Bertolt Brecht, born Eugen Berthold Friedrich Brecht, on February 10 1898, in Augsburg, Germany, is the poet, playwright, and theatrical reformer whose epic theatre departed from the conventions of theatrical illusion and developed the drama as a social and ideological forum for leftist causes.
Until 1924 Brecht lived in Bavaria, where he was born, studied medicine (Munich, 1917–21), and served in an army hospital (1918). From this period date his first play, Baal (produced 1923); his first success, Trommeln in der Nacht (Kleist Preis, 1922; Drums in the Night); the poems and songs collected as Die Hauspostille (1927; A Manual of Piety, 1966), his first professional production (Edward II, 1924); and his admiration for Wedekind, Rimbaud, Villon, and Kipling.
Opera, Blood, and Tears
The Life You Give: Bertolt Brecht
in celebration of his life in literature
February 10 at 4pm EST
During this period he also developed a violently antibourgeois attitude that reflected his generation’s deep disappointment in the civilization that had come crashing down at the end of World War I. Among Brecht’s friends were members of the Dadaist group, who aimed at destroying what they condemned as the false standards of bourgeois art through derision and iconoclastic satire. The man who taught him the elements of Marxism in the late 1920s was Karl Korsch, an eminent Marxist theoretician who had been a Communist member of the Reichstag but had been expelled from the German Communist Party in 1926.
In Berlin (1924–33) he worked briefly for the directors Max Reinhardt and Erwin Piscator, but mainly with his own group of associates. With the composer Kurt Weill he wrote the satirical, successful ballad opera Die Dreigroschenoper (1928; The Threepenny Opera) and the opera Aufstieg und Fall der Stadt Mahagonny (1930; Rise and Fall of the City of Mahagonny). He also wrote what he called “Lehr-stücke” (“exemplary plays”)—baldly didactic works for performance outside the orthodox theatre—to music by Weill, Hindemith, and Hanns Eisler. In these years he developed his theory of “epic theatre” and an austere form of irregular verse. He also became a Marxist.
In 1933 he went into exile—in Scandinavia (1933–41), mainly in Denmark, and then in the United States (1941–47), where he did some film work in Hollywood. In Germany his books were burned and his citizenship was withdrawn. He was cut off from the German theatre; but between 1937 and 1941 he wrote most of his great plays, his major theoretical essays and dialogues, and many of the poems collected as Svendborger Gedichte (1939). Between 1937 and 1939, he wrote, but did not complete, the novel Die Geschäfte des Herrn Julius Caesar (1957; The Business Affairs of Mr. Julius Caesar). It concerns a scholar researching a biography of Caesar several decades after his assassination.
The plays of Brecht’s exile years became famous in the author’s own and other productions: notable among them are Mutter Courage und ihre Kinder (1941; Mother Courage and Her Children), a chronicle play of the Thirty Years’ War; Leben des Galilei (1943; The Life of Galileo); Der gute Mensch von Sezuan (1943; The Good Woman of Setzuan), a parable play set in prewar China; Der Aufhaltsame Aufstieg des Arturo Ui (1957; The Resistible Rise of Arturo Ui), a parable play of Hitler’s rise to power set in prewar Chicago; Herr Puntila und sein Knecht Matti (1948; Herr Puntila and His Man Matti), a Volksstück (popular play) about a Finnish farmer who oscillates between churlish sobriety and drunken good humour; and The Caucasian Chalk Circle (first produced in English, 1948; Der kaukasische Kreidekreis, 1949), the story of a struggle for possession of a child between its highborn mother, who deserts it, and the servant girl who looks after it.
Brecht left the United States in 1947 after having had to give evidence before the House Un-American Activities Committee. He spent a year in Zürich, working mainly on Antigone-Modell 1948 (adapted from Hölderlin’s translation of Sophocles; produced 1948) and on his most important theoretical work, the Kleines Organon für das Theater (1949; “A Little Organum for the Theatre”). The essence of his theory of drama, as revealed in this work, is the idea that a truly Marxist drama must avoid the Aristotelian premise that the audience should be made to believe that what they are witnessing is happening here and now. For he saw that if the audience really felt that the emotions of heroes of the past—Oedipus, or Lear, or Hamlet—could equally have been their own reactions, then the Marxist idea that human nature is not constant but a result of changing historical conditions would automatically be invalidated. Brecht therefore argued that the theatre should not seek to make its audience believe in the presence of the characters on the stage—should not make it identify with them, but should rather follow the method of the epic poet’s art, which is to make the audience realize that what it sees on the stage is merely an account of past events that it should watch with critical detachment. Hence, the “epic” (narrative, nondramatic) theatre is based on detachment, on the Verfremdungseffekt (alienation effect), achieved through a number of devices that remind the spectator that he is being presented with a demonstration of human behaviour in scientific spirit rather than with an illusion of reality, in short, that the theatre is only a theatre and not the world itself.
