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One of Brecht's most important principles was what he called the ''[[Verfremdungseffekt]]'' (translated as the "alienation effect" and often referred to, by Brecht, as the "A-Effect.").<ref>Brecht (1964, 95). Brecht also referred to in Chinese acting and the epic style of acting. This involved, Brecht wrote, "stripping the event of its self-evident, familiar, obvious quality and creating a sense of astonishment and curiosity about them."Brecht, quoted by Brooker (1994, 191).</ref> 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 [[Interruptions (epic theatre)|interrupt]] the action, explanatory placards, and, in rehearsals, the transposition of text to the [[Grammatical person|third person]] or [[past tense]], and speaking the stage directions out loud.<ref>Brecht (1964, 138).</ref>
One of Brecht's most important principles was what he called the ''[[Verfremdungseffekt]]'' (translated as the "alienation effect" and often referred to, by Brecht, as the "A-Effect.").<ref>Brecht (1964, 95). Brecht also referred to in Chinese acting and the epic style of acting. This involved, Brecht wrote, "stripping the event of its self-evident, familiar, obvious quality and creating a sense of astonishment and curiosity about them."Brecht, quoted by Brooker (1994, 191).</ref> 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 [[Interruptions (epic theatre)|interrupt]] the action, explanatory placards, and, in rehearsals, the transposition of text to the [[Grammatical person|third person]] or [[past tense]], and speaking the stage directions out loud.<ref>Brecht (1964, 138).</ref>

Brecht wanted to provoke social and political change through his theatre, claiming "Theatre is not a mirror held up to society but a hammer with which to shape it." He wanted the audience to be aware of the social or political message within his play. This is why he used ''[[Verfremdungseffekt]]'', to force the audience to become distanced from the piece of theatre, allowing them to view it critically, considering the messages the play presented.


== Major theoretical works ==
== Major theoretical works ==

Revision as of 17:37, 13 June 2009

"Brecht" redirects here. For other uses see Brecht (disambiguation).
Bertolt Brecht
OccupationDramatist · Theatre Director · Poet
GenreNon-Aristotelian drama ·
Epic theatre · Dialectical theatre
Notable worksThe Threepenny Opera
Life of Galileo
Mother Courage and Her Children
The Good Person of Szechwan
The Caucasian Chalk Circle
SpouseMarianne Zoff (1893–1984)
Helene Weigel (1900—1971)
ChildrenFrank Banholzer, Hanne Hiob,
Stefan Brecht, Barbara Brecht
Signature

Bertolt Brechtⓘ (born Eugen Berthold Friedrich Brechtⓘ; 10 February 1898–14 August 1956) was a German poet, playwright, and theatre director. An influential theatre practitioner of the 20th century, Brecht made equally significant contributions to dramaturgy and theatrical production, the latter particularly through the seismic impact of the tours undertaken by the Berliner Ensemble—the post-war theatre company operated by Brecht and his wife and long-time collaborator, the actress Helene Weigel—with its internationally acclaimed productions.[1]

From his late twenties Brecht remained a life-long committed Marxist who, in developing the combined theory and practice of his 'epic theatre', synthesized and extended the experiments of Erwin Piscator and Vsevolod Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism. 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.[2] 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 theatre 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 Adorno, Lukács, Bloch, and developing a close friendship with Benjamin. Brechtian theatre 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, while Peter Bürger dubs him "the most important materialist writer of our time."[3]

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 "theatre as collective experiment [...] as something radically different from theatre as expression or as experience."[4]

There are few areas of modern theatrical culture that have not felt the impact or influence of Brecht's ideas and practices; dramatists and directors in whom one may trace a clear Brechtian legacy include: Dario Fo, Augusto Boal, Joan Littlewood, Peter Brook, Peter Weiss, Heiner Müller, Pina Bausch, Tony Kushner, Robert Bolt and Caryl Churchill. In addition to the theatre, Brechtian theories and techniques have exerted considerable sway over certain strands of film theory and cinematic practice; Brecht's influence may be detected in the films of Jean-Luc Godard, Lindsay Anderson, Rainer Werner Fassbinder, Joseph Losey, Nagisa Oshima, Ritwik Ghatak, Lars von Trier, Jan Bucquoy and Hal Hartley.[5]

Life and career

Bavaria (1898–1924)

Brecht was born in Augsburg, Bavaria (about fifty miles north-west of Munich) to a conventionally-devout Protestant mother and a Catholic father (who had been persuaded to a Protestant wedding). His father worked for a paper mill, becoming its managing director in 1914.[6] Thanks to his mother's influence, Brecht knew his Bible, a familiarity that would impact on his writing throughout his life. From her, too, came the "dangerous image of the self-denying woman" that recurs in his drama.[7] Brecht's home life was comfortably middle class, despite what his occasional attempt to claim peasant origins implied.[8] At school in Augsburg he met Caspar Neher, with whom he formed a life-long creative partnership, Neher designing many of the sets for Brecht's dramas and helping to forge the distinctive visual iconography of their epic theatre.

