Bertolt Brecht
Among the most inventive and influential of modern playwrights, Bertolt
Brecht (1898-1956) has left a legacy of important plays and theories about
how those plays should be produced, Throughout most of his career he felt
that drama should inform and awaken sensibilities, not just entertain or anes~
thetize an audience. Most of his plays concern philosophical and political
issues, and some of them so threatene¢ the Nazi regime that his works were
burned publicly in Germany during the Third Reich.
‘At nineteen, Brecht worked as an orderly in a hospital during the last
months of World War I. Seeing so much carnage and misery in the medical
‘wards made him a lifelong pacifist. After the war he began writing plays while
a student in Munich, His first successes in the Munich theater took the form of
commentary on returned war veterans and on the questions of duty and hero
ism— which he treated negatively. His rejection of spiritual concepts was
influenced by his readings ot Hegel and the doctrines of Marx’s dialectical
materialism. Marx’s theories predicted class struggles and based most social
values in economic realities. Brecht eventually moved to Berlin, the theatrical
center of Germany, and by 1926 was or his way to becoming a Communist.
Finding the political pressures in ea:ly Nazi Germany too frightening and
dangerous for his writing, Brecht went into exile in 1933, He lived for a time in
Scandinavia and later in the United States. After World War II Brecht and his
wife returned to Berlin where, in 1949, he founded the Berliner Ensemble,
which produced most of his later work. Brecht chose East Berlin as his home,
in part because he felt his work could kest be understood in a Communist see
ting. One icony is that his work has been even more widely appreciated and
accepted in the West than in the former Communist eastern bloc.
Brecht wrote his most popular play ia 1928, a musical in collaboration with
the German composer Kurt Weill: The Threepenny Opera. The model for this
play, the English writer John Gay's 1728 ballad opera The Beggar's Opera,
provided Brecht with a perfect platforn on which to comment satirically on
the political and economic circumstances in Germany two hundred years after
Gay wrote. The success of the Brecht-Weill collaboration — the work is still
performed regularly — is due in part to Brecht’s capacity to create appealing
underworld characters such as Polly Peachum and Macheath, known as Mack
the Knife. Brecht’s wife, Helene Weige!, played Mrs. Peachum, the madam of
the brothel in which the action takes place. Kurt Weill’s second wife, Lotte
Lenya, was an overnight sensation ir. the part of Jenny. She had a highly
acclaimed reprise in New York almost twenty-five years later.
Brecht’s most successful plays are Galileo (1938-1939), Mother Courage
(1939), The Good Woman of Setzuan 1943), The Private Lives of the Master
Race (1945), and The Caucasian Chalk Circle (1948). But these represent only
a tiny fraction of a mass of work, including plays, poetry, criticism, and fiction.
621622 BRECHT * MOTHER COURAGE AND HER CHILDREN
His output is extraordinary in volume and quality. It includes plays borro
not only from Gay but also from Sophocles, Molitre, Gorky, Shakespeare, ang
John Webster, among others.
Brecht developed a number of theories regarding drama. He used the term
epic theater to distinguish his own theater from traditional Aristotelian dra
Brecht expected his audience to observe critically, to draw conclusions, and tg
participate in an intellectual argument with the work at hand. The confronta.
tional relationship he intended was designed to engage the audience in analyz
ing what they saw rather than in identifying with the main characters or in
enjoying a wash of sentimentality or emotion.
‘One of the ways Brecht achieved his ends was by making the theatricality 9
the production’s props, lights, sets, and equipment visible, thereby remind
the members of the audience that they were seeing a play. He used the term
ALIENATION to define the effect he wanted his theater to have on an audience
He hoped that by alienating his audience from the drama he would keep them
emotionally detached and intellectually alert. Brecht’s theater was political. He
saw a connection between an audience that could analyze theater critically and
‘an audience that could analyze reality critically — and see that social, political
and economic conditions were not “natural” or fixed immutably but could
{and should) be changed.
Brecht’s theories produced interesting results and helped stimulate audi
ences that expected to be entertained by realistic or sentimental plays. His style:
spread rapidly throughout the world of theater, and itis still being used and
developed by contemporary playwrights such as Heiner Miiller and performers
such as Pina Bausch.
MOTHER COURAGE
Since Mother Courage was first produced in 1941 in Zurich, it has becomea
classic of modern theater, performed successfully in the United States and most
other Western countries. Brecht conceived of the drama as a powerful antiwar
play. He set it in Germany during the Thirty Years’ War, in which the German
Protestants, supported by countries such as France, Denmark, and England,
fought against the Hapsburg empire, which was allied with the Holy Rot
Empire and the German Catholic princes. ‘The war was actually a combination
of many wars fought during the period of thirty years. It was bloody and seen
ingly interminable, devastating Germany's towns. and citizenry as well as its
agriculture and commerce. The armies fought to control territory, economi¢
‘markets, and the religious differences between German Lutherans and Romaa
Catholics.
Brecht was not interested in the immediate causes underlying the Thirty
‘Years’ Wat. He was making a case against war entirely, regardless ofits caus
To do this, he deliberately avoided making his play realistic. The stage settingsBRECHT + MCTHER COURAGE AND HER CHILDREN 623
essentially barren; and the play is structured in scenes that are very intense but
that avoid any sense of continuity of action. Audiences cannot become
involved in unfolding action; they must always remain conscious of themselves,
as audience. Moreover, the lighting is high intensity, almost cruel at times,
spotlighting the action in a way that iscompletely unnatural In the early pro-
ductions, Brecht included slide projections of the headings that accompany
teach of the twelve scenes so that the audience was always reminded of the pres-
ence of the playwright and the fact that they were seeing a play. These headings
provided yet another break in the cont nuity of the action,
"Although the printed text does not convey it, the play as Brecht produced it
employed long silences, some of which were unsettling to the audience. When
Swiss Cheese, Mother Courage’s “honest” son, has a moment of rest in scene
3, he is in an intense ring of stage light as he comments on sitting in the sun
in his shirtsleeves. As Swiss Cheese relaxcs for the last time, the intense light
becomes an ironic device: it seems to expose him as a thief, and he is dragged
off to his death. While he is Mother Courage’s “honest son,” circumstances
‘make it seem that he has been corrupted by the war, like everyone else.
“Mother Courage herself lives off the war by selling goods to the soldiers. She
and her children haul their wagon across the battlefields with no concern for
who is winning, who is losing, or even where they are. Her only ambition is to
stock her wagon, sell her goods, and make sure she does not get stuck with any
useless inventory. When the chaplain tells her that peace has broken out, she
laments their condition because without war the family has no livelihood.
‘As Mother Courage continues to pall her wagon across field after field, she
learns how to survive. But she also loses her children, one by one, to the war.
ilif, seduced into joining the army by a recruitment officer, is led into battle
thinking that war is a heroic adventure, Swiss Cheese thinks he found a good
deal in a paymaster’s uniform, Both are wrong: there is no security in war, and
they eventually perish
Katerin, the daughter, is likewise a vietim of the violence of war. Having
been violated by a Swedish soldier, she becomes mute. Near the end of the play
she is treated violently again, and the terrible scar on her face leaves her
unmarriageable, At the end Katerin cies while sounding an alarm to give the
sleeping town warning of an imminent attack.
Finally, Mother Courage is left alone. She picks up her wagon and finds that
she can maneuver it herself. The play ends as she circles the stage, with every-
‘thing around her consumed by war.
Breche’s stated intentions were somewhat thwarted by the reactions of the
play's frst audiences, They were struck by the power of Brecht’s characteriza
tion of Mother Courage and treated her with immense sympathy. They saw her
as an indomitable woman whose streagth in the face of adversity was so great
that she could not be overwhelmed. 3ut Brecht intended the audience to ana-
lyze Mother Courage further and to sce in her a reflection of society's wrong,
values. She conducts business on the field of battle, paying no attention to the
‘moral question of war itself. She makes her living from the war but cannot see
that it is the war that causes her anguish.
In response to the audiences’ sympathetic reactions, Brecht revised the play,
adding new lines to help audiences see the venality of Mother Courage’s
‘motives. But subsequent audiences have continued to treat her as a survivor —