Brecht and Political Theatre: The Mother on Stage by Laura Bradley

By Laura Bradley

This construction historical past of The Mother offers monstrous new insights into Bertolt Brecht's theatre and drama, his impression on political theatre, and the connection among textual content, functionality, and politico-cultural context. because the in basic terms play which Brecht staged within the Weimar Republic, in the course of his exile, and within the GDR, The Mother bargains a special chance to match his theatrical perform in contrasting settings and at assorted issues in his occupation. via distinct research of unique archival proof, Bradley indicates how Brecht grew to become way more delicate to his spectators' political opinions and cultural expectancies, even making significant tactical concessions in his 1951 creation on the Berliner Ensemble. those compromises point out that his ''mature'' staging shouldn't be considered as definitive, for it was once adapted to a different and gentle state of affairs. The Mother has appealed strongly to politically devoted theatre practitioners either in and past Germany. by way of exploiting the text's standard hybridity and the interaction among Brecht's ''epic'' and ''dramatic'' parts, administrators have interpreted it in considerably other ways. So even supposing Brecht's 1951 creation stagnated into an affirmative GDR background piece, post-Brechtian administrators have used The Mother to advertise their very own political and theatrical issues, from anti-authoritarian theatre to reflections at the legacies of kingdom Socialism. Their ideological and theatrical subversion have helped Brecht's textual content to survive the political approach that it got here to uphold.

Show description

Read or Download Brecht and Political Theatre: The Mother on Stage PDF

Best dramas & plays books

The Cambridge Companion to Aphra Behn (Cambridge Companions to Literature)

Regularly often called the 1st expert girl author in English, Aphra Behn (1640-1689) has now emerged as one of many significant figures of the recovery, supplying extra performs for the degree than the other writer and vastly influencing the improvement of the radical. Behn's paintings straddles the genres of drama, fiction, poetry and translation.

Re)Constructing Maternal Performance in Twentieth-Century American Drama (What Is Theatre?

A century of yankee theatre, McDaniel investigates how racially-informed notions of motherhood develop into websites of resistance to social and political hierarchies. (Re)Constructing Maternal functionality in Twentieth-Century Drama locates a wide culture of 'counter maternities', politically resistant performances that interact essentialist identities.

Extra resources for Brecht and Political Theatre: The Mother on Stage

Example text

Ibid. 268. g. ’, RF, 15 Aug. ’, RF, 24 Nov. 1929. g. , ‘Landarbeiterstreiks dehnen sich aus’, RF, 14 Jan. 1932. ’ BFA, iii. 275. ’ Sozialdemokratische Partei Deutschlands, Protokoll über die Verhandlungen des Parteitages (Berlin: J. H. W. Dietz Nachfolger, 1931), 45. From Nizhni-Novgorod to Moabit 33 had outraged the KPD because it renounced Marx’s view of the proletariat as the gravedigger of the bourgeoisie and, with it, the commitment to revolution. Thus far, then, Brecht’s changes accorded entirely with Party policy.

But the Russian setting was also designed to force unaligned spectators to recognize the similarities between the Weimar Republic and Tsarist Russia and to encourage them to see the Russian Revolution as a model for Germany. It thus functioned as a Verfremdungseffekt, even though Brecht would not use this term until 1936. Brecht’s textual changes shifted the political focus from NizhniNovgorod in 1902 to Berlin in 1932, so that Die Mutter engaged closely with the revolutionary discourse of the German Left.

Either way, the original ‘Gewichtsverschiebungen’ suggest that epic theatre relies on a complex combination of ‘epic’ and ‘dramatic’ techniques. This is particularly true of Die Mutter. 1 Dramatic Structure The programme contrasted Montage with the organic plot development, or Wachstum, of dramatic theatre, where each scene exists for the next. In Scenes 1 and 2, for instance, the songs interrupt the flow of the action and provide an overt political commentary. Even so, the plot of the first eight scenes still clearly exhibits Wachstum: Scenes 1–5 follow the preparations for the demonstration through to the reported event itself, and then Scenes 6–8 depict the immediate aftermath, as Wlassowa moves to the teacher, visits Pawel in prison, and delivers leaflets to agricultural workers on his behalf.

Download PDF sample

Rated 4.92 of 5 – based on 17 votes