When he was sixteen, the first World War broke out; initially enthusiastic, Brecht soon changed his mind on seeing his classmates "swallowed by the army".[6] On his father's recommendation, Brecht sought a loophole by registering for an additional 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 Wedekind.[10]

From July 1916, Brecht's newspaper articles began appearing under the new name "Bert Brecht" (his first theatre 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.[6]

In July 1919, Brecht and Paula Banholzer (who had begun a relationship in 1917) had a son, Frank. In 1920 Brecht's mother died.[12]

Karl Valentin as the barber in Mysteries of a Barbershop (1923).

Some time in either 1920 or 1921, Brecht took a small part in the political cabaret of the Munich comedian Karl Valentin.[13]. Brecht's diaries for the next few years record numerous visits to see Valentin perform.[14]. Brecht compared Valentin to Chaplin, for his "virtually complete rejection of mimicry and cheap psychology" [15] Writing in his Messingkauf Dialogues years later, Brecht identified Valentin, along with Wedekind and Büchner, as his "chief influences" at that time:

"But the man he [Brecht writes of himself in the third person] learnt most from was the clown Valentin, who performed in a beer-hall. He did short sketches in which he played refractory employees, orchestral musicians or photographers, who hated their employer and made him look ridiculous. The employer was played by his partner, a popular woman comedian who used to pad herself out and speak in a deep bass voice."[16]

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."[17] Brecht completed his second major play, Drums in the Night, in February 1919.

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."[18] 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).[19] The citation for the award insisted that:

Poster for the Riverside Shakespeare Company's production of Brecht and Lion Feuchtwanger's Edward II. New York City, 1982.
"[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."[20]

That year he married the Viennese opera-singer Marianne Zoff. Their daughter—Hanne Hiob (born in 1923)—is a successful German actress.[6]

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.[21] 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.[22] 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.[23]

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.[24] 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 theatre'.[25] That September, a job as assistant dramaturg at Max Reinhardt's Deutsches Theater—at the time one of the leading three or four theatres in the world—brought him to Berlin.[26]

Weimar Republic Berlin (1925–1933)

In 1924 Brecht's marriage to Zoff began to break down (though they did not divorce until 1926). Brecht had become involved with both Elisabeth Hauptmann and Helene Weigel.[27] Brecht and Weigel's son, Stefan, was born in October 1924.

In his role as dramaturg, Brecht had much to stimulate him but little work of his own.[28] 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 theatres.[29] 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.[30]

In the asphalt city I'm at home. From the very start
Provided with every last sacrament:
With newspapers. And tobacco. And brandy
To the end mistrustful, lazy and content.
Bertolt Brecht, "Of Poor BB".

At this time Brecht revised his important 'transitional poem' "Of Poor BB".[31] 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.[32]

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."[33] 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.[34] 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 theatre 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.[35]

Chaplin's silent comedy The Gold Rush (1925).

In 1925, Brecht also saw two films that had a significant influence on him: Chaplin's The Gold Rush and Eisenstein's Battleship Potemkin.[36] Brecht had compared Valentin to Chaplin, and the two of them provided models for Galy Gay in Man Equals Man.[37] Brecht later wrote that Chaplin "would in many ways come closer to the epic than to the dramatic theatre's requirements."[38] 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.[39]

In 1926 a series of short stories was published under Brecht's name, though Hauptmann was closely associated with writing them.[40] Following the production of Man Equals Man in Darmstadt that year, Brecht began studying Marxism and socialism in earnest, under the supervision of Hauptmann.[41] "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."[42]

For us, man portrayed on the stage is significant as a social function. It is not his relationship to himself, nor his relationship to God, but his relationship to society which is central. Whenever he appears, his class or social stratum appears with him. His moral, spiritual or sexual conflicts are conflicts with society.
Erwin Piscator, 1929.[43]

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 theatre".[44] 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.[45] 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".[46] 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).[47] 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').[48]

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 theatre announced in its programme for the 1927–28 season). It wasn't until his Saint Joan of the Stockyards (written between 1929–1931) that Brecht solved it.[49] 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.[50]

1927 also saw the first collaboration between Brecht and the young composer Kurt Weill.[51] 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.[52] 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.[53] 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 Theatre is the Epic Theatre" (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.[54]

In 1930 Brecht married Weigel; their daughter Barbara Brecht was born soon after the wedding. She also became an actress and currently holds the copyrights to all of Brecht's work.

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 attempted to portray the drama in financial transactions.

This collective adapted John Gay's The Beggar's Opera, with Brecht's songs 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 his last years in the Weimar-era Berlin (1930–1933) working with his ‘collective’ on the Lehrstücke. These were a group of plays driven by morals, music and Brecht's budding epic theatre. 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.

By February 1933, Brecht’s work was eclipsed by the rise of Nazi rule in Germany. (Brecht would also have his work challenged again in later life by the U.S. House Un-American Activities Committee (HUAC), which believed he was under the influence of communism.[55][56])

Nazi Germany and World War II (1933–1945)

Template:GalileoFearing persecution, Brecht left Germany in February 1933, when Hitler took power. He went to Denmark, but when war seemed imminent in 1939, he moved to Stockholm, Sweden, where he remained for a year. Then Hitler invaded Norway and Denmark, and Brecht was forced to leave Sweden for Finland where he waited for his visa for the United States until 3 May 1941.

During the war years, Brecht expressed his opposition to the National Socialist and Fascist movements in his most famous plays: Galileo, Mother Courage and Her Children, The Good Person of Sezuan, The Resistible Rise of Arturo Ui, The Caucasian Chalk Circle, Fear and Misery of the Third Reich, and many others.

During the war, Brecht's poetry continued to garner attention. Though he derived no real success or pleasure in this, he worked on a few screenplays for Hollywood, including Hangmen Also Die.

Cold War and final years in East Germany (1945–1956)

Brecht and Weigel on the roof of the Berliner Ensemble in 1954.

In the years of the Cold War and "red scare", the House Un-American Activities Committee called Brecht to account for his communist allegiances, and he was soon blacklisted by movie studio bosses. Brecht, along with about 41 other Hollywood writers, directors, actors and producers, was subpoenaed to appear before the HUAC in September 1947.

Initially, Brecht was one of 19 witnesses who declared that they would refuse to testify about their political affiliations. Eleven members of this group were actually questioned on this point but, as Brecht later explained, he did not want to delay a planned trip to Europe, so he followed the advice of attorneys and broke with his earlier avowal. On 30 October 1947, he appeared before the committee and testified that he had never actually held party membership.[56]

During his appearance before the committee, Brecht wore overalls and smoked an acrid cigar that made some of the committee members feel slightly ill. 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.

Brecht's decision to testify led to criticism, including accusations of betrayal. The remaining witnesses, the so called Hollywood Ten, refused to testify and were cited for contempt. HUAC Vice Chairman Karl Mundt thanked Brecht for cooperating. The day after his testimony, on 31 October, Brecht flew to Europe.[57]

In Switzerland, Brecht composed an adaptation of Sophocles' Antigone, which was performed at Chur. It was based on the translation by Hölderlin, but was considerably modified. It was published under the title Antigonemodell 1948, accompanied by an essay on the importance of creating a 'non-Aristotelian' form of theatre. He was subsequently invited to return to Berlin by the Communist regime in East Germany. Horrified at the reinstatement of former Nazis into West Germany's government, Brecht accepted the offer and made East Berlin his home in 1949. He was enticed by the offer of his own theatre (completed in 1954) and theatre company (the Berliner Ensemble). He retained his Austrian nationality (granted in 1950), however, and overseas bank accounts from which he received valuable hard currency remittances. The copyrights on his writings were held by a Swiss company.[58] He used to drive around East Berlin in a pre-war DKW car—a rare luxury in the austere divided capital.

While Brecht's communist sympathies were a bane in the United States, East German officials sought to make him their hero. Though he had not been a member of the Communist Party, he had been deeply schooled in Marxism by the dissident communist Karl Korsch, and his communist allegiances were sincere. He claimed communism appeared to be the only reliable antidote to militarist fascism and spoke out against the remilitarization of the West and the division of Germany. Brecht used Korsch's version of the Marxist dialectic in both his aesthetic theory and practice in a central way when presenting his plays.

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

Brecht wrote very few plays in his last years in East Berlin, none of them as famous as his previous works. Instead, he dedicated himself to directing plays and developing the talents of the next generation of young directors and dramaturges, such as Manfred Wekwerth, Benno Besson and Carl Weber. Some of his most famous poems, however, including the "Buckower Elegies", came from this era. One of the poems in the "Buckower Elegies," Die Lösung (The Solution) was Brecht's later commentary on the uprising of 17 June 1953 in East Germany:

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 thrown away the confidence of the government
And could win it back only
By redoubled efforts. Would it not be easier
In that case for the government
To dissolve the people
And elect another?

Brecht had previously supported the measures taken by the East German government to crush the uprising, including the use of Soviet military force; he even wrote a letter on the day of the uprising (17 June) to SED First Secretary Walter Ulbricht stating 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".[59]

Death

Graves of Helene Weigel and Bertolt Brecht.

