The first feature validates to watch for Brecht and politics, and also it is the fact that our author does not come from a proletarian environment. Brecht's father worked in the purchasing sector and sale of a paper mill and arrived at some point, to be director of the company; was therefore an employee white collar. Brecht was born and raised as well, a middle-class family. Its accession to the left of positions, committed to the wishes and aspirations of the working class, it was not therefore a certain accession by any class instinct: it was derived from a reflection and an ethical option.
A second characteristic that needs to be emphasized: the political engagement in favor of low and against the privileges and mystification of the above occurred very early and took, initially, the form of an acute rebellion. Brecht began to question the patriotic myths linked to Germany during the nationalist hysteria of the First World War. The firmly pacifist convictions were reaffirmed over virtually all his work. Part of Brecht reflects its conviction that the war brings profit to a few, but only causes disasters to ordinary people.
[...] Shakespeare, more spontaneous than the French classic, more plastic, more free, not faded, like those, the purity of form. He spent the verse to prose when he thought that certain ideas would be better expressed in prose than in verse. Of great importance, for him, was the effect on stage, purely theatrical side that should be above the metric and stylistic. There was no need to keep only the prose or poetry only. Rather play with one and with another as deemed most appropriate. [...]
[...] During this period, the prospect of Brecht had something anarchist and was pretty bleak, pessimistic. The dynamics of rebellion that radicalized there some things that suggested the need for a turn, however lacked the definition of a direction for the "leap" in pursuit of "new." In 1922, Brecht already felt that something was wrong with the success of his plays, when he saw that, after the staging, came to greet him warmly people he had thought to give some pounding through his theater. [...]
[...] Hence his studies of dramatic art does not Aristotelian, without submission or obedience to secular rules. Brecht put on the sidelines of the entire schematic of literary schools: Accepting Hegel's conception of what is in the artistic phenomena a higher reality to a more real existence compared with the usual reality, Marx reached with the extraordinary independence of his genius poetic and theatrical. Like Shakespeare, he knew how to use, at the present time, the heroic and the lyrical, dramatic and comic, the serious and the ridiculous to give his work a universal sense. [...]
[...] As if in answer to goeth, Brecht wrote: "Two souls dwell in your human breast, into thy bowels. Prevents insane effort precise choice of the two. " We are all divided, we can do the wisest course is to take this division. When someone is mobilizing for a relentless struggle to transform society, however, it is normal to develop a passionate effort to merge the "two souls" and combine them with the urgency of fighting. Brecht strove then to explore the extreme possibilities of a theater of influence direct policy. [...]
[...] Between 1929 and 1932, industrial production fell by about half. Unemployment was rising, inflation increased. Brecht was concerned with the organization of the labor movement and went on to collaborate with the Communist Party. On the one hand, it preserves, as an artist, the anarchic rebellion; on the other hand, however, feel the need to fit in, disciplined, with others, with all those who move in the strategic perspective of the revolution. In the play Saint Joan of the Slaughterhouses (1929-31), this time, there are verses that reflect the author's concern with the combination of both requirements. [...]
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