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GE 212: Bertolt Brecht – Theatre as Revolution

GE 212: Bertolt Brecht – Theatre as Revolution. Epic Theatre, Culture, History, Marx. Brecht: Schriften zum Theater ( GS , 15, 16, 17) Brecht on Theatre, tr. John Willett, London, 1978 ( BoT ) Recommended Reading: Shouldn’t we Abolish Aesthetics? ( BoT , 20) principles of epic theatre

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GE 212: Bertolt Brecht – Theatre as Revolution

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  1. GE 212: Bertolt Brecht – Theatre as Revolution Epic Theatre, Culture, History, Marx

  2. Brecht: SchriftenzumTheater (GS, 15, 16, 17) • Brecht on Theatre, tr. John Willett, London, 1978 (BoT) • Recommended Reading: • Shouldn’t we Abolish Aesthetics? (BoT, 20) principles of epic theatre • The Epic Theatre and its Difficulties (BoT 22) principles of epic theatre • A Dialogue about Acting (BoT 26) acting and epic theatre • The Modern Theatre is the Epic Theatre (BoT 33) principles of epic theatre • The Literarization of the Theatre (BoT, 43) principles of epic theatre • The Film, The Novel, and the Epic Theatre (BoT, 47) principles of epic theatre • On the Use of Music in Epic Theatre, BoT, 84) music and epic theatre • Alienation Effects in Chinese Acting (BoT, 91) acting and epic theatre • On Gestic Music (BoT 104) music and epic theatre • On Rhymeless Verse with Irregular Rhythms (BoT 115) language and epic theatre • The Street Scene (BoT 121) acting and epic theatre/representation • A Short Organum for the Theatre (BoT 179) Brecht’s comprehensive theatre theory

  3. Walter Benjamin: Understanding Brecht, tr. Anna Bostock, London, 1998. • ‘What is Epic Theatre?’ (first version) • ‘What is Epic Theatre? (Second Version) • ‘The Author as Producer’ • https://monoskop.org/images/1/17/Benjamin_Walter_Understanding_Brecht.pd

  4. Brecht the ‘Bürgerschreck’

  5. August Sander, Member of Parliament, Notary

  6. August Sander, Otto Dix, Selbstportrait

  7. August Sander, Working Students, Revolutionaries/ Labourer

  8. Culture(s) • ‘Kultur’ (BürgerlicheKultur) • Volkskultur • PopuläreKultur • Unterhaltungskultur • Kulturindustrie

  9. BürgerlicherKulturbegriff • Genieästetik (from Kant’s Kritik der Urteilskraft) • Great Men (Goethe, Schiller, Beethoven, Shakespeare) • Belief in eternal and universal values (freedom, individuality, autonomy, beauty) - Idealism • Forms: Literature, Music, Painting, Architecture, Sculpture • Factually excludes non-bourgeois subjects while ideally including all mankind (Widerspruch) • Connected to rise of European bourgeoisie as cultural dominant in late 18th ct.

  10. Ideology • General usage: Eine Ideologie ist im philosophischen Sinn eine Weltanschauung, die einen hohen Anspruch auf Wahrheit erhebt und die für abweichende Lehrmeinungen kaum noch offen ist. (wikipedia.de) • Close to Lenin‘s concept of ideology as ‘any system of social convictions/ideas that express certain class interests’ – i.e. any coherent body of ideas – for Lenin, there is such a thing as ‘Marxist ideology’ whereas for Marx there is not!

  11. Marx’ concept of Ideology • Ideology: not an intentional deception but an objectively necessary semblance that arises from social conditions. I.e. the ideas of the ruling class which are in unison with the existing conditions of production are also the ruling ideas. • Brecht: ‘Die erhabenenGefühlesindnur die Gefühleder Erhabenen.’ (lit: the sublime/lofty feelings are only the feelings of the (socially) lofty)

