Bertolt Brecht, Deutsches Theater
Born on February 10, 1898 in the city of Augsburg, Bavaria, Germany, he had not yet completed sixteen and already published his first work in the magazine "Die Ernte". It was a drama entitled "The Bible", which precedes the publication at that time some poems, stories, reviews, and devoted himself to working on dramas.
His career as a playwright begins at the end of World War I in 1918, the city of Munich, with the "Baal" piece. In 1922 receives the Kleist Prize and makes debut one of his polemical works, "Drums in the Night". When he moved to Berlin in 1924, binds to the Deutsches Theater, and will be assistant two great masters of the German performing arts: Max Reinhardt and Erwin Piscator. Helene Weigel knows the actress, who is married in 1926, and it was his faithful companion until his death.
[...] Never, however, it came time to run that intended. This view requires a review. Brecht also employed simultaneously in his plays, prose and poetry without was willing to give them in the future differently, putting them all in verse. The error of judgment on the use of verse and prose by Shakespeare in his dramatic work, is in the old tendency to compare it to Corneille, Racine and Molière, not mixed prose with poetry. Shakespeare, more spontaneous than the French classic, more plastic, more free, not faded, like those, the purity of form. [...]
[...] 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. [...]
[...] Relations with Brecht policy does not leave summarize in any formula to summarize in any succinct formula. So what I wanted to do here was only a few aspects and remember some episodes in the history of such relationship, hoping to be indicating points that deserve to be examined and to stimulate various investigations about each of them. Art and Science The practical achievements, Brecht, theater, were accompanied by its findings in the aesthetics of ground: It was not empirical attempts, but the application of a theory he considered scientific. [...]
[...] 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. [...]
[...] 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. [...]
using our reader.