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

In Augsburg, a simple plaque, written by an unknown worker is displayed on the house where Brecht lived and worked.[citation needed] It reads:

Where is Augsburg?

The city which is silent

about its great son.

Dramatic works

Entries show: English-language translation of title (German-language title) [year written] / [year first produced][60]

Theory and practice of theatre

Along with his contemporary Erwin Piscator, Brecht created an influential theory of theatre—the epic theatre—that 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 recognise social injustice and exploitation and to be moved to go forth from the theatre and effect change in the world outside. 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.

One of Brecht's most important principles was what he called the Verfremdungseffekt (translated as the "alienation effect" and often referred to, by Brecht, as the "A-Effect.").[61] 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, and, in rehearsals, the transposition of text to the third person or past tense, and speaking the stage directions out loud.[62]

Brecht wanted to provoke social and political change through his theatre, claiming "Theatre is not a mirror held up to society but a hammer with which to shape it." He wanted the audience to be aware of the social or political message within his play. This is why he used Verfremdungseffekt, to force the audience to become distanced from the piece of theatre, allowing them to view it critically, considering the messages the play presented.

Major theoretical works

Collaborators and associates

Impact

Brecht left the Berliner Ensemble to his wife, the actress Helene Weigel, which she ran until her death in 1971. Perhaps the most famous German touring theatre of the postwar era, it was primarily devoted to performing Brecht's plays.

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

Brecht has been a controversial figure in Germany, and in his native city of Augsburg there were objections to creating a birthplace museum. By the 1970s, however, Brecht's plays had surpassed Shakespeare's in the number of annual performances in Germany.

Brecht's influence can be seen in the cinema. Such filmmakers as Lars Von Trier, Jean-Luc Godard, Rainer Werner Fassbinder, Nagisa Oshima, and Ritwik Ghatak were influenced by Brecht and his theory of the Verfremdungseffekt.[64]

