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58-541: Eugen Berthold Friedrich Brecht (10 February 1898 – 14 August 1956), known as Bertolt Brecht and Bert Brecht , was a German theatre practitioner , playwright, and poet. Coming of age during the Weimar Republic , he had his first successes as a playwright in Munich and moved to Berlin in 1924, where he wrote The Threepenny Opera with Elisabeth Hauptmann and Kurt Weill and began a life-long collaboration with

116-555: A child known as Eugen) was born on 10 February 1898 in Augsburg , Germany, the son of Berthold Friedrich Brecht (1869–1939) and his wife Sophie, née Brezing (1871–1920). Brecht's mother was a devout Protestant and his father a Roman Catholic (who had been persuaded to have a Protestant wedding). The modest house where he was born is today preserved as a Brecht Museum. His father worked for a paper mill, becoming its managing director in 1914. At Augsburg, his maternal grandparents lived in

174-459: A milestone in Brecht's early theatrical and dramaturgical development. Brecht's Edward II constituted his first attempt at collaborative writing and was the first of many classic texts he was to adapt. As his first solo directorial début, he later credited it as the germ of his conception of " epic theatre ". That September, a job as assistant dramaturg at Max Reinhardt 's Deutsches Theater —at

232-774: A month later. In July 1919, Brecht and Paula Banholzer (who had begun a relationship in 1917) had a son, Frank. In 1920 Brecht's mother died. Frank died in 1943, fighting for Nazi Germany on the Eastern Front . Some time in either 1920 or 1921, Brecht took a small part in the political cabaret of the Munich comedian Karl Valentin . Brecht's diaries for the next few years record numerous visits to see Valentin perform. Brecht compared Valentin to Charlie Chaplin , for his "virtually complete rejection of mimicry and cheap psychology". Writing in his Messingkauf Dialogues years later, Brecht identified Valentin, along with Wedekind and Büchner , as his "chief influences" at that time: But

290-505: A music festival in July, as what Weill called a "stylistic exercise" in preparation for the large-scale piece. From that point on Caspar Neher became an integral part of the collaborative effort, with words, music and visuals conceived in relation to one another from the start. The model for their mutual articulation lay in Brecht's newly formulated principle of the " separation of the elements ", which he first outlined in " The Modern Theatre Is

348-747: A number of agitprop plays, praising the bolshevik collectivism (replaceability of each member of the collective in Man Equals Man ) and the Red Terror ( The Decision ). For us, man portrayed on the stage is significant as a social function. It is not his relationship to himself, nor his relationship to God, but his relationship to society which is central. Whenever he appears, his class or social stratum appears with him. His moral, spiritual or sexual conflicts are conflicts with society. Erwin Piscator , 1929. In 1927 Brecht became part of

406-682: A play that would never see the stage in Brecht's lifetime. Happy End' s score by Weill produced many Brecht/Weill hits like "Der Bilbao-Song" and "Surabaya-Jonny". The masterpiece of the Brecht/Weill collaborations, Rise and Fall of the City of Mahagonny ( Aufstieg und Fall der Stadt Mahagonny ), caused an uproar when it premiered in 1930 in Leipzig, with Nazis in the audience protesting. The Mahagonny opera would premier later in Berlin in 1931 as

464-430: A priest who also served as a substitute teacher at Brecht's school. On his father's recommendation, Brecht sought to avoid being conscripted into the army by exploiting a loophole which allowed for medical students to be deferred. He subsequently registered for a medical course at Munich University , where he enrolled in 1917. There he studied drama with Arthur Kutscher , who inspired in the young Brecht an admiration for

522-690: A screenwriter, and meanwhile was being surveilled by the FBI . In 1947, he was part of the first group of Hollywood film artists to be subpoenaed by the House Un-American Activities Committee for alleged Communist Party affiliations. The day after testifying, he returned to Europe, eventually settling in East Berlin where he co-founded the theatre company Berliner Ensemble with his wife and long-time collaborator, actress Helene Weigel . Eugen Berthold Friedrich Brecht (as

