Brecht-Magazine: Articles, Essays, Translations最新文献

{"title":"\"HISTORICISM\" OF THE NEW EUROPEAN DRAMA (LESYA UKRAINKA – B. BRECHT – Y. KOSACH)","authors":"M. Moklytsia","doi":"10.35433/brecht.9.2023.83-93","DOIUrl":"https://doi.org/10.35433/brecht.9.2023.83-93","url":null,"abstract":"The article deals with the development of the historical theme in drama, the stage of the new drama traced on the examples of Lesya Ukrainka’s plays \"Boyarynya\", 1910, B. Brecht’s \"Mother Courage and her children\", 1939, Y. Kosach’s \"Action about Yuriy the Victorious\", 1947. The first collection of these different texts under one slogan ensures the scientific novelty of research. The purpose of the research: to trace the development of the historical theme in the modernist drama of the 20th venture and outline the problematic aspects of the concept of historicism of the new drama. The analysis of three dramas allows us to make a conclusion about the historicism of different aesthetics systems, romantic, realistic and modernist.  A romantic story is, in fact, the metanarrative of national history, which is written with the aim of producing a national one identity, elevation of national culture. Realism focuses on displaying modernity, indifferent to historical topics, but gives authors of historical topics a lot of image means necessary for the effect of authenticity. Modernism in the displaying of historical events is miscellaneous. It is important to highlight the symbolist, expressionist and surrealist methods of mediating historical material.  Most of Lesya Ukrainka’s dramas are historical or mythological subjects belonging to the genre of symbolist drama, in which the price of the choice is realized between private and public, which every person makes in any era. B. Brecht’s Epic / expressionist theater is a unique story that goes on and on. The playwright forces the viewer to look at the story consciously and critically, not emotionally, to see it through the eyes of a playwright who has already gone through his path of self-awareness. Surreal the picture of history is painted by Yuriy Kosach: his historical event is also distanced, but looks like a labyrinth in which a person wanders and blindly chooses between good and evil. It is always a story appropriated by the author.","PeriodicalId":266292,"journal":{"name":"Brecht-Magazine: Articles, Essays, Translations","volume":"26 31","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139156076","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"THE EMBLEMATIC CODE OF B. BRECHT’S \"WAR PRIMER\"","authors":"O. Borkovska","doi":"10.35433/brecht.9.2023.39-56","DOIUrl":"https://doi.org/10.35433/brecht.9.2023.39-56","url":null,"abstract":"In times of Russian military aggression against Ukraine the world’s anti-war literary heritage has been particularly relevant. The article analyses the peculiarities of \"War Primer\" by B. Brecht and its connection with the emblematic traditions of the Baroque era. Hence, \"War Primer\" resembles a photo album with photographs and commentaries on them. The historical sequence of the depicted events is evident – each photo is accompanied by a commentary, and almost every photo has a caption with reference material at the end of the album. All visual materials were published in Swedish and American newspapers. The combination of visual-iconographic and verbal interpretation along with didactic functions is reminiscent of Baroque emblems. It is particularly noteworthy that the comments on the photographs appear in the form of epigrams. The presented article also includes the translation of the epigrams from German  to Ukrainian as well as an interpretation of the ways in which Brecht created the alienation effect. In addition, the category of chimerism is characterized as a form of combining the real visual and the conventional verbal types of the artist’s comprehension and representation of a certain topic. It is emphasized that emblematism is a form of expression of chimerism. The article focuses on the didactic functions of the created emblems along with the development of a certain topic by the author – Brecht aims to show, characterize, and convey to people the tragedy of war so that it never happens again. From the other perspective, \"chimerism\" is perceived as a combination of the conventional (a literary work, a plot, or an image that was created in the last century) and the reality: nowadays artistic work exists in a new way, develops, acquires a new interpretation and a new vision.","PeriodicalId":266292,"journal":{"name":"Brecht-Magazine: Articles, Essays, Translations","volume":"98 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139154980","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"LOVE/TRUTH/HAPPINESS IN HENRIK IBSEN’S PLAY A DOLL’S HOUSE: AXIOLOGICAL, EPISTEMOLOGICAL, SPIRITUAL AND EMOTIONAL ASPECTS OF THE DRAMATIC CONFLICT","authors":"N. Astrakhan","doi":"10.35433/brecht.9.2023.25-38","DOIUrl":"https://doi.org/10.35433/brecht.9.2023.25-38","url":null,"abstract":"The article deals with the peculiarities of the dramatic conflict in A Doll’s House, a play by the Norwegian playwright H. Ibsen, which initiates the tradition of \"new drama\" in European dramaturgy in the late 19th century and early 20th century. The playwright’s innovation, revealed at the level of conflict organisation, is defined in the context of an attempt to read/interpret the play holistically. A Doll’s House is described as an analytical drama designed to reveal the hidden contradictions of personal and social life at their most relevant for audience intersection through artistic exploration of the institution of marriage. The play’s innovative poetics (internal action, subtext, symbolic images, discussion, paradoxical character and plot development) is aimed at analysing the peculiarities of the unfolding \"emancipation\" of human consciousness, its liberation from the stereotypes of feeling, thinking, and behaviour, prevailing in the society. The localisation of the conflict in the protagonist’s mind allows the author to emphasise its axiological, epistemological, spiritual and emotional aspects. Axiologically, the conflict involves a clash between the Christian system of values based on love and the values of bourgeois society, among which the most important is money, the opportunities to obtain it, and the goods it buys, such as comfort, coziness, pleasure, and the aesthetic appeal of private life. The epistemological aspect of the conflict is revealed through the paradoxical correlation of truth and lie in the minds and relationships of the