Brecht in fiction

Notes

  1. ^ The introduction of this article draws on the following sources: Banham (1998, 129); Bürger (1984, 87–92); Jameson (1998, 43–58); Kolocotroni, Goldman and Taxidou (1998, 465–466); Williams (1993, 277–290); Wright (1989, 68–89; 113–137).
  2. ^ On these relationships, see "autonomization" in Jameson (1998, 43–58) and "non-organic work of art" in Bürger (1984, 87–92). 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 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 Hašek and Joyce he had not learnt this scissors-and-paste method from the Soviet cinema but picked it out of the air" (1978, 110).
  3. ^ The quotation from Raymond Williams is on page 277 of his book (1993) and that from Peter Bürger on page 88 of his (1984).
  4. ^ Jameson (1998, 10–11). See also the discussions of Brecht's collaborative relationships in the essays collected in Thomson and 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 and Sacks (1994, 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" (1998, 31); Olga Taxidou offers a critical account of Fuegi's project from a feminist perspective in "Crude Thinking: John Fuegi and Recent Brecht Criticism" in New Theatre Quarterly XI.44 (Nov. 1995), p. 381–384.
  5. ^ On Jan Bucquoy, see Jan Bucquoy, La vie est belge; Le paradis, là, maintenant, tout de suite!, (2007), p. 98: Sans illusion car j'avoue que mon but dans la vie c'était de monter Mère Courage de Berthold Brecht au théâtre de l'Odéon à Paris. Au lieu de ça ce sont les escaliers du Dolle Mol que j'ai plutôt bien descendus. C'est le destin.. English translation: It was my destiny that I never would bring Mother Courage and her Children at the theatre of the Odéon In Paris.
  6. ^ a b c d Thomson (1994).
  7. ^ Thomson (1994, 22–23). See also Smith (1991).
  8. ^ See Brecht's poem "Of Poor B.B." (first version, 1922), in Brecht (2000b, 107–108).
  9. ^ Thomson (1994, 24) and Sacks (xvii).
  10. ^ Thomson (1994, 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." (1965, 69). Kutscher was "bitterly critical" of Brecht's own early dramatic writings (Willet and Manheim 1970, vii).
  11. ^ Thomson (1994, 24) and Willett (1967, 17).
  12. ^ Willett and Manheim (1970, vii).
  13. ^ Sacks (1994, xx) and McDowell (1977).
  14. ^ McDowell (2000)
  15. ^ Willett and Manheim 1970, x.
  16. ^ Brecht (1965, 69–70).
  17. ^ Quoted in Thomson (1994, 25).
  18. ^ Herbert Ihering's review for Drums in the Night in the Berliner Börsen-Courier on the 5 October 1922. Quoted in Willett and Manheim (1970, viii–ix).
  19. ^ See Thomson and Sacks (1994, 50) and Willett and Manheim (1970, viii–ix).
  20. ^ Herbert Ihering, quoted in Willett and Manheim (1970, ix).
  21. ^ McDowell (1977).
  22. ^ Culbert (1995).
  23. ^ McDowell (2000).
  24. ^ Thomson (1994, 26–27), Meech (1994, 54–55).
  25. ^ Meech (1994, 54–55) and Benjamin (1983, 115). See the article on Edward II for details of Brecht's germinal 'epic' ideas and techniques in this production.
  26. ^ Brecht was recommended for the job by Erich Engel; Carl Zuckmayer was to join Brecht in the position. See Sacks (1994, xviii), Willett (1967, 145), and Willett and Manheim (1970, vii).
  27. ^ Thomson (1994, 28).
  28. ^ 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, 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 theatre', 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, 145).
  29. ^ Willett (1967, 145).
  30. ^ Willett and Manheim (1979, viii).
  31. ^ 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" (1979, viii).
  32. ^ Willett and Manheim (1979, viii, x).
  33. ^ Willett and Manheim (1979, 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'." (1994, 74).
  34. ^ Willett (1978).
  35. ^ Willett and Manheim (1979, viii–ix).
  36. ^ Willett and Manheim (1979, xxxiii).
  37. ^ Schechter (1994, 68).
  38. ^ Brecht (1964, 56).
  39. ^ Schechter (1994, 72).
  40. ^ Sacks (1994, xviii).
  41. ^ Thomson (1994, 28–29).
  42. ^ Brecht (1964, 23–24).
  43. ^ Erwin Piscator, "Basic Principles of a Sociological Drama" in Kolocotroni, Goldman and Taxidou (1998, 243).
  44. ^ Willett (1998, 103) and (1978, 72). In his book The Political Theatre, 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).
  45. ^ Willett (1978, 74).
  46. ^ 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, Gasbarra, Piscator, G. Grosz" in Brecht's handwriting (Willett 1978, 110). See also Willett (1978, 90–95). Brecht wrote a sequel to the novel in 1943, Schweik in the Second World War.
  47. ^ Willett (1998, 104). In relation to his innovations in the use of theatre 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. This elevation, which was inextricably bound up with the use of Marxist dialectics in the theatre, had not been achieved by the plays themselves. 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 and Taxidou [1998, 243]).
  48. ^ Willett (1978, 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, 107). See also Willett (1998, 104–105).
  49. ^ Willett (1998, 104–105).
  50. ^ Willett (1978, 76).
  51. ^ 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 and Manheim (1979, xv).
  52. ^ 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 and Manheim (1979, xv–xvi). The influence of Amerikanismus is most clearly discernible in Brecht's In The Jungle of Cities.
  53. ^ 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 and Manheim (1979, xv).
  54. ^ Willett and Manheim (1979, xvii) and Brecht (1964, 37–38).
  55. ^ http://www.transformatorlyd.com/sounds/stonxy_teeth.mp3
  56. ^ a b http://commons.wikimedia.org/wiki/Image:Brecht_HUAC_hearing_(1947-10-30).ogg
  57. ^ http://www.usc.edu/isd/archives/arc/libraries/feuchtwanger/exhibits/Brecht/HUAC.html
  58. ^ GradeSaver: ClassicNote: Biography of Bertolt Brecht
  59. ^ [Neues Deutschland, 21 June 1953.]
  60. ^ The translations of the titles are based on the standard of the Brecht Collected Plays series (see bibliography, primary sources). Chronology provided through consultation with Sacks (1994) and Willett (1967), preferring the former with any conflicts.
  61. ^ Brecht (1964, 95). Brecht also referred to in Chinese acting and the epic style of acting. This involved, Brecht wrote, "stripping the event of its self-evident, familiar, obvious quality and creating a sense of astonishment and curiosity about them."Brecht, quoted by Brooker (1994, 191).
  62. ^ Brecht (1964, 138).
  63. ^ Sorrel Carson The Stage features]
  64. ^ Ritwik Ghatak first translated Brecht into Bengali, before then making use of some of his key theories in the later films Cloud-Capped Star and Subarna-Rekha. See BANGLAPEDIA: Film, Feature, accessed 27-VII-2006.