580-411: A script for a semi-documentary feature film about the human impact of mass unemployment, Kuhle Wampe (1932), which was directed by Slatan Dudow . This striking film is notable for its subversive humour, outstanding cinematography by Günther Krampf , and Hanns Eisler's dynamic musical contribution. It still provides a vivid insight into Berlin during the last years of the Weimar Republic . Unhappy

638-568: A trend that persisted throughout his career of creative activity that was generated by a desire to counter another work (both others' and his own, as his many adaptations and re-writes attest). "Anyone can be creative," he quipped, "it's rewriting other people that's a challenge." Brecht completed his second major play, Drums in the Night , in February 1919. Between November 1921 and April 1922 Brecht made acquaintance with many influential people in

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696-521: A triumphant sensation. Brecht spent the last years of the Weimar-era (1930–1933) in Berlin working with his "collective" on the Lehrstücke . These were a group of plays driven by morals, music and Brecht's budding epic theatre. The Lehrstücke often aimed at educating workers on Socialist issues. The Measures Taken ( Die Massnahme ) was scored by Hanns Eisler . In addition, Brecht worked on

754-580: A two-story wooden bungalow in the Los Angeles beach suburb of Santa Monica . By the late 1930s, the West Side of Los Angeles had become a thriving expatriate colony of European intellectuals and artists. Because the colony included so many writers, directors, actors, and composers from German-speaking countries, it has been referred to as "Weimar on the Pacific". At the center of the émigré community

812-735: A year. After Germany invaded Norway and Denmark , Brecht left Sweden for Helsinki, Finland, where he awaited a pending visa to the United States. During this time he co-wrote the play Mr Puntila and His Man Matti ( Herr Puntila und sein Knecht Matti ) with Hella Wuolijoki , with whom he lived in the Marlebäck manor house in Iitti . Upon receipt of the U.S. visa in May 1941, the Brecht family relocated to Southern California . They rented

870-496: Is a stub . You can help Misplaced Pages by expanding it . Der Volkswille (Augsburg, 1919) In October 1919 Bertolt Brecht became a regular opera and theatre critic for Der Volkswille , he remained in this position until the end of the existence of the publication. Between 25 October 1919 and 12 January 1921 Brecht contributed with 25 reviews in Der Volkswille . On 1 December 1920 Der Volkswille became an organ of

928-417: Is someone who creates theatrical performances and/or produces a theoretical discourse that informs their practical work. A theatre practitioner may be a director , dramatist , actor , designer or a combination of these traditionally separate roles. Theatre practice describes the collective work that various theatre practitioners do. The term was not ordinarily applied to theatre-makers prior to

986-570: The GULAG after being arrested during Joseph Stalin 's Great Purge , was harshly criticised by Russian émigrés living in the West. At the onset of the Cold War and " Second Red Scare " in the U.S., Brecht was blacklisted by movie studio bosses and investigated by the House Un-American Activities Committee (HUAC). Along with more than 40 other Hollywood writers, directors, actors and producers, he

1044-573: The Neue Sachlichkeit movement. The collective's work "mirrored the artistic climate of the middle 1920s", Willett and Manheim argue: with their attitude of Neue Sachlichkeit (or New Matter-of-Factness), their stressing of the collectivity and downplaying of the individual, and their new cult of Anglo-Saxon imagery and sport. Together the "collective" would go to fights, not only absorbing their terminology and ethos (which permeates Man Equals Man ) but also drawing those conclusions for

1102-508: The SS and a chief architect of the Holocaust ; he was known as "The Hangman of Prague" ( German : der Henker von Prag ). For this film, Brecht's fellow expatriate, composer Hanns Eisler , was nominated for an Academy Award in the category of Best Music Score . The fact that three refugee artists from Nazi Germany – Lang, Brecht and Eisler – collaborated to make the film exemplified

1160-400: The copyrights of Brecht's work with her siblings. Brecht formed a writing collective which became prolific and very influential. Elisabeth Hauptmann , Margarete Steffin , Emil Burri, Ruth Berlau and others worked with Brecht and produced the multiple teaching plays , which attempted to create a new dramaturgy for participants rather than passive audiences. These addressed themselves to

1218-524: The " dramaturgical collective" of Erwin Piscator 's first company, which was designed to tackle the problem of finding new plays for its "epic, political, confrontational, documentary theatre". Brecht collaborated with Piscator during the period of the latter's landmark productions, Hoppla, We're Alive! by Toller , Rasputin , The Adventures of the Good Soldier Schweik , and Konjunktur by Lania . Brecht's most significant contribution

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1276-484: The 1920s and a renewing influence on the musical worldwide. One of its most famous lines underscored the hypocrisy of conventional morality imposed by the Church, working in conjunction with the established order, in the face of working-class hunger and deprivation: Erst kommt das Fressen Dann kommt die Moral. First the grub (lit. "eating like animals, gorging") Then the morality. The success of The Threepenny Opera

1334-584: The Berlin cultural scene. Amongst them was the playwright Arnolt Bronnen with whom he established a joint venture, the Arnolt Bronnen / Bertolt Brecht Company. Brecht changed the spelling of his first name to Bertolt to rhyme with Arnolt. In 1922 while still living in Munich, Brecht came to the attention of an influential Berlin critic, Herbert Ihering : "At 24 the writer Bert Brecht has changed Germany's literary complexion overnight"—he enthused in his review of Brecht's first play to be produced, Drums in

1392-484: The Epic Theatre " (1930). The principle, a variety of montage , proposed by-passing the "great struggle for supremacy between words, music and production" as Brecht put it, by showing each as self-contained, independent works of art that adopt attitudes towards one another. In 1930 Brecht married Weigel; their daughter Barbara Brecht was born soon after the wedding. She also became an actress and would later share

1450-464: The HUAC at that time, the so-called Hollywood Ten , declined on First Amendment grounds to answer about their Communist Party affiliations and were cited for contempt. Brecht's decision to be a "cooperative" witness—albeit in an evasive way and providing no useful information—led to criticism of him, including accusations of betrayal. The day after his testimony, Brecht fled to Europe and never returned to

1508-485: The HUAC that he had never been a member of the Communist Party . He made wry jokes throughout the proceedings, punctuating his inability to speak English well with continuous references to the translators present, who transformed his German statements into English ones unintelligible to himself. HUAC vice-chairman Karl Mundt thanked Brecht for his cooperation. The remaining unfriendly witnesses who appeared before

1566-504: The Jungle premiered in Munich, also directed by Engel. Opening night proved to be a "scandal"—a phenomenon that would characterize many of his later productions during the Weimar Republic —in which Nazis blew whistles and threw stink bombs at the actors on the stage. In 1924 Brecht worked with the novelist and playwright Lion Feuchtwanger (whom he had met in 1919) on an adaptation of Christopher Marlowe 's Edward II that proved to be

1624-550: The Night , but the productions did not materialize. The year 1927 also saw the first collaboration between Brecht and the young composer Kurt Weill . Together they began to develop Brecht's Mahagonny project, along thematic lines of the biblical Cities of the Plain but rendered in terms of the Neue Sachlichkeit ' s Amerikanismus , which had informed Brecht's previous work. They produced The Little Mahagonny for

1682-540: The Night , and In the Jungle , although at that point only Drums had been produced). The citation for the award insisted that: "[Brecht's] language is vivid without being deliberately poetic, symbolical without being over literary. Brecht is a dramatist because his language is felt physically and in the round." That year he married the Viennese opera singer Marianne Zoff . Their daughter, Hanne Hiob , born in March 1923,

1740-430: The Night —"[he] has given our time a new tone, a new melody, a new vision. [...] It is a language you can feel on your tongue, in your gums, your ear, your spinal column." In November it was announced that Brecht had been awarded the prestigious Kleist Prize (intended for unestablished writers and probably Germany's most significant literary award, until it was abolished in 1932) for his first three plays ( Baal , Drums in

1798-516: The U.S. He lived in Zurich , Switzerland for a year. In February 1948 in the Swiss town of Chur , Brecht staged an adaptation of Sophocles ' Antigone , based on a translation by Hölderlin . The play was published under the title Antigonemodell 1948 , accompanied by an essay on the importance of creating a " non-Aristotelian " form of theatre. Theatre practitioner A theatre practitioner

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1856-459: The army". Brecht was nearly expelled from school in 1915 for writing an essay in response to the line Dulce et decorum est pro patria mori from the Roman poet Horace , calling it Zweckpropaganda ("cheap propaganda for a specific purpose") and arguing that only an empty-headed person could be persuaded to die for their country. His expulsion was only prevented by the intervention of Romuald Sauer,

1914-681: The composer Hanns Eisler . Immersed in Marxist thought during this period, Brecht wrote didactic Lehrstücke and became a leading theoretician of epic theatre (which he later preferred to call "dialectical theatre") and the Verfremdungseffekt . When the Nazis came to power in Germany in 1933, Brecht fled his home country, initially to Scandinavia. During World War II he moved to Southern California where he established himself as

1972-537: The iconoclastic dramatist and cabaret star Frank Wedekind . From July 1916, Brecht's newspaper articles began appearing under the new name "Bert Brecht" (his first theatre criticism for the Augsburger Volkswille appeared in October 1919). Brecht was drafted into military service in the autumn of 1918, only to be posted back to Augsburg as a medical orderly in a military VD clinic ; the war ended

2030-535: The improvisational approach of the commedia dell'arte in which the actors chatted with the prompter about their roles), and Pirandello 's Six Characters in Search of an Author in his group of Berlin theatres. A new version of Brecht's third play, now entitled Jungle: Decline of a Family , opened at the Deutsches Theater in October 1924, but was not a success. In the asphalt city I'm at home. From

2088-528: The influence this generation of German exiles had on American culture. Hangmen Also Die! turned out to be Brecht's only script that became a Hollywood film. The money he earned from selling the script enabled him to write The Visions of Simone Machard , Schweik in the Second World War and an adaptation of Webster 's The Duchess of Malfi . During the reign of the Third Reich , Brecht

2146-511: The land where heroes are needed. Galileo , in Brecht's Life of Galileo ( 1943 ) Fearing persecution, Brecht fled Nazi Germany in February 1933, just after Hitler took power. Following brief spells in Prague, Zurich and Paris, he and Weigel accepted an invitation from journalist and author Karin Michaëlis to move to Denmark. The Brechts first stayed with Michaëlis at her house on

2204-524: The man he learnt most from was the clown Valentin , who performed in a beer-hall. He did short sketches in which he played refractory employees, orchestral musicians or photographers, who hated their employers and made them look ridiculous. The employer was played by his partner, Liesl Karlstadt, a popular woman comedian who used to pad herself out and speak in a deep bass voice. Brecht's first full-length play, Baal (written 1918), arose in response to an argument in one of Kutscher's drama seminars, initiating

2262-485: The massive worker arts organisation that existed in Germany and Austria in the 1920s. So did Brecht's first great play, Saint Joan of the Stockyards , which attempts to portray the drama in financial transactions. This collective adapted John Gay 's The Beggar's Opera , with Brecht's lyrics set to music by Kurt Weill . Retitled The Threepenny Opera ( Die Dreigroschenoper ) it was the biggest hit in Berlin of

2320-461: The neighbouring house. They were Pietists and his grandmother influenced Bertolt Brecht and his brother Walter considerably during their childhood. Due to his grandmother's and his mother's influence, Brecht knew the Bible, a familiarity that would have a life-long effect on his writing. From his mother came the "dangerous image of the self-denying woman" that recurs in his drama. Brecht's home life

2378-740: The publisher's commission ran out. In 1925 in Mannheim the artistic exhibition Neue Sachlichkeit (" New Objectivity ") had given its name to the new post- Expressionist movement in the German arts. With little to do at the Deutsches Theater, Brecht began to develop his Man Equals Man project, which was to become the first product of "the 'Brecht collective'—that shifting group of friends and collaborators on whom he henceforward depended." This collaborative approach to artistic production, together with aspects of Brecht's writing and style of theatrical production, mark Brecht's work from this period as part of

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2436-435: The question of how to dramatize the complex economic relationships of modern capitalism in his unfinished project Joe P. Fleischhacker (which Piscator's theatre announced in its programme for the 1927–28 season). It wasn't until his Saint Joan of the Stockyards (written between 1929 and 1931) that Brecht solved it. In 1928 he discussed with Piscator plans to stage Shakespeare 's Julius Caesar and Brecht's own Drums in

2494-706: The rise of modernism in the theatre. Instead, theatre praxis from Konstantin Stanislavski 's development of his system is described through Vsevolod Meyerhold 's biomechanics , Antonin Artaud 's Theatre of cruelty , Bertolt Brecht 's epic , and Jerzy Grotowski 's poor theatre . Contemporary theatre practitioners include Augusto Boal with his Theatre of the Oppressed , Dario Fo 's popular theatre, Eugenio Barba 's theatre anthropology, and Anne Bogart 's viewpoints . This theatre -related article

2552-468: The sense that the new subject matter demanded a new dramatic form , the use of songs to interrupt and comment: all these are found in his notes and essays of the 1920s, and he bolstered them by citing such Piscatorial examples as the step-by-step narrative technique of Schweik and the oil interests handled in Konjunktur ('Petroleum resists the five-act form'). Brecht was struggling at the time with

2610-633: The small island of Thurø close to the island of Funen . They later bought their own house in Svendborg on Funen. This Svendborg house at Skovsbo Strand 8 became the Brecht family residence for the next six years. They often received guests there including Walter Benjamin , Hanns Eisler and Ruth Berlau . Brecht also travelled frequently to Copenhagen, Paris, Moscow, New York and London for various projects and collaborations. When war seemed imminent in April 1939, he moved to Stockholm, where he remained for

2668-445: The theatre as a whole which Brecht set down in his theoretical essay "Emphasis on Sport" and tried to realise by means of the harsh lighting, the boxing-ring stage and other anti-illusionistic devices that henceforward appeared in his own productions. In 1925, Brecht saw two films that had a significant influence on him: Chaplin 's The Gold Rush and Eisenstein 's Battleship Potemkin . Brecht had compared Valentin to Chaplin, and

2726-499: The time one of the leading three or four theatres in the world—brought him to Berlin. In 1923 Brecht's marriage to Zoff began to break down (though they did not divorce until 1927). Brecht had become involved with both Elisabeth Hauptmann and Helene Weigel. Brecht and Weigel's son, Stefan , was born in October 1924. In his role as dramaturg, Brecht had much to stimulate him but little work of his own. Reinhardt staged Shaw 's Saint Joan , Goldoni 's Servant of Two Masters (with

2784-437: The two of them provided models for Galy Gay in Man Equals Man . Brecht later wrote that Chaplin "would in many ways come closer to the epic than to the dramatic theatre's requirements." They met several times during Brecht's time in the United States, and discussed Chaplin's Monsieur Verdoux project, which it is possible Brecht influenced. In 1926 a series of short stories was published under Brecht's name, though Hauptmann

