schweik in the Second World War.
27. ↑ Willett 1998, p. 104. In relation to his innovations in the use of theater technology, Piscator wrote: "technical innovations were never an end in themselves for me. Any means I have used or am currently in the process of using were designed to elevate the events on the stage onto a historical plane and not just to enlarge the technical range of the stage machinery. My technical devices had been developed to cover up the deficiencies of the dramatists' products" ("Basic Principles of a Sociological Drama" [1929]; in Kolocotroni, Goldman & Taxidou 1998, p. 243).
28. ↑ Willett 1978, pp. 109–110. The similarities between Brecht's and Piscator's theoretical formulations from the time indicate that the two agreed on fundamentals; compare Piscator's summation of the achievements of his first company (1929), which follows, with Brecht's Mahagonny Notes (1930): "In lieu of private themes we had generalisation, in lieu of what was special the typical, in lieu of accident causality. Decorativeness gave way to constructedness, Reason was put on a par with Emotion, while sensuality was replaced by didacticism and fantasy by documentary reality." From a speech given by Piscator on 25 March 1929, and reproduced in Schriften 2 p. 50; quoted by Willett 1978, p. 107. See also Willett 1998, pp. 104–105.
29. ↑ The two first met in March 1927, after Weill had written a critical introduction to the broadcast on Berlin Radio of an adaptation of Brecht's Man Equals Man. When they met, Brecht was 29 years old and Weill was 27. Brecht had experience of writing songs and had performed his own with tunes he had composed; at the time he was also married to an opera singer (Zoff). Weill had collaborated with Georg Kaiser, one of the few Expressionist playwrights that Brecht admired; he was married to the actress Lotte Lenya (Willett & Manheim 1970, p. xv).
30. ↑ Willet and Manheim (1979, xv–xviii). In Munich in 1924 Brecht had begun referring to some of the stranger aspects of life in post-putsch Bavaria under the codename "Mahagonny". The Amerikanismus imagery appears in his first three "Mahagonny Songs", with their Wild West references. With that, however, the project stalled for two and a half years. With Hauptmann, who wrote the two English-language "Mahagonny Songs", Brecht had begun work on an opera to be called Sodom and Gomorrah or The Man from Manhattan and a radio play called The Flood or 'The Collapse of Miami, the Paradise City', both of which came to underlie the new scheme with Weill. See Willett & Manheim 1970, pp. xv–xvi. The influence of Amerikanismus is most clearly discernible in Brecht's In the Jungle of Cities.
31. ↑ In this respect, the creative process for Mahagonny was quite different from The Threepenny Opera, with the former being durchkomponiert or set to music right through, whereas on the latter Weill was brought at a late stage to set the songs. See Willett & Manheim 1970, p. xv.
32. ↑ Willett & Manheim 1970, p. xvii and Brecht 1964, pp. 37–38.
33. ↑ Barbara Brecht-Schall – About This Person, The New York Times, 2012.
34. ↑ german.wisc.edu
35. ↑ Bertolt Brecht asui maanpakolaisvuosinaan Kuhankeittäjän korttelissa (26 April 2009).
36. ↑ International Brecht Society – Brecht Chronology.
37. ↑ Exilliteratur.
38. ↑ Template:Interlanguage link: "Stalins deutsche Opfer und die Volksfront", in the underground magazine Unser Wort, Nr. 4/5, October 1938, pp. 7 ff.; Template:Interlanguage link, Der Stalinismus und die Renegaten. Die Literatur der Exkommunisten, Stuttgart 1991, p. 163
39. ↑ 39.0 39.1 Brecht HUAC hearing
40. ↑ GradeSaver. Bertolt Brecht Biography – List of Works, Study Guides & Essays.
41. ↑ St. Petersburg Times, 21 December 1954.
42. ↑ Letter published in the Neues Deutschland, 21 June 1953.
43. ↑ Brecht (2000b, 440). The poem was first printed in the West-German newspaper Die Welt in 1959 and subsequently in the Buckow Elegies in the West 1964. It was first published in the GDR in 1969 after Helene Weigel had insisted on its inclusion in a collected edition of Brecht's works.
