Bertolt Brecht (Critical Lives) by Philip Glahn

By Philip Glahn

Playwright, poet and activist Bertolt Brecht (1898–1956) was once identified for his thought of the Epic Theatre and his makes an attempt to collapse the department among excessive artwork and pop culture. The Threepenny Opera, his collaboration with composer Kurt Weill, was once a milestone in musical theatre, and performs like mom braveness and Galileo replaced the process glossy drama and aesthetic idea.
Framed via global wars, the Weimar Republic and a world melancholy, Nazism and exile and East German socialism, Brecht’s personal existence grew to become a undertaking, illuminating and intervening within the ongoing predicament of contemporary event, formed via capitalism, nationalism and visions of social utopia. Brecht upended and used as guns the language and gestures of philosophers and beggars, bureaucrats and thieves, monks and employees. the consequences are immediately humorous and tragic, renowned and intricate, sharp, available and entire of delight within the contradictions of being an energetic half within the creation of background. This publication examines Brecht’s existence and paintings as a pivotal contribution to the heritage and legacy of artwork as social labour within the 20th century.

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Mutinying sailors in Kiel and Berlin were able to avert this Nibelungen finale. Ironically, the Wilhelmine Empire then declared its own end and proclaimed the republic, as Prince Max von Baden – chosen by Ludendorff and the infamous Field Marshall Paul von Hindenburg to negotiate an armistice with the Allied forces – on his own authority declared the kaiser’s abdication and made Friedrich Ebert chancellor. This turn of events led to a historical assessment of this Novemberrevolution as a revolution-from-above.

Rather than a site for reflection or engagement, the world is a material playground, used and abused with indifference. After grazing the fields empty with smacking lips, the protagonist leaves the audience to ponder: ‘What else is the world for Baal? ’46 Baal dies lonely, in the woods, among the loggers who have come to fell nature and bring civilis – Brecht’s neologism for civilization and syphilis. The play, on a methodological level, has both biographical and historical dimensions. It bespeaks the author’s war and post-war experiences, his rejection of prevailing worldviews offered to make sense of the war’s destruction, which left men and spirits maimed.

Yet the few things Brecht ever held onto were his critical distance, his sceptical humour and his pragmatic commitment to observation. He always resisted the urge to fall in with comfortable social and political mythologies, and his work was persistently driven by the contradictions and complexities of situating himself and his audience in an active and contingent relationship between image and reality, mediation and experience. 51 2 ‘Mehr guten Sport’: Brecht in Berlin, 1924–8 The Big City – the Machine, the Battlefield Brecht relocated permanently to Berlin in 1924.

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