User:DoctorMabuse/Sandbox31

From Wikipedia, the free encyclopedia
Sandbox for Bertolt Brecht
DoctorMabuse/Sandbox31
OccupationPlaywright  · 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 (1922–1927)[1]
Helene Weigel (1930–1956)
ChildrenFrank Banholzer, Hanne Hiob,
Stefan Brecht, Barbara Brecht-Schall
Signature

Bavaria (1898–1924)[edit]

I must become famous, so as to show people
what they're really like.
Bertolt Brecht, 1917.[2]

Brecht was born in Augsburg, Bavaria (about 40 miles (65 km) north-west of Munich) into a comfortably middle-class family, despite what his occasional attempts to claim peasant origins implied.[3] His mother was a conventionally-devout Protestant and his father a Catholic, though religion played little part in Brecht's life, either at home or school.[4] Thanks to his mother's influence, however, he was familiar with the Bible, though it was the language and vivid descriptions of Luther's text, rather than its moral message, that garnered Brecht's admiration.[5] From it came Brecht's interest in the parable form and he claimed, in 1928, that it was the book that had exerted the greatest influence on him.[6] From Brecht's mother, too, came the "dangerous image of the self-denying woman" that recurs in his drama.[7] While at school, Brecht developed the habit of collective and collaborative artistic production.[8] He met Caspar Neher there, 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 theatre.[9]

  • better reference for role of Neher
  • songs, ballads, fairs

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".[10] A heart defect protected him from being drafted for most of the war.[11]

On his father's recommendation, Brecht sought a loophole by registering for an additional medical course at Munich University, where he enrolled in 1917.[12]

There he studied drama with Arthur Kutscher, who shared with the young Brecht an admiration for the iconoclastic dramatist and cabaret-star Wedekind.[13]

Brecht returned to university after the end of the war - is this when the Kutscher seminar happened?[14]

From July 1916, Brecht's newspaper articles began appearing under the new name "Bert Brecht."[15] (his first theatre criticism for the Augsburger Volkswille appeared in October 1919).[16] 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.[17]

In July 1919, Brecht and Paula Banholzer (who had begun a relationship in 1917) had a son, Frank. In 1920, Brecht's mother died.[18]

Some time in either 1920 or 1921, Brecht took a small part in the political cabaret of the Munich comedian Karl Valentin.[19] Brecht's diaries for the next few years record numerous visits to see Valentin perform.[20] Brecht compared Valentin to Chaplin, for his "virtually complete rejection of mimicry and cheap psychology" [21] 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.[22]

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."[23] 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."[24] 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).[25] 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."[26]

That year he married the Viennese opera-singer Marianne Zoff. Their daughter—Hanne Hiob (1923–2009)—was a successful German actress.[17]

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.[27] 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.[28] 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.[20]

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.[29] 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'.[30] 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.[31]

Notes[edit]

  1. ^ http://german.wisc.edu/brecht/chronology.html
  2. ^ Quoted in Hayman (1983, 20).
  3. ^ Ewen (1967, 55), Hayman (1983, 4-6), Thomson (1994, 22-23), and Völker (1976, 3-5); see also Brecht's poem "Of Poor B.B." (first version, 1922) in Brecht (2000b, 107–108). Brecht's father worked for a paper mill, becoming its managing director in 1914.
  4. ^ Ewen (1967, 55), Hayman (1983, 5), Thomson (1994, 23), and Völker (1976, 6). Brecht's father was Catholic in name alone and had a protestant wedding when he married Brecht's mother.
  5. ^ Hayman (1983, 6-7), Thomson (1994, 23), and Völker (1976, 6-7). Willett argues that "the thunder of the Lutheran bible" may be heard "behind much of his prose or free verse" (1967, 88). Brecht's first play, published in his school magazine in 1914, was a one-act historical drama called The Bible (Die Bibel), in which a Protestant town in the Netherlands, which is under seige by Catholic forces, is overcome due to the religious fanatacism of some of its citizens.
  6. ^ Hayman (1983, 3-4, 7, 135), Völker (1976, 6), and Willett (1967, 88). The claim was made in an interview with Die Dame magazine in October 1928.
  7. ^ Thomson (1994, 22–23); see also Smith (1991).
  8. ^ Thomson (1994, 23) and Völker (1976, 10-12).
  9. ^ Hayman (1983, 24, 156), Thomson (1994, 23), and Völker (1976, 7).
  10. ^ Ewen (1967, 59-), Hayman (1983, 12-), Thomson (1994, 24), and Völker (1976, 8-9). Brecht was threatened with expulsion for a essay on Horace's Dulce et decorum est pro patria mori in which he wrote: "The saying that it is sweet and honourable to die for one's country can only be classed as propaganda"; see Ewen (1967, 60), Hayman (1983, 17-18), and Völker (1976, 9-10).
  11. ^ Hayman (1983, 6, 22) and Völker (1976, 12). Brecht had experienced a serious heart attack when he was twelve; see Hayman (1983, 9).
  12. ^ Thomson (1994, 24) and Sacks (xvii).
  13. ^ Hayman (1983, 21) and Thomson (1994, 24). Brecht had been given an edition of Wedekind's work by his father in 1914. 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).
  14. ^ Ewen (1967, 63).
  15. ^ Völker (1976, 10).
  16. ^ Thomson (1994, 24) and Willett (1967, 17).
  17. ^ a b Cite error: The named reference lives was invoked but never defined (see the help page).
  18. ^ Ewen (1967, 56) and Willett and Manheim (1970, vii).
  19. ^ Sacks (1994, xx) and McDowell (1977).
  20. ^ a b McDowell (2000).
  21. ^ Willett and Manheim 1970, x.
  22. ^ Brecht (1965, 69–70).
  23. ^ Quoted in Thomson (1994, 25).
  24. ^ 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).
  25. ^ See Thomson and Sacks (1994, 50) and Willett and Manheim (1970, viii–ix).
  26. ^ Herbert Ihering, quoted in Willett and Manheim (1970, ix).
  27. ^ McDowell (1977).
  28. ^ Culbert (1995).
  29. ^ Thomson (1994, 26–27), Meech (1994, 54–55).
  30. ^ 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.
  31. ^ 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).
Retrieved from "https://en.wikipedia.org/w/index.php?title=User:DoctorMabuse/Sandbox31&oldid=813224658"