characters. Nora Helmer, who repeatedly deceives her husband by keeping the truth about some details of their life together from him in Act One, develops the ability to fully understand the unattractive realities of her marriage and to change the tactics and strategy of her life behaviour, based on the truth revealed. Spiritually and emotionally, the development of the conflict leads to a change in the psychological markers of existence – the transitions from happiness to unhappiness and vice versa, which become the subject of dialogic reflection carried out by the characters.","PeriodicalId":266292,"journal":{"name":"Brecht-Magazine: Articles, Essays, Translations","volume":"25 23","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139155963","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"BERTOLT BRECHT AND THE TRANSNATIONAL THEATRE","authors":"O. Ankhym, M. Ankhym","doi":"10.35433/brecht.9.2023.14-24","DOIUrl":"https://doi.org/10.35433/brecht.9.2023.14-24","url":null,"abstract":"Transnationality and transculturality, which have been attracting increasing attention within the scientific community in recent decades, have become an integral part of modern literature. Decolonization and globalization, as well as the mobility and migration caused by them, have become triggers for the blurring of ethnic, national, and cultural boundaries. These processes have also found their embodiment in literature. The transnational turn observed in literature since the 1990s shows that the understanding of literary works within national frameworks no longer corresponds to modern reality, and nations, cultures, and identities are featured with convention, fragmentation, and hybridity. And although consideration of transnationality is mostly focused on lyric and epic works, its manifestations take place in drama and theatre as well. This article examines the influence of Bertolt Brecht on contemporary transnational and/or transcultural theatre. It is noted that the manifestation of transnational elements in the playwright's work occurs both at the level of his plays and performances. In particular, the effects of alienation used by B. Brecht to depict the strange, foreign and unusual in one's own self have a significant impact on the formation of transnational theatre. Another manifestation of the transnational is the playwright's departure from the idea of closed nations and cultures in favour of open, conditional and fluid ones. An important aspect is also the intertextual references of his plays, which are artistic interpretive models of famous works of the past and thus enable their existence through space and time. Focusing on the processes of alienation, B. Brecht's epic theatre shows the hybridity and fragmentation not only of cultures and nations, but also of identities, therefore encouraging readers and viewers to search for the strange in themselves. At the same time, topics and problems raised in his plays and performances are not limited to local or national contexts, but are transnational in their nature.","PeriodicalId":266292,"journal":{"name":"Brecht-Magazine: Articles, Essays, Translations","volume":"9 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139156559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"EPIC THEATER AS A SPECIAL TYPE OF COMMUNICATION","authors":"S. Sokolovska","doi":"10.35433/brecht.9.2023.94-103","DOIUrl":"https://doi.org/10.35433/brecht.9.2023.94-103","url":null,"abstract":"Reviewing Brecht's theatrical system as communication reveals the symbolic nature of the process of transferring a message through theatrical language (code). Combining a significant number of arts, the theatrical code contains various artistic languages that together form a theatrical text. The coding of the idea of a work of fiction in epic theater is done through a gaming strategy of distancing, reminiscent of a demonstratively rational manner of storytelling. Like Lessing and Schiller, Brecht wants not only to entertain the audience, but also to educate them in the spirit of the Enlightenment, to stimulate learning processes, and to develop critical thinking. The transformation of The Beggar's Opera into The Threepenny Opera is a model that demonstrates mastery of applying the material, an exemplary set of rules, and a technique of modification. The \"old material\" remains visible, but at the same time, the new in it allows us to \"perceive things differently.\" Recognizability of the craft is crucial, because only transparency of approach brings the aesthetics and logic of the performance to the main denominator that makes repeatability possible: communication based on observation. Brecht conceives of observation on the basis of the visibility of a pointing gesture that functions as spectacles that the wearer does not even realize they are wearing. Everyday events are recreated in the manner of an eyewitness, repeated through demonstration, which implies the process of showing itself. The performance shows characters and scenes in an emphatically epic manner. The declared intention to avoid merging of the actor and the character as much as possible, and to demonstrate this as well, alienates the naturalness of the \"street scene\" and shows it as an artificially created repetition of the stage. The staging of the play as an \"opera\" generates unexpected visual and acoustic effects. The viewer sees and hears twice: an opera about an opera, as well as a denial of the attempt to imitate an opera as an opera. This performance shows that the Threepenny Opera is no longer a traditional \"old opera\" and at the same time not the final version of the \"new opera.\" Trivial ideas about groups such as beggars or romantic events such as weddings, stereotypical thinking are dramatized, thus exposing them and encouraging reflection.","PeriodicalId":266292,"journal":{"name":"Brecht-Magazine: Articles, Essays, Translations","volume":"2 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139155338","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"BETWEEN DOCUMENTARY AND POST-DOCUMENTARY: SEARCH VECTORS OF CONTEMPORARY UKRAINIAN DRAMA","authors":"Zhanna Bortnik","doi":"10.35433/brecht.9.2023.57-71","DOIUrl":"https://doi.org/10.35433/brecht.9.2023.57-71","url":null,"abstract":"The article discusses modern dramaturgical strategies, which consist in creating a transformative field by means of documentary/post-documentary. The purpose of the article is to demonstrate the search vectors of contemporary Ukrainian drama in the context of the connection between documentary and post-documentary aesthetics. \"Post-documentