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Bertolt Brecht: Case study

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  1. Introduction
  2. Bertolt Brecht: A brief biography (1898-1956)
  3. Brecht in Brazil
  4. Analysis
  5. Conclusion

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. [...]

[...] Anyway, not long exile to lead the poet Brecht to correct such trends and provides you ways to recognize the full force of subjective factors in the vicissitudes of political life. With the exile comes a painful maturation. Brecht account of the complexity of the table facing us and in which we make our choices is far greater than is usually imagined. It should, however, never discouraged. It is necessary to recognize all ambiguities, without being paralyzed by them. Brecht moved from Germany to Austria, from Austria to Switzerland; then passed through France, Belgium, went to live in Denmark, "moving from one country more often than shoe". [...]

[...] There is plenty of Kamenev, Zinoviev and Bukharin in brilliant astronomer who, victim of the Inquisition, thrown in jail, before the instruments of torture, seen in contingency disown his own ideas. The incompatibility of Brecht with the Stalinist regime was so acute that the exile was Hitler's Germany, chose to asylum in the United States, where he felt safer. Brecht e Shakespeare It is very common to compare Brecht to Shakespeare. The Association of reason between them is the historical parallel of the periods in which they lived. [...]

[...] One night in a bar in Munich, in a meeting with veterans of the first war friends, Brecht read one of his poems called "Story of the Dead Soldier". When finished, as a way of applause, ex-combatants threw him their glasses of beer. By this time no publisher, magazine or any publication, allows the placement of his works. His first literary creations in the field of drama, as well as his poetic writings, were found to be failures. Are part of this period, the "Baal" texts; "The life of Edward II of England" and "In the forest of cities", besides the poem "Domestic sermons." This part of his work, except for the "Drums in the Night", discard any social criticism. [...]

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