  12. Marx’ concept of Ideology • Basis-superstructure model: basis = economic conditions; superstructure = body of ideas that mirrors values of ruling class (religion, culture, morals) • ‘Being determines consciousness’: „Es ist nicht das Bewußtsein der Menschen, das ihr Sein, sondern umgekehrt ihr gesellschaftliches Sein, das ihr Bewußtsein bestimmt“.(Marx, ZurKritik der politischenÖkonomie) • Ideology is ‘necessary false consciousness’ of the bourgeoisie as it does not reflect on the economic foundation of its values but takes them as ‘eternal’ and ‘natural’. • According to French Marxist Louis Althusser: Ideology, is ‘the imaginary relation to the real conditions of existence.’ It can be described as a set of conscious and unconscious ideas which make up one’s goals, expectations and motivations. An ideology is a comprehensive normative vision, meaning that it is a set of standards that are followed by people, government, and/or other groups that is considered the ‘norm’. (from wikipedia.en)

  13. ‘Aber nicht die neueHandlungsweise hat die besondere Art der Petroleumsverwertunggeschaffen. Sondern das Primäre war der Petroleumkomplex, das Sekundäresind die neuenBeziehungen.’ • ‘ÜberStoffe und Formen’, 1929, GS 196-98.

  14. ‘Culture’ as Ideology • Who owns cultural history and cultural artefacts, who is in-/excluded? • What is the origin of the great Museums of the 19th ct. (e.g. the British Museum)? What is inside the British Museum (e.g. the ‘Elgin’ marbles) • What does ‘Culture’ reflect and to whom?

  15. Bourgeois culture as Ideology • Culture as ideology: • ‘Culture’ as independent of economic base and as value in itself • Belief that society is made up of subjects that treat each other as ends in themselves • Universalism (freedom, individuality, autonomy, beauty; ideally including all mankind = culture’s ideal subject is bourgeois and masculine) • Belief that subject is immediate to itself • Belief in subjectivity and interiority (true person is within) • Dream of unalienated being within Capitalist society • ‘Heritage’, Tradition • Bourgeois culture from a ideology-critical perspective: • Economically grounded in class society and Capitalism • Based on commodity exchange that treats and relates to everything and everyone as object and means to an end (not just the working class!) • Particularity (excluding non-bourgeois, i.e. proletariat) • All relationships are mediated by market • Everyone is an object • Alienation • ‘Culture’ as story that ruling class tells about itself

  16. NürnbergerKaiserburg

  17. Ideology-critical function of epic theatre • “In Zeiten, wo für sehr grosse Massen des Volkes das herrschende gesellschaftliche System, das Arbeit und Broterwerb regelt, unerträgliche Härten versursacht, kann es nicht wundernehmen, wenn diese Massen ... die grossen geistigen Systeme überprüfen, welche die Lebenshaltung in geistiger und moralischer Hinsicht zu gestalten suchen. Für die Institutionen, die diese Systeme vertreten, wie die Kirchen, die Schulen usw., stellt sich das so dar: ... diese Institutionen sind organisatorisch und geistig verknüpft mit der gesellschaftlichen Ordnung, die keine Lebensmöglichkeit mehr schafft.“ • Brecht, GS 17, 1016/17, re: Die heilige Johanna der Schlachthöfe

  18. Critique of religion and idealism • Wir müssen uns von bestimmten religiösen und moralischen Gedankengängen abwenden.” GS 17, 1016/17.

  19. Materialism vs. Idealism • Social and economic circumstances determine consciousness, attitudes, values and principles. • Human behaviour is determined by material circumstances. • How social reality appears is not necessarily an accurate reflection of its essence, of how reality actually operates. The reality is often beneath the surface. • Objectivity is the aim, subjectivity is dismissed as misleading, as it relates only to personal experience and ignores empirical evidence. • How things really are (SEIN) takes priority over how they appear (SCHEIN). • ‘Erstkommt das Fressen, dannkommt die Moral’ (Brecht, Dreigroschenoper) • Consciousness determines being • Human being is self-determined • Morals are absolute (i.e. exist without relation to socio-economic reality) • Example: Schiller ‘On the sublime’:

  20. Friedrich Schiller, ‘Über das Erhabene’ (1801) • ‘Ein Mensch […] sollalle die Tugendenbesitzen, derenVereinigung den schönen Character ausmacht. Ersoll in der Ausübung der Gerechtigkeit, Wohltätigkeit, Mäßigkeit, Standhaftigkeit und Treue seine Wollustfinden, allePflichtenderenBefolgungihm die Umständenahelegen, sollenihmzumleichtenSpielewerden, und das GlücksollihmkeineHandlungschwermachen, wozunurimmer sein menschnfreundlichesherzihnauffordern mag. […] Aberkönnenwirunswohl, beiallerZuneigungzudemselben, versicherthalten, dasserwirklicheinTugendhafterist, und das esüberhaupteineTugendgibt? […] Wirsehenihnnichtmehrtun, alses der bloß kluge Mann tunwürde, der das VergnügenzuseinemGottmacht. […] • Diesernämliche Mann sollaberplötzlich in eingroßesUnglückgeraten. Man sollihn seiner Güterberauben, man sollseinengutenNamenzugrundrichten. Krankheitensollenihn auf einschmerzhaftes lager werfen, alle, die erliebt, soll der Tod ihmentreißen, alle, denenervertraut, ihn in der Not verlassen. In diesemZustandesuche man ihnwieder auf und fordere von demUnglücklichen die Ausübung der nämlichenTugenden, zudenen der Glücklicheeinst so bereitgewesen war. Findet man ihn in diesemStückganzals den nämlichen, […] dann […] muss [man] esganz und gar aufgeben, das BetragenausdemZustandeabzuleiten[…]. Die Entdeckung des absolutenmoralischenVermögens, welches an keineNaturbedingunggebundenist, gibtdemwehmütigenGefühl, wovonwirbeimAnblickeinessolchen Menschen ergriffenwerden, den ganzeigenenunaussprechlichenReiz […].

  21. Dialectics • Thinking in contradictions: making implicit contradictions visible (e.g. developing concepts out of their negations) • Socratic dialectics (Plato): form of argumentative dialogue, Socrates tests the untested opinion of another by turning it on its head • Materialist dialectics (Marx): beginning with material reality determining consciousness

  22. Dialektik auf demTheater (Brecht) • All human relations are in a state of flux • All human relations are determined by fundamental contradictions in society • ‘Uncovering’ fundamental social contradictions on stage • Gestic principle of epic theatre • “das menschlicheWesenmußals ‘das Ensemble allergesellschaftlichenVerhältnisse’ aufgefasstwerden, ... der Mensch, und zwar der fleischliche Mensch, ist nur mehr aus den Prozessen, in denen, und durch die er steht, erfassbar.” (Brecht, GS 17, 999) • = no interiority, no psychology, no ‘inside’!

  23. Questions raised by Brecht’s theatre • 1. What are the origins of morality? • 2. Are there such things as universal and eternal values, or are values only ever contingent upon circumstances (die Verhältnisse) and social class? • 3. What defines truth, beauty, justice, the human spirit? • 4. Is there such a thing as a human soul, and if so, what determines its nature? • 5. Is there such a thing as human nature? If so, how is it created, can it be changed, or: can only behaviour be changed? • 6. What is the relationship between the individual and the collective?: Can meaningful social change ever be effected by individuals, or do people have to act collectively, thereby sacrificing individuality? • 7. Are good intentions & sincerity all we need to survive, and to change material reality? • 8. Who determines the meaning and application of criteria such as “Right” and “Wrong”, and whose interests are decisive? Are ‘right’and ‘wrong’subjective or objective categories? • 9. Are there objective criteria for determining correct and incorrect behaviour, particularly in the world of politics and business?

  24. Marx’s concept of Alienation • Worker at machine alienated from both product of his labour and himself, due to lack of control and overview over production process. • Capitalism produces things as commodities: labour as commodity and the worker as commodity (sells his labour). • Circulation of commodities makes all people relate to each other as things/objects (Verdinglichung – reification). • Through circulation of commodities: alienation and reification spreads through entire society. • Capitalism appears as ‘second nature’, i.e. as given, unchangeable, ‘natural’ state of organisation of society (see the belief that competition is a natural human characteristic, social Darwinism etc.)

  25. Unrecognisability of Capitalism • Capitalism appears as ‘second nature’, i.e. as given, unchangeable, ‘natural’ state of organisation of society. • It therefore cannot be recognised for what it is: man-made and changeable. • ‘The more farreachingthe devastations of our social order (the more these devastations undermine ourselves and out capacity to remain aware of them)’ (Benjamin, ‘What is Epic Thetre?’ (first version) • Epic Theatre as attempt to ‘tear away’ the veil of Capitalism

