Brecht on art and politics by Brecht, Bertolt; Bradley, Laura J. R.; Brecht, Bertolt;

By Brecht, Bertolt; Bradley, Laura J. R.; Brecht, Bertolt; Giles, Steve; Kuhn, Tom

"A guy with one concept is misplaced. He should have numerous, 4, many! He needs to stuff them in his wallet like newspapers, continually the newest, you could stay good among them, you could stay simply among the theories."-Bertolt Brecht, 1920

"Brecht manages as a Marxist comic to mix a very delicate nostril for the imperfect, unfinished nation of human affairs with the main resolute progressive dedication. In an epoch like our personal, whilst those suggestions became more and more polarized and particular, Brecht deals a now not inconsiderable lesson."-Terry Eagleton

"Brecht's proposal is current in all places this day with out bearing his identify and with no our being conscious of it."-Fredric Jameson

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In this and the following piece, Brecht turns his attention to questions of literary technique and, moving on from the by turns disdainful and scathing attacks of nos 4 and 5, begins conscientiously to define his own voice against those he hears around him. Letter in the Third Winter of our Discontent The worst thing is that, whatever topic we want to develop an opinion on, we have to take a big run-up first. And you have to take care not to get tired on the way! Matters where we understand the old folk are as scarce as hen's teeth.

Amongst the ranks of teachers we alsofindthe revolutionaries, that is to say the minor revolutionaries, those who are currently getting rid of the Kaiser and introducing Communism, and their conservative opponents are teachers too. On right and left the barricades are manned by teachers. But let me tell you this: the man who bows on principle and the man who refuses to bow on principle are brothers, they belong to the same wretched breed. Teachers have bestowed an honourable name on their sort: they are men of character.

They owe their success to the incomprehensible optimism of a class which, in its unstoppable decline, can no longer afford to think about its own flaws. ] Franz Werfel, Fritz von Unruh and Carl Zuckmayer were popular and successful writers of the time, Werfel and Unruh both of the older, 'Expressionist* generation. Zuckmayer perhaps attracts Brecht's scorn at this time because of the success of his folk comedy, Derfrohliche Weinberg (TheMerry Vineyard), which comes close to the stereotype Brecht criticised in his much later 'Notes on the Folk Play' (1940, see Brecht on Theatrey pp.

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