Brecht sourcebook by Brecht, Bertolt; Brecht, Bertolt; Bial, Henry; Martin, Carol

By Brecht, Bertolt; Brecht, Bertolt; Bial, Henry; Martin, Carol

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Whatever may happen to petroleum, they make a profit out of it. And they feel, after all, that they are getting rather old. They can scarcely expect many more years of life. So why continue to learn? ”4 But there are also people who have not yet “had their turn,” who are discontented with the way things are, who have an immense practical interest in learning, who want orientation badly, who know they are lost without learning—these are the best and most ambitious learners. Such differences also exist among nations and peoples.

6. After the defeat of the Nazis in 1945, the German administrators of the then Sovietoccupied zone—later to become the German Democratic Republic [now part of the unified Federal German Republic]—invited Brecht to establish his own theatre in East Berlin. ). 3 AN EPIC THEATRE CATECHISM Mordecai Gorelik By this time many of us have heard of the controversial doctrines of epic theatre. Some of us have been intrigued by epic theory; others have lost no time expressing their annoyance. In his lifetime Bertolt Brecht, epic’s chief architect, encountered a full measure of both reactions.

The spectator’s eyes positively hang on the star. The other roles give him the cue to the star, place obstacles in his way, show him off. Nevertheless, the star places himself at a distance from the role he plays in the manner just described. He guards against making the audience feel exactly what the character is feeling. Nobody will be raped by the individual he presents. This individual is not the spectator but his neighbor. The western performer does all he can to bring the spectator as close as possible to the events and the character being presented.

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