In 1949 Brecht went to Berlin to help stage Mutter Courage und ihre Kinder (with his wife, Helene Weigel, in the title part) at Reinhardt’s old Deutsches Theater in the Soviet sector. This led to formation of the Brechts’ own company, the Berliner Ensemble, and to permanent return to Berlin. Henceforward the Ensemble and the staging of his own plays had first claim on Brecht’s time. Often suspect in eastern Europe because of his unorthodox aesthetic theories and denigrated or boycotted in the West for his Communist opinions, he yet had a great triumph at the Paris Théâtre des Nations in 1955, and in the same year in Moscow he received a Stalin Peace Prize. He died of a heart attack in East Berlin the following year.
Brecht was, first, a superior poet, with a command of many styles and moods. As a playwright he was an intensive worker, a restless piecer-together of ideas not always his own (The Threepenny Opera is based on John Gay’s Beggar’s Opera, and Edward II on Marlowe), a sardonic humorist, and a man of rare musical and visual awareness; but he was often bad at creating living characters or at giving his plays tension and shape. As a producer he liked lightness, clarity, and firmly knotted narrative sequence; a perfectionist, he forced the German theatre, against its nature, to underplay. As a theoretician he made principles out of his preferences—and even out of his faults.
“Rise and Fall of the City of Mahagonny”
Music: Kurt Weill
Libretto: Bertolt Brecht
(English translation by David Drew and Michael Geliot)
Created by genre-defying composer Kurt Weill and pioneering dramatist Bertolt Brecht, Rise and Fall of the City of Mahagonny is a cynical tale of an imaginary yet plausible boom town peopled by fortune seekers, prostitutes, and shady businessmen (and women) where absolutely anything goes—except having no money. This modern myth features a spectacularly inventive score that blends grand opera, popular song, and jazz-infused rhythms into a highly original mix.
A desolate region. Leocadia Begbick, Trinity Moses, and Fatty the Bookkeeper— three fugitives from justice—can go no further because their truck has broken down. Word has reached them that gold is being found on the coast. “You’ll get more gold from men than from rivers,” says Mrs. Begbick, and they decide to found a new city—Mahagonny, “town of nets.” Here man will be able to do whatever he pleases.
The town grows. Jenny arrives with six other girls.
News of Mahagonny reaches the big cities. Fatty and Trinity Moses recruit people to their new paradise.
The discontented of the world make their way to Mahagonny. Among the arrivals are four lumberjacks from Alaska: Jimmy Mahoney, Jacob Schmidt, Moneybags Billy, and Alaska Wolf Joe. Mrs. Begbick welcomes them and offers them their choice of girls. Jimmy chooses Jenny.
Mrs. Begbick, Fatty, and Trinity Moses lament the falling prices in Mahagonny. No one is making any money. The town of nets is catching nothing. People are leaving.
Jimmy is disappointed. There are too many signs prohibiting things. Nothing makes him happy—not the cheap liquor, the peace and quiet, smoking or sleeping. Something is missing. For seven years he worked and froze in Alaska and saved his money. Now he has come to Mahagonny and found nothing except too much peace, too much unity, and too much for man to rely on.
A hurricane threatens Mahagonny. During this dreadful night, Jimmy Mahoney discovers the laws of human happiness: “Typhoons do not leave much wreckage compared with us men when looking for amusement. Whatever chaos they can cause, we men will surpass it.” Everyone should take whatever he wants and not be bound by any laws.
The hurricane has spared Mahagonny. The word in Mahagonny now is “Do it!”
One year later Mahagonny is booming. Jacob Schmidt eats himself to death, the brothel does brisk business, and Alaska Wolf Joe is killed in a prizefight with Trinity Moses. Jimmy, having bet all his money on Joe, is broke.
Jimmy, even though he has no cash, treats all the men to drinks at the bar. He imagines himself escaping from Mahagonny and returning to Alaska on a ship. His dream is interrupted brusquely by Trinity Moses, who demands that Jimmy pay up for the drinks. Jimmy cannot pay and the others won’t help—he has committed a crime punishable by death.
Jimmy is chained to a tree. He wishes the sun would not rise on the day of his impending trial.
Trinity Moses, the prosecutor, is selling tickets to the trials. Toby Higgins is acquitted of murder after passing money to the court. Jimmy’s case is next. He asks Billy for money, invoking memories of their days in Alaska, but Billy won’t help. Jimmy is charged with seducing Jenny, with singing a cheerful song on the night of the hurricane, with inciting the people of Mahagonny to abolish law and order, and with abetting the murder of Alaska Wolf Joe. For these crimes he is sentenced to prison and hard labor; but for having no money to pay his debts—the greatest of crimes— he is sentenced to death.
The people of Mahagonny look to the town of Benares for help, as others once looked to Mahagonny. But Benares has been struck by an earthquake.
Jimmy says goodbye to Jenny. When he tries to delay his execution by reminding the people of Mahagonny that there is a God, they perform the play “God Comes to Mahagonny.” It tells how the Almighty condemns the town and is overthrown by its citizens, who declare that they can’t be sent to hell because they are already in hell.
Jimmy is executed.
During the final days of Mahagonny, the survivors demonstrate for their ideals, each against the other.
Source: Metropolitan Opera