Eugen Berthold Friedrich Brecht ; German: Living in Munich during the Weimar Republiche had his first successes with theatre plays, whose themes were often influenced by his Marxist thought.
Jo German Director's Notes In Brecht wanted to write a play about sex and money, and the corruption of human nature that can stem from them both. He wanted it to be provoking, morally educational as well as richly entertaining; one in the eye for a complacent and fashionable Berlin audience, - an audience more used to the lavish operatic stage, gorgeous romantic musicals and spectacularly mounted classics.
But not an ignorant audience. Culturally, Berlin between the wars was enormously sophisticated and well informed. They knew the theatre tradition that Brecht would draw from if he turned an existing play in to something else for their entertainment.
He believed that in order to keep art contemporary we should not revere its past, but deliberately rework its all too familiar plots and famous scenes into something strikingly new. Brecht and John Gay did share similar intentions, however. Gay had written a conscious piece of political satire for a London audience overfed on ornate, Italianate Handelian opera.
His audience little expected to see an opera set in a prison instead of on Mount Olympus; and to hear familiar street songs from the untrained voices of actors. The combination proved devastating and 'The Beggar's Opera' was a sensation. Brecht wanted the same mix; politics and music, - the one harshly critical of bourgeois values; the other seductive, rhythmical and lyrical by turns, irresistible to its audience, this making the desired chemical reaction of content, form and spectator complete.
Inat the first performance, Brecht hoped to spring his trap. But he had not bargained for the immensity of his audience's sophistication, the breadth of their decadence.
In furs and diamonds they revelled in its perversity, applauded its innovation as nothing more than chic, went home humming its tunes, - and missed the point. Kurt Weill's music became wildly popular as something divorced from the play; a jazzy film version was planned, - Brecht sued, settled out of court and washed his hands of the finished movie.
Not until he founded his own actors company, The Berliner Ensemble, in was the play performed with anything like the author's intended effect. Christopher Isherwood, whose portrait of Sally Bowles in 'Goodbye to Berlin' formed the basis of the musical 'Cabaret', has described the city's special attraction then as a self-conscious celebration of the perverse.
Against the background of frantic moneymaking and violent political unrest, the Berliners ostentatiously immersed themselves in a new popular culture. The cinema produced dazzling work from directors like Pabst and Fritz Lang.
The theatre world, lead by Max Reinhardt, found a brilliant new range of styles. Classical musicians like Weill explored the new jazz; and, perhaps most symptomatically of all, the nightclubs filled with cabaret, - harsh, brittle, strident and erotic. In all this there was little time spared for social responsibility to the poor; the Depression hit Germany hard and early.
Morality was a thing redefined daily in the banks, boardrooms and bordellos of the city; self-respect was sold cheap every night in the bars and tenements. No single artist caught the fractured, hysterical kaleidoscope of Berlin before Hitler better than Brecht's friend and some-time collaborator, George Grosz.
It was to his visual style that we first turned in making our production of 'The Threepenny Opera'.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 (), which follows, with Brecht's Mahagonny Notes (): "In lieu of private themes we had generalisation, in lieu of what was special the Born: Eugen Berthold Friedrich Brecht, 10 February , Augsburg, Bavaria, German Empire.
Life of Galileo () By Bertolt Brecht Digitalized by RevSocialist for SocialistStories. Author: Revolution Created Date: 4/4/ PM. A Life of Galileo: What Brecht can teach us about the public ownership of science by Alice Bell. The Royal Shakespeare Company's new production of Bertolt Brecht's A Life of Galileo puts themes of class struggle front and centre.
Play The Threepenny Opera 'The Threepenny Opera' was written by Brecht and Weill in and first performed in Berlin that same year. It was made into a film in and adapted to become the film, 'Mack The Knife'.
It proclaims itself "an opera for beggars," and it was in fact an attempt both to satirise traditional opera and operetta.
Essays on questions and answers to pressco inc case; Globalization of dhl; Essay on rainy season; How to start a college essay about yourself examples of adverbs. Galileo by Bertolt Brecht: Summary Galileo by Brecht is based on the real life of the seventeenth century astronomer and physicist Galileo Galilei.
The play is in fourteen scenes which is a break from the conventional pattern of dividing the play into acts and scenes.