2842-604: The very start Provided with every last sacrament: With newspapers. And tobacco. And brandy To the end mistrustful, lazy and content. Bertolt Brecht, "Of Poor BB" At this time Brecht revised his important "transitional poem", "Of Poor BB". In 1925, his publishers provided him with Elisabeth Hauptmann as an assistant for the completion of his collection of poems, Devotions for the Home ( Hauspostille , eventually published in January 1927). She continued to work with him after

2900-571: Was Brecht's old friend Salka Viertel , whom he had known in the Berlin theatre world of the 1920s. From her house in Santa Monica Canyon, Viertel hosted frequent tea parties and salons where European intellectuals could mingle with Hollywood luminaries. Brecht first met actor Charles Laughton at a Viertel party, and it led to the two men collaborating on the English-language version of Life of Galileo . Although Brecht

2958-633: Was a prominent practitioner of the Exilliteratur . He expressed his opposition to the National Socialist and Fascist movements in his famous plays: Life of Galileo , Mother Courage and Her Children , The Good Person of Szechwan , The Resistible Rise of Arturo Ui , The Caucasian Chalk Circle , Fear and Misery of the Third Reich , and many others. However, his refusal to speak in support of Carola Neher , who died in

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3016-507: Was a successful German actress. In 1923, Brecht wrote a scenario for what was to become a short slapstick film, Mysteries of a Barbershop , directed by Erich Engel and starring Karl Valentin. Despite a lack of success at the time, its experimental inventiveness and the subsequent success of many of its contributors have meant that it is now considered one of the most important films in German film history . In May of that year, Brecht's In

3074-531: Was closely associated with writing them. Following the production of Man Equals Man in Darmstadt that year, Brecht began studying Marxism and socialism in earnest, under the supervision of Hauptmann. "When I read Marx 's Capital ", a note by Brecht reveals, "I understood my plays." Marx was, it continues, "the only spectator for my plays I'd ever come across." Inspired by the developments in USSR , Brecht wrote

3132-525: Was comfortably middle class, despite what his occasional attempt to claim peasant origins implied. At school in Augsburg he met Caspar Neher , with whom he formed a life-long creative partnership. Neher designed many of the sets for Brecht's dramas and helped to forge the distinctive visual iconography of their epic theatre . When Brecht was 16, World War I broke out. Initially enthusiastic, Brecht soon changed his mind on seeing his classmates "swallowed by

3190-403: Was followed by the quickly thrown together Happy End . It was a personal and a commercial failure. At the time the book was purported to be by the mysterious Dorothy Lane (now known to be Elisabeth Hauptmann, Brecht's secretary and close collaborator). Brecht only claimed authorship of the song texts. Brecht would later use elements of Happy End as the germ for his Saint Joan of the Stockyards ,

3248-646: Was not enamored of life in the movie capital, he worked hard to find a place for himself as a screenwriter. He co-wrote the screenplay for the Fritz Lang -directed film Hangmen Also Die! (1943) which was loosely based on the 1942 assassination of Reinhard Heydrich , the Nazi Deputy Reich Protector of the German-occupied Protectorate of Bohemia and Moravia . Heydrich had been Heinrich Himmler 's right-hand man in

3306-524: Was subpoenaed in September 1947 by the HUAC. Although he was one of the 19 "unfriendly" witnesses who had declared ahead of time they would not cooperate with the House investigation, Brecht eventually decided to go before the committee and answer questions. He later explained he was following the advice of attorneys and did not want to delay his planned trip to Europe. On 30 October 1947, Brecht testified to

3364-481: Was to the adaptation of the unfinished episodic comic novel Schweik , which he later described as a "montage from the novel". The Piscator productions influenced Brecht's ideas about staging and design, and alerted him to the radical potentials offered to the " epic " playwright by the development of stage technology (particularly projections). What Brecht took from Piscator "is fairly plain, and he acknowledged it" Willett suggests: The emphasis on Reason and didacticism,

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