Bibliography

Primary sources

Essays, diaries and journals

  • Brecht, Bertolt. 1964. Brecht on Theatre: The Development of an Aesthetic. Ed. and trans. John Willett. British edition. London: Methuen. ISBN 0-413-38800-X. USA edition. New York: Hill and Wang. ISBN 0-8090-3100-0.
  • ---. 2000a. Brecht on Film and Radio. Ed. and trans. Marc Silberman. British edition. London: Methuen. ISBN 0-413-72500-6.
  • ---. 2003a. Brecht on Art and Politics. Ed. and trans. Thomas Kuhn and Steve Giles. British edition. London: Methuen. ISBN 0-413-75890-7.
  • ---. 1965. The Messingkauf Dialogues. Trans. John Willett. Bertolt Brecht: Plays, Poetry, Prose Ser. London: Methuen, 1985. ISBN 0-413-38890-5.
  • ---. 1990. Letters 1913-1956. Trans. Ralph Manheim. Ed. John Willett. Bertolt Brecht: Plays, Poetry, Prose Ser. London: Methuen. ISBN 0-413-51050-6.
  • ---. 1993. Journals 1934–1955. Trans. Hugh Rorrison. Ed. John Willett. Bertolt Brecht: Plays, Poetry, Prose Ser. London and New York: Routledge, 1996. ISBN 0-415-91282-2.

Drama, poetry and prose

  • Brecht, Bertolt. 1994a. Collected Plays: One. Ed. John Willett and Ralph Manheim. Bertolt Brecht: Plays, Poetry, Prose Ser. London: Methuen. ISBN 0-413-68570-5.
  • ---. 1994b. Collected Plays: Two. Ed. John Willett and Ralph Manheim. Bertolt Brecht: Plays, Poetry, Prose Ser. London: Methuen. ISBN 0-413-68560-8.
  • ---. 1997. Collected Plays: Three. Ed. John Willett. Bertolt Brecht: Plays, Poetry, Prose Ser. London: Methuen. ISBN 0-413-70460-2.
  • ---. 2003b. Collected Plays: Four. Ed. Tom Kuhn and John Willett. Bertolt Brecht: Plays, Poetry, Prose Ser. London: Methuen. ISBN 0-413-70470-X.
  • ---. 1995. Collected Plays: Five. Ed. John Willett and Ralph Manheim. Bertolt Brecht: Plays, Poetry, Prose Ser. London: Methuen. ISBN 0-413-69970-6.
  • ---. 1994c. Collected Plays: Six. Ed. John Willett and Ralph Manheim. Bertolt Brecht: Plays, Poetry, Prose Ser. London: Methuen. ISBN 0-413-68580-2.
  • ---. 1994d. Collected Plays: Seven. Ed. John Willett and Ralph Manheim. Bertolt Brecht: Plays, Poetry, Prose Ser. London: Methuen. ISBN 0-413-68590-X.
  • ---. 2004. Collected Plays: Eight. Ed. Tom Kuhn and David Constantine. Bertolt Brecht: Plays, Poetry, Prose Ser. London: Methuen. ISBN 0-413-77352-3.
  • ---. 1972. Collected Plays: Nine. Ed. John Willett and Ralph Manheim. Bertolt Brecht: Plays, Poetry, Prose Ser. New York: Vintage. ISBN 0-394-71819-4.
  • ---. 2000b. Poems: 1913–1956. Ed. John Willett and Ralph Manheim. Bertolt Brecht: Plays, Poetry, Prose Ser. London: Methuen. ISBN 0-413-15210-3.
  • ---. 1983. Short Stories: 1921-1946. Ed. John Willett and Ralph Manheim. Trans. Yvonne Kapp, Hugh Rorrison and Antony Tatlow. Bertolt Brecht: Plays, Poetry, Prose Ser. London and New York: Methuen. ISBN 0-413-52890-1.
  • ---. 2001. Stories of Mr. Keuner. Trans. Martin Chalmers. San Francisco: City Lights. ISBN 0-87286-383-2.

Secondary sources

  • [Anon.] 1952. "Brecht Directs". In Directors on Directing: A Source Book to the Modern Theater. Ed. Toby Cole and Helen Krich Chinoy. Rev. ed. Boston, MA: Allyn & Bacon, 1963. ISBN 0-02-323300-1. 291- [Account of Brecht in rehearsal from anonymous colleague published in Theaterarbeit]
  • Banham, Martin, ed. 1998. "Brecht, Bertolt" In The Cambridge Guide to Theatre. Cambridge: Cambridge University Press. ISBN 0-521-43437-8. 129.
  • Benjamin, Walter. 1983. Understanding Brecht. Trans. Anna Bostock. London and New York: Verso. ISBN 0-902308-99-8.
  • Brooker, Peter. 1994. "Key Words in Brecht's Theory and Practice of Theatre." In Thomson and Sacks (1994, 185–200).
  • Bürger, Peter. 1984. Theory of the Avant-Garde. Trans. of Theorie der Avantgarde (2nd ed., 1980). Theory and History of Literature Ser. 4. Trans. Michael Shaw. Minneapolis: University of Minnesota Press. ISBN 0-8166-1068-1.
  • Calandra, Denis. 2003. "Karl Valentin and Bertolt Brecht." In Popular Theatre: A Sourcebook. Ed. Joel Schechter. Worlds of Performance Ser. London and New York: Routledge. 189–201. ISBN 0-415-25830-8.
  • Counsell, Colin. 1996. Signs of Performance: An Introduction to Twentieth-Century Theatre. London and New York: Routledge. ISBN 0-415-10643-5.
  • Culbert, David. 1995. Historical Journal of Film, Radio and Television (March). [Bibliographic information on this article is missing at present — need article title, is this the author of article?, and page numbers]
  • Demetz, Peter, ed. 1962. "From the Testimony of Berthold Brecht: Hearings of the House Committee on Un-American Activities, 30 October 1947." Brecht: A Collection of Critical Essays. Twentieth Century Views Ser. Eaglewood Cliffs, NJ: Prentice Hall. ISBN 0-13-081760-0. 30–42.
  • Diamond, Elin. 1997. Unmaking Mimesis: Essays on Feminism and Theater. London and New York: Routledge. ISBN 0-415-01229-5.
  • Eagleton, Terry. 1985. "Brecht and Rhetoric." New Literary History 16.3 (Spring). 633–638.
  • Eddershaw, Margaret. 1982. "Acting Methods: Brecht and Stanislavski." In Brecht in Perspective. Ed. Graham Bartram and Anthony Waine. London: Longman. ISBN 0-582-49205-X. 128–144.
  • Ewen, Frederic. 1967. Bertolt Brecht: His Life, His Art and His Times. Citadel Press Book edition. New York: Carol Publishing Group, 1992.
  • Fuegi, John. 1994. "The Zelda Syndrome: Brecht and Elizabeth Hauptmann." In Thomson and Sacks (1994, 104–116).
  • ---. 2002. Brecht and Company: Sex, Politics, and the Making of the Modern Drama. New York: Grove. ISBN 0-8021-3910-8.
  • Giles, Steve. 1998. "Marxist Aesthetics and Cultural Modernity in Der Dreigroschenprozeß." Bertolt Brecht: Centenary Essays. Ed. Steve Giles and Rodney Livingstone. German Monitor 41. Amsterdam and Atlanta, GA: Rodopi. ISBN 90-420-0309-X. 49–61.
  • Hayman, Ronald. 1983. Brecht: A Biography. London: Weidenfeld & Nicolson. ISBN 0-297-78206-1.
  • Jameson, Fredric. 1998. Brecht and Method. London and New York: Verso. ISBN 1-85984-809-5.
  • Jacobs, Nicholas and Prudence Ohlsen, eds. 1977. Bertolt Brecht in Britain. London: IRAT Services Ltd and TQ Publications. ISBN 0-904844-11-0.
  • Kolocotroni, Vassiliki, Jane Goldman and Olga Taxidou, eds. 1998. Modernism: An Anthology of Sources and Documents. Edinburgh: Edinburgh University Press. ISBN 0-7486-0973-3.
  • Krause, Duane. 1995. "An Epic System." In Acting (Re)considered: Theories and Practices. Ed. Phillip B. Zarrilli. 1st ed. Worlds of Performance Ser. London: Routledge. ISBN 0-415-09859-9. 262–274.
  • Leach, Robert. 1994. "Mother Courage and Her Children". In Thomson and Sacks (1994, 128–138).
  • Meech, Tony. 1994. "Brecht's Early Plays." In Thomson and Sacks (1994, 43–55).
  • Mitter, Schomit. 1992. "To Be And Not To Be: Bertolt Brecht and Peter Brook". Systems of Rehearsal: Stanislavsky, Brecht, Grotowski and Brook. London: Routledge. ISBN 0-415-06784-7. 42–77.
  • McDowell, W. Stuart. 1977. "A Brecht-Valentin Production: Mysteries of a Barbershop." Performing Arts Journal 1.3 (Winter): 2-14.
  • ---. 2000. "Acting Brecht: The Munich Years." In The Brecht Sourcebook. Ed. Carol Martin and Henry Bial. Worlds of Performance ser. London and New York: Routledge. 71–83. ISBN 0-415-20043-1.
  • Müller, Heiner. 1990. Germania. Trans. Bernard Schütze and Caroline Schütze. Ed. Sylvère Lotringer. Semiotext(e) Foreign Agents Ser. New York: Semiotext(e). ISBN 0-936756-63-2.
  • Needle, Jan and Peter Thomson. 1981. Brecht. Chicago: U of Chicago P; Oxford: Basil Blackwell. ISBN 0-226-57022-3.
  • Pabst, G.W. 1984. The Threepenny Opera. Classic Film Scripts Ser. London: Lorrimer. ISBN 0-85647-006-6.
  • Reinelt, Janelle. 1990. "Rethinking Brecht: Deconstruction, Feminism, and the Politics of Form." The Brecht Yearbook 15. Ed. Marc Silberman et al. Madison, Wisconsin: The International Brecht Society-University of Wisconsin Press. 99–107.
  • ---. 1994. "A Feminist Reconsideration of the Brecht/Lukács Debate." Women & Performance: A Journal of Feminist Theory 7.1 (Issue 13). 122–139.
  • Rouse, John. 1995. "Brecht and the Contradictory Actor." In Acting (Re)considered: A Theoretical and Practical Guide. Ed. Phillip B. Zarrilli. 2nd ed. Worlds of Performance Ser. London: Routledge. ISBN 0-415-26300-X. 248–259.
  • Sacks, Glendyr. 1994. "A Brecht Calendar." In Thomson and Sacks (1994, xvii–xxvii).
  • Schechter, Joel. 1994. "Brecht's Clowns: Man is Man and After". In Thomson and Sacks (1994, 68–78).
  • Smith, Iris. 1991. "Brecht and the Mothers of Epic Theater." Theatre Journal 43: 491–505.
  • Szondi, Peter. 1965. Theory of the Modern Drama. Ed. and trans. Michael Hays. Theory and History of Literature Ser. 29. Minneapolis: University of Minnesota Press, 1987. ISBN 0-8166-1285-4.
  • Taxidou, Olga. 1995. "Crude Thinking: John Fuegi and Recent Brecht Criticism." New Theatre Quarterly XI.44 (Nov. 1995): 381–384.
  • ---. 2007. Modernism and Performance: Jarry to Brecht. Basingstoke, Hampshire: Palgrave Macmillan. ISBN 1-4039-4101-7.
  • Thomson, Peter. 1994. "Brecht's Lives". In Thomson and Sacks (1994, 22–39).
  • ---. 2000. "Brecht and Actor Training: On Whose Behalf Do We Act?" In Twentieth Century Actor Training. Ed. Alison Hodge. London and New York: Routledge. ISBN 0-415-19452-0. 98–112.
  • Thomson, Peter and Glendyr Sacks, eds. 1994. The Cambridge Companion to Brecht. Cambridge Companions to Literature Ser. Cambridge: Cambridge University Press. ISBN 0-521-41446-6.
  • Willett, John. 1967. The Theatre of Bertolt Brecht: A Study from Eight Aspects. Third rev. ed. London: Methuen, 1977. ISBN 0-413-34360-X.
  • ---. 1978. Art and Politics in the Weimar Period: The New Sobriety 1917–1933. New York: Da Capo Press, 1996. ISBN 0-306-80724-6.
  • ---. 1998. Brecht in Context: Comparative Approaches. Rev. ed. London: Methuen. ISBN 0-413-72310-0.
  • Willett, John and Ralph Manheim. 1970. Introduction. In Collected Plays: One by Bertolt Brecht. Ed. John Willett and Ralph Manheim. Bertolt Brecht: Plays, Poetry and Prose Ser. London: Methuen. ISBN 0-416-03280-X. vii–xvii.
  • Weber, Carl. 1984. "The Actor and Brecht, or: The Truth Is Concrete: Some Notes on Directing Brecht with American Actors." The Brecht Yearbook — Das Brecht Jahrbuch 13: 63–74.
  • ---. 1994. "Brecht and the Berliner Ensemble — the Making of a Model." In Thomson and Sacks (1994, 167–184).
  • Williams, Raymond. 1993. Drama from Ibsen to Brecht. London: Hogarth. ISBN 0-7012-0793-0. 277–290.
  • Witt, Hubert, ed. 1975. Brecht As They Knew Him. Trans. John Peet. London: Lawrence and Wishart; New York: International Publishers. ISBN 0-85315-285-3.
  • Wright, Elizabeth. 1989. Postmodern Brecht. Critics of the Twentieth Century Ser. London and New York: Routledge. ISBN 0-415-02330-0.
  • Youngkin, Stephen D. 2005. The Lost One: A Life of Peter Lorre University Press of Kentucky. ISBN 0-8131-2360-7. [Contains a detailed discussion of the personal and professional friendship between Brecht and classic film actor Peter Lorre.]
  • Wizisla, Erdmut. 2009. Walter Benjamin and Bertolt Brecht — The Story of a Friendship. Translated by Christine Shuttleworth. London / New Haven: Libris / Yale University Press. ISBN 1-870352-78-5. ISBN13 9781870352789 [Contains a complete translation of the newly-discovered Minutes of the meetings around the putative journal Krise und Kritik (1931)].
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