44. ↑ Röhl, Bettina (2018). So macht Kommunismus Spaß: Ulrike Meinhof, Klaus Rainer Röhl und die Akte Konkret. Wilhelm Heyne Verlag. ISBN 978-3-453-60450-6. “They were all "broken", and by this I mean they avoided the problem of Stalinism, ran from it. Never mentioned their murdered friends and comrades, mostly in the USSR. Never engaged politically during Slansky Trial in Prague. "Broken" means they experienced the lie. I accuse them of keeping silent about the crimes of Stalin's regime. They put aside the whole complex of guilt that came with communism, real communism, or Stalinism to be precise. If that was not enough, they also wrote panegyrics praising Stalin, and they did that when they already knew about all these murders and atrocities.”
45. ↑ The Tsar spoke to them . . . - Brecht's Works in English: A Bibliography.
46. ↑ 46.0 46.1 https://publikationen.uni-tuebingen.de/xmlui/bitstream/handle/10900/46670/pdf/Mueller_Brecht_und_Stalin.pdf
47. ↑ (2 November 2000) Brecht's Poetry of Political Exile. Cambridge University Press. ISBN 978-0-521-78215-9.
48. ↑ (6 March 2008) Bentley on Brecht. Northwestern University Press. ISBN 978-0-8101-2393-9.
49. ↑ Template:Britannica
50. ↑ Parker, Stephen (2 April 2011). "Diagnosing Bertolt Brecht.". Lancet 377 (9772): 1146–7. DOI:10.1016/S0140-6736(11)60453-4. PMID 21465701. Research Blogging.
51. ↑ Squiers, Anthony (2015). "A Critical Response to Heidi M. Silcox's "What's Wrong with Alienation?"". Philosophy and Literature 39: 243–247. DOI:10.1353/phl.2015.0016. Research Blogging.
52. ↑ On these relationships, see "autonomization" in Template:Harvtxt and "non-organic work of art" in Template:Harvtxt. Willett observes: "With Brecht the same montage technique spread to the drama, where the old Procrustean plot yielded to a more "epic" form of narrative better able to cope with wide-ranging modern socio-economic themes. That, at least, was how Brecht theoretically justified his choice of form, and from about 1929 on he began to interpret its penchant for "contradictions", much as had Sergei Eisenstein, in terms of the dialectic. It is fairly clear that in Brecht's case the practice came before the theory, for his actual composition of a play, with its switching around of scenes and characters, even the physical cutting up and sticking together of the typescript, shows that montage was the structural technique most natural to him. Like Jaroslav Hašek and Joyce he had not learnt this scissors-and-paste method from the Soviet cinema but picked it out of the air" (Willett 1978, p. 110).
53. ↑ Brooker 1994, p. 193. Brooker writes that "the term 'alienation' is an inadequate and even misleading translation of Brecht's Verfremdung. The terms 'de-familiarisation' or 'estrangement', when understood as more than purely formal devices, give a more accurate sense of Brecht's intentions. A better term still would be 'de-alienation'".
54. ↑ Brecht, quoted by Brooker 1994, p. 191.
55. ↑ Hsia, Adrian (Summer 1983). "Bertolt Brecht in China and His Impact on Chinese Drama". Comparative Literature Studies 20 (2): 231–245.
56. ↑ Squiers, Anthony (2014). An Introduction to the Social and Political Philosophy of Bertolt Brecht. Amsterdam: Rodopi. ISBN 978-90-420-3899-8.
57. ↑ Jacobi, Johannes. Zur Brecht-Uraufführung in Frankfurt: "Die Gesichte der Simone Machard", 14 March 1957. (in de)
58. ↑ Template:Harvtxt. See also the discussions of Brecht's collaborative relationships in the essays collected in Thomson & Sacks 1994. John Fuegi's take on Brecht's collaborations, detailed in Brecht & Co. (New York: Grove, 1994; also known as The Life and Lies of Bertolt Brecht) and summarized in his contribution to Thomson & Sacks 1994, pp. 104–116, offers a particularly negative perspective; Jameson comments "his book will remain a fundamental document for future students of the ideological confusions of Western intellectuals during the immediate post-Cold War years" Jameson 1998, p. 31; Olga Taxidou offers a critical account of Fuegi's project from a feminist perspective in Taxidou 1995, pp. 381–384.