What is the point, we wonder, of chasing one's own tail like th is? Th is addiction to drugs? The y represent progress as soon :rs we set out to effect radical.
True progress cons is ts not in being progressive but in progressing. True progress is whrt. And on a broad front, at that, so tluineighbouring spheres arc. True progress has its ceuse in the impossibility of an aCtuel situetion, end its.
Why th is refusal to d is cuss? Answer: nothing can come of. To d is cuss the present form of our society, or even of one of its. We have seen that opera is sold as evening entertainment, and that th is. We see that th is entertainment. In our present society the old opera cannot be just 'w is hed away'. The drug is irreplaceable; it. Only in the opera does the human being have a chance to be human. The old opera survives.
Th is is not wholly so. And here lies the hope. Today we can begin to ask whe the r opera hasn't come. And here you have the effect of the innovations and the song. In order to stand it we have to have some kind of palliative. The re seem to be three. Freud: Dar Urtehagm it der Kultur, page zz. Such drugs are sometimes responsible for the.
I Such, in the opcra Mahagomryr, are thoce innovations which allow the the atre to present. And so to develop the means of pleasure. Caspar Neher, the. Besides being the first full statement ofBrecht's ideas about the 'epic the atre',. Lessing used the term in h is Hamburger. Dramaturgie as something d is tinct from 'Geste', or gesture proper entry for.
Weill introduces the term thus: Music, he says, is particularly important for. Of the operas referred to, Jonnjt spieh nul'was Ernst Kienek's opera about a. Negro violin is t, which included a scene in a railway station and was first performed. A factory is shown in Max Brand's Maschin is t Hopkins. The work in Latin was presumably Cocteau's and Stravinsky's. Brecht is confusing it with its companion doctrine of 'Gemeinschaftsmusik',.
The re is no reason why John Gay's motto for h is Beggar,s Opera-nos. Its publication represents little more than the prompt-book of a play wholly. Th is doesn't mean that the conversion of the maximum number. The Threepenqt Opera is concerned with bourgeo is conceptions not. It is a kind of report on life as any member of the audience.
Since at the same time, however, he sees a good deal. But the the atre itself res is ts any alteration of its function, and so it seems. Today we see the the atre being given absolute priority over the actual plays. The the atre apparatus's priority is a priority of means of production. The necessity to stage the new drama correctly - which matters. Of course th is. The screens on which the titles of each scene are projected are a primitive.
Th is literarization of the the atre needs. Only concerted I - singing I am so-and-so, I am starting forth, I am not tired, etc. Signed 'Brecht, Suhrkamp'. BBECEI Or TEEATEE: vidual shares in the music, thus obeying the principle that doing is better than feeling, by following the music with h is eyes as printed, and contributing the parts and places reserved for him by singing the m for himserf or in conjunction with o the rs school class.
The increasing concentration of to bc sentul hut mechanical means and the increasingly specialized training to bc changed - tendencies that should be accelerated - call for a kind of res is tance by the l is tener, and for h is mobilization and redrafting as a producer.
The employment of Der FIug der Liulberghs and the use of radio in its ThcBadn-Badat changed form was shown by a demonstration at the Badenradio ctptimmt Baden music festival of ryzg. On the left,of the platform the radio orchestra was placed with its apparatus and singers, on the right the l is tener, who performed the Flier's part, i.
He read the sections to be spoken without identifying h is own feelings with those contained in the text, pausing at the end of each line; in o the r words, in the spirit of an ererc is e. At the back of the platform stood the the ory being demonstrated in th is way.
Thus Dar FIug der Lindberghs has no aes the tic and no revolutionary value independently of its application, and only the State can organize th is. Its proper application, however, makes it so'revolutionary' that the present-day State has no interest in sponsoring such exerc is es.
Here is an example of the effect of th is application on the text: the figure of a public hero in Der FIry der Lindbergh. In a concert performance consequently a false one at least the Flier's part must be sung by a chorusif the sense of the entire work is not to be ruined. Brecht subsequently changed its title to Der Ozeanfug, as which it now figures in the reprint of the Versuclu. Peter Suhrkamp, h is collaborator on the notes, became h is West German publ is her after Lehrstikk form - which began as a kind of didactic centata, with solos, choruses and scraps ofacting - was the notion that moral and political lessons could best be taught by participation in an actual performance.
The pupil will use a particularly clear manner of speaking in order to run over a difficult passage again and again so as to get at its meaning or fix it in the memory. H is gestures too are clear and help towards clarification. The n the re are o the r passages which have to be quickly and fleetingly delivered as if the y were frequently pract is ed ritual actions. The se are the passages which correspond to sections of a speech conveying particular items of information needed for the understanding of the more important item that follows.
Such passages are wholly useful to the overall process and must be delivered as performances. The n the re are parts that demand acting ability of very much the old kind. For the re is a certain pracrical human way of behaving which may bring about situations that demand or faciliate new ways, To show the typical gestures and manners of speech of a man trying to convince somebody, one has to apply the art of acting.
The next few essays were publ is hed and almost certainly written subsequendy to the switchover to 'paedagogics', even though the plays to which the y relate were written earlier.
The y should be read in the light of the political and economic cr is is which developed in Germany during the second half of tgzg, making revolutionary change seem not only desirable but imminent. Th is was the period of Brecht's most sharply Commun is t works. Opera is to have its form modernized and its content brought up to date, but without its culinary character being changed.
Since it is prec is ely for its backwardness that the opera-going ptiblic adores opera, an influx of new types of l is tener with new appetites has to be reckoned with; and so it is. The intention is to democratize but not to alter demouary's character, which cons is ts in giving the people new rights, but no chance to appreciate the m.
Thus the aoant-gard,e are demanding or supporting innovations which are supposedly going to lead to a renovation of opera; but nobody demands a fundamental d is cussion ofopera i.
The modesty of the atsant-garde's demands has economic grounds of whose ex is tence the y the mselves are only partly aware. Great apparati like the opera, the stage, the press, etc. For a long time now the y have taken the handiwork music, writing, critic is m, etc. Th is muddled thinking which overtakes musicians, writers and critics as soon as the y consider the ir own situation has tremendous consequences to which far too little attention is paid.
For by imagining that the y have got hold of an apparatus which in fact has got hold of the m the y are supporting an apparatus which is out of the ir control, which is no longer as the y believe a means of fur the ring output but has become an obstacle to output, and specifically to the ir own output as soon as it follows a new and original course which the apparatus finds awkward or opposed to its own aims.
The ir output the n becomes a matter of delivering the goods. And th is leads to a general habit of judging works of art by the ir suitability for the apparatus without ever judging the apparatus by its suitability for the work. People say, th is or that is a good work; and the y mean but do not say good for the apparatus. Yet th is apparatus is conditioned by the society of the day and only accepts what can keep it going in that society.
We are free to d is cuss any innovation which doesn't threaten its social function - that of providing an evening's entertainment. We are not free to d is cuss those which threaten to change its function, possibly by fusing it with the educational system or with the organs of mass communication. Society absorbs via the apparatus whatever it needs in order to reproduce itself. Th is means that an innovation will pass ifit is calculated to rejuvenate ex is ting society, but not if it is going to change it - irrespective whe the r the form of the society in question is good or bad.
But the y are not in fact free inventors; the apparatus goes on fulfilling its function with or without the m; the the arres play every night; the papers come out so many times a day; and the y absorb what the y need; and all the y need is a given amount of stuff. Its concealment is such a d is grace. And yet to restrict the individual's freedom of invention is in itself a progressive act.
The individual becomes increasingly drawn into enormous events that are going to change the world. No longer can he simply'express himself'. He is brought up short and put into a position where he can fulfil more general tasks. The trouble, however, is that at present the apparati do not work for the general good; the means of production do not belong to the producer; and as a result h is work amounts to so much merchand is e, and is governed by the normal laws of mercantile trade.
Art is merchand is e, only to be manufactured by the means of production apparati. An opera can only be written for the opera. One can't just think up an opera like one of Bdcklin's fantastic sea-beasts, the n hope to exhibit it publicly after having seized power - let alone try to smuggle it into our dear old zoo.
It was a means of pleasure long before it turned into merchand is e. It fur the rs pleasure even where it requires, or promotes, a certain degree of education, for the education in question is an education of taste. To every object it adopts a hedon is tic approach.
It'experiences', and it ranks as an'experience'. Because its basic attitude is that of an opera: that is to say, culinary. It does. Is Mahagonny an experiencei It is an experience. Mahagonny is a piece of fun. The opera Mahagonny pays conscious tribute to the senselessness of the operatic form. The irrationality of opera lies in the fact that rational elements are employed, solid reality is aimed at, but at the same time it is all washed out by the music. If at the same time he sings I The intellectuals, however, are completely dependent on the apparatus, both socially and economically; it is the only channcl for the realization of the ir work.
If the audience sang at the sight of him the case would be different. The more unreal and unclear the music can make the reality - though the re is of course a third, highly complex and in itself quite real element which can have quite real effects but is utterly remote from the reality of which it treats - the more pleasurable the whole process becomes: the pleasure grows in proportion to the degree of unreality.
The term'opera'- far be it from us to profane it - leads, in Mahagonny's caso, to all the rest. The intention was that a certain unreality, irrationality and lack of seriousness should be introduced at the right moment, and so strike with a double meaning.
It is a purely hedon is tic approach. At least, enjoyment was meant to be the object of the inquiry even if the inquiry was intended to be an object of enjoyment. Enjoyment here appears in its current h is torical role: as merchand is e. Sort order. Apr 27, Ali rated it liked it Shelves: theories.
Merida Miller rated it it was amazing Feb 26, Sema Altun rated it it was ok Dec 04, Rimjim Daimari rated it really liked it Nov 14, Amourose Langer rated it really liked it Apr 27, Hana Visscher rated it really liked it Jul 09, Cat marked it as to-read Jul 18, John added it Jan 31, Donna Mejia marked it as to-read Feb 17, Sparsh Vyas marked it as to-read May 03, Mira Bella marked it as to-read Nov 08, Adam Smith marked it as to-read Mar 31, Maria Arelaki marked it as to-read Apr 30, Fish Fu added it Sep 29, Scarlett Mason marked it as to-read Oct 18, Daisy marked it as to-read Oct 25, Xavier Esteve marked it as to-read Nov 23, Ranadip Pal marked it as to-read Dec 05, Valentina Van De Weghe added it Feb 23, Anuradha added it Mar 14, Richard Schlesinger added it May 25, Swarnali Roy marked it as to-read Aug 14, Baran marked it as to-read Apr 10, Vernon marked it as to-read Nov 01, Yes, from a rational point of view, dramatic theater may be used as an instrument of manipulation just as Aristotle believed in influencing the public to obey the law through the instruments of pity and fear.
Epic theater truly allows a viewer to analyze all the elements and intended messages behind the performance. By distancing himself from the emotions of the characters, the viewer becomes a cold and calculating critic who evaluates performance based on his own standards. However, I, like many others, sometimes like to get lost in the performance, to get fully immersed in the action and be dazzled. Brecht makes a point that theatre is automatically entertaining if it is good theatre, but elements of instruction will allow it to retain its primary purpose.
However, I believe that sometimes, entertainment is all that is necessary — or, at least, all that is wanted. You are commenting using your WordPress. You are commenting using your Google account. You are commenting using your Twitter account. You are commenting using your Facebook account. Notify me of new comments via email.
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