  26. Crisis of subjectivity • Bourgeois subjectivity: inside-outside economy (feelings inside need to be ‘ex’pressed, truth of individual is inside) • Brecht’s theatre – anti-individualist • No ‘authenticity’, no psychology • Radical absence of ‘self’ • Self as object of our consciousness • Surface, no ‘depth’ of characters

  27. ‘Theatre for the scientific age’ • Empiricism, rationalism, behaviourism • Marx • ‘Not starting from the good old things but from the bad new ones’

  28. Bild - Abbild • René Magritte, The Treachery of Images, 1929 Abbild – copy, representation

  29. Mimesis • In ancient Greece an idea that governed the creation of works of art, in particular, with correspondence to the physical world understood as a model for beauty. • Representation of the visual appearance of things. • In modern times: Realism, Naturalism – ‘accurate representations’ • Brecht’s theatre: non/anti-mimetic – ‘uncovering’ rather than ‘representing’ conditions

  30. ‘bad’ vs ‘good’ mimesis • Naturalism • Photography (copy of reality) • Reproduces surface, no penetration to the ‘real’ conditions: • ‘Die Lage wird dadurch so kompliziert, daß weniger denn je eine einfache "Wiedergabe der Realität" etwas über die Realität aussagt. Eine Photographie der Krupp-Werke oder der AEG ergibt beinahe nichts über diese Institute. Die eigentliche Realität ist in die Funktionale gerutscht. Die Verdinglichung der menschlichen Beziehungen, also etwa die Fabrik, gibt die letzteren nicht mehr heraus. Es ist also tatsächlich "etwas aufzubauen", etwas "Künstliches", etwas "Gestelltes". (Brecht, 1931) • Nachahmung (self-conscious copy) • ‘Showing of showing’ – not ‘becoming’ (inhabiting) the character • Auto-critique as representation and mediation • Understanding that all reality is produced, not ‘nature’, and thus changeable

  31. Epic Theatre as epistemological machine • ‘Alsich “Das Kapital” von Marx las, verstandichmeineStücke. […] Aber dieser Marx war der einzigeZuschauerfürmeineStücke, den ich je gesehenhatte. Denneinen Mann mitsolchenInteressenmusstengeradedieseStückeinteressieren’ • 1927, GS 15, 129

  32. Epic Theatre as epistemological machine • From Greek episteme (knowledge, understanding) and logos (word): Theory of knowledge, Erkenntnistheorie • Erkenntnis, erkennen • Capitalism as self-veiling

  33. ‘Das epischeTheatergibt also nichtZuständewieder, esentdecktsievielmehr.’ • ‘Der Zuschauer ‘erkenntsieals die wirklichenZustände, nicht, wie auf demTheater des NaturalismusmitSüffisance, sondernmitStaunen. […] ImStaunendenerwacht das Interesse.’ • ‘Je größeresAusmaßfreilich die VerwüstungenunsererGesellschaftsordnungangenommenhaben (je mehrwirselber und die Fähigkeit, von ihnenunsnochRechenschaftzugeben, angegriffensind),…’ • Walter Benjamin, ‘Was ist das epischeTheater?’ (first version), Benjamin, GesammelteSchriften, Frankfurt/M., 1991, Vol. 2.II, 519-31.

  34. EineneueDramatik • ‘Die Wahrheitist: die alteDramenformistkaputtgegangen. […] Die alte Form des Dramas ermöglichtesnicht, die Welt so darzustellen, wiewirsieheutesehen.’ • ‘die bestehendenTheater […] dieseunsäglich von Lasternbeschmutzten und schon von allemAnfang an in den unaufhaltsamengeistigenUntergang der herrschendenKlassehineingezogenenHandelshäuser […].’ • ‘Der SchreinacheinemneuenTheaterist der SchreinacheinerneuenGesellschaftsordnung.’ • ‘ÜbereineneueDramatik’, 1928, GS 15, 169-76

  35. The preliminary character of Brecht’s theatre • No fixed playtext, no ‘work’ • ‘Work’ as commodity & bourgeois fetish • From 1928 all work published under title ‘Versuche’ • Collective production vs. ‘great author’ image of bourgeoisie • Plays not supposed to be ‘heritage’ or ‘tradition’ (or even ‘Culture’) • Tension between radical preliminarity & critique of bourgeois concept of ‘Art’ and own desire for permanence • ‘Ichbeobachte, dassichanfange, einKlassikerzuwerden’ (Brecht, 1922!!)

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