By Bertolt Brecht
This quantity bargains a huge choice of Bertolt Brecht's groundbreaking serious writing. the following, prepared in chronological order, are essays from 1918 to 1956, during which Brecht explores his definition of the Epic Theatre and his thought of alienation-effects in directing, appearing, and writing, and discusses, between different works, The Threepenny Opera, Mahagonny, mom braveness, Puntila, and Galileo, additionally integrated is a quick Organum for the Theatre, Brecht's such a lot entire exposition of his progressive philosophy of drama.
Translated and edited by way of John Willett, Brecht on Theater is key to an knowing of 1 of the 20 th century's such a lot influential dramatists.
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Thus in the end the new plays only served the old theatre and helped to postpone the collapse on which their own future depended . It is impossible to under stand what is being written today if one ignores the present generation's active hostility towards all that preceded it, and shares the general belief that it too is merely clamouring to be let in and taken notice of. This generation doesn't want to capture the theatre, audience and all, and per form good or merely contemporary plays in the same theatre and to the same audience; nor has it any chance of doing so; it has a duty and a chance to capture the theatre for a different audience.
Suppose they have to act a leave-taking. They put themselves in a leave taking mood . They want to induce a leave-taking mood in the audience. I f the seance is successful it ends up with nobody seeing anything further, nobody learning any lessons, at best everyone recollecting. In short, everybody feels. That sounds almost like some erotic process. What ought it to be like, then ? Witty. Ceremonious. Ritual. Spectator and actor ought not to approach one another but to move apart. Each ought to move away from himself.
A. I give the incidents baldly so that the audience can think for itself. That's why I need a quick-witted audience that knows how to observe, and gets its enjoyment from setti ng its reason to work. Q. So you don't want to make things easy for the audience? A. The audience has got to be a good enough psychologist to make its own sense of the material I put before it. All I can guarantee is the absolute correctness and authenticity of what happens in my plays; I'm prepared to bank on my knowledge of human beings.
Brecht on Theatre by Bertolt Brecht