Bertolt Brecht was a German poet, writer, and theatrical reformer whose epic theater broke with theatrical illusion and reinvented the drama as a social and intellectual platform for communist objectives. Trained as a dramatist, actor, and director at the Berlin State Academy of Music and Theater, where he studied under Friedrich Schiller, he first came to public attention with his 1926 play The Good Person of Szechwan, which examined the evils of war through the story of a peace treaty between China and Germany. It was followed by many more successful plays that challenged conventional wisdom about life, love, and politics.
Brecht's own views on art and society are expressed in his famous poem "The Art of the Poetic Theatre". In it, he argues that traditional dramatic poetry aims only to entertain its audience, who therefore expect it to be unreal and unrealistic. By contrast, he says, the aim of the poetic theater should be to offer its viewers ideas and concepts they can then apply to their own lives. This approach to drama was designed to promote political awareness among its audience by exposing and denouncing injustice in society.
His ideas were so radical that when they were published in 1928 they caused an uproar within the German theater community. Some critics argued that his ideas violated the very principles upon which German theater is based; others simply didn't understand them.
Bertolt Brecht, actual name Eugen Berthold Friedrich Brecht (born February 10, 1898, Augsburg, Germany—died August 14, 1956, East Berlin), was a German poet, writer, and theatrical reformer whose epic theatre deviated from theatrical illusion standards and created theater as a social...
He was also known as B. Brecht, E. Brecht, or Bert Brecht.
Early life-Eugen Berthold Brecht was born on 10 February 1898 in Augsburg, Bavaria, Germany to Christian Wilhelm Brecht and Pauline Schulze. His father was a pastor who later became an evangelist. He had two sisters.
As a young man he attended the University of Munich, studying philosophy and history of art, but left school without taking his degree. In 1919 he married Helene Weigel, with whom he had three children; they divorced in 1936.
During World War I he served in the army artillery as a sapper. After the war he moved to Berlin where he began writing poems that were published in magazines. In 1924 he joined the Communist Party of Germany.
In 1927 his play The Threepenny Opera premiered at the Berlin State Theatre. It was an immediate success and has been called "the first modern musical".
More... For decades, Bertolt Brecht's Epic Theatre theories and dramatic conventions have affected current authors and spectators' perceptions about plays. As a result, the following is a collection of Brecht's most important beliefs, spanning from methods to acting to audience participation in plays.
He was one of the first European playwrights to focus on social injustice and political corruption, arguing that traditional Elizabethan theater presented a false image of reality that served to entertain the public while they were enslaved by their government. Instead, he believed that true art should be used as a tool for change. He also rejected many traditional theatrical conventions, including the use of 3-act structure, spoken dialogue, and musical numbers.
Instead, he advocated that artists use existing events as a starting point for their own creations. They should strive to make audiences think and feel rather than simply enjoy themselves. Finally, he argued that theaters should be open nearly every night so that people had no choice but to go see new plays instead of watching movies or listening to music.
These are just some of the reasons why Bertolt Brecht is considered one of the most important playwrights in history.
Bertolt Brecht /brext/, German: ['beatolt' bRect] (listen); 10 February 1898–14 August 1956 was a German theatrical practitioner, playwright, and poet. During the Weimar Republic, he earned his first achievements as a dramatist in Munich. After moving to Berlin in 1933, he became one of the most important influences on postwar German theatre.
He was born Bertold Brecht von neuen Geburtsten, nach München geboren, und war am 14. August 1898 gestorben.
Zum Gedächtnis anlässlich der 100-Jahre-Feier des Deutschen Theatermachers
Bertolt Brecht began his career at a time when the German theater was in decline. He succeeded in bringing new life to the art by rejecting traditional dramatic conventions in favor of a more abstract style that focused on social commentary through poetry and prose. In addition to being a prolific writer, Brecht was also involved in various other projects designed to change how the German public viewed its theater. For example, he developed a method for teaching acting to students which has been widely adopted throughout Europe and America. Finally, he managed the Berliner Ensemble, a famous theatre company that performed his own work as well as that of other authors such as Anton Chekhov and Henrik Ibsen.
Brecht affected the history of drama by developing epic theater, which was founded on the notion that the theater should not aim to make its audience believe in the presence of the actors on stage, but rather to make them realize that what they see on stage is only a record of previous events. Thus, he removed any possible illusion about what was happening onstage.
This idea had far-reaching consequences for theater design and performance practice. First, it led to the replacement of physical acting with recorded speech, which allowed theater directors to work without an actor pool at their disposal. Second, it prompted theater makers to think more radically about how scenes are presented on stage, leading to innovations such as the epic theater machine, which provided a framework within which actors could develop new styles of speech delivery.
Finally, it caused theater directors to question the purpose of traditional dramatic elements such as dialogue and action sequences. Instead of trying to solve this problem by returning to ancient forms, Brecht developed his own style of writing that was based on political commentary and social criticism.
These ideas are now central to modern theories of theater design and performance practice.
He was a dramatist, poet, and theater director. The Life of Galileo, Mother Courage and Her Children, and The Caucasian Chalk Circle are among his most recognized plays. Brecht was a Marxist, and his theater was extremely political. He hoped that his theater would pique his audience's curiosity in the globe. Theater was his way of getting his message across.
In addition to being a playwright, poet, and actor, Brecht was also a filmmaker. He is considered one of the founders of experimental film theory. His early films include The Threepenny Opera (1930), Mechanical Parade (1931), and Coal Miner's Daughter (1933).
Brecht's influence on later filmmakers includes Godard, Kiarostami, and Wong Kar-wai.
Filmmakers have often adapted Brecht's theories into their own works. For example, the French New Wave movement used improvisational techniques from his work to create their own unique style.
Another important figure in early experimental film theory was Lotte Hainberger. She wrote several books on cinematography, including Film Theory: An Introduction (1968).
Hainberger introduced Brecht into Germany through her book. It was published in German in 1963 and translated into English the following year. This inspired many young Germans to start making their own films, which led to the rise of experimental filmmaking in Europe.