Xlll Acknowledgements I have incurred many debts in writing this book.
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.
From her, too, came the "dangerous image of the self-denying woman" that recurs in his drama. 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, the First World War broke out. Initially enthusiastic, Brecht soon changed his mind on seeing his classmates "swallowed by the army". His expulsion was only prevented through the intervention of his religion teacher. In Brecht's mother died.
But 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.
Between November and April Brecht made acquaintance with many influential people in the Berlin cultural scene. Brecht changed the spelling of his first name to Bertolt to rhyme with Arnolt. In while still living in Munich, Brecht came to the attention of an influential Berlin critic, Herbert Ihering: Brecht is a dramatist because his language is felt physically and in the round.
Their daughter— Hanne Hiob — —was a successful German actress. 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.
Decline of a Familyopened at the Deutsches Theater in Octoberbut was not a success. From the very start Provided with every last sacrament: And brandy To the end mistrustful, lazy and content.
She continued to work with him after the publisher's commission ran out. 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.
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 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.
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 PiscatorThis feature of indigenous women is meant to be like those song-maps, to offer myriad ways of “poetic” and linguistic experience—a journeys through or across memory, or imagination, across pain or joy or the impossibility of each, across our bodies of land and water and flesh and ink—an ever-shifting, ever-returning, ever-realizing map of movement, of discovery, of possibility, of risk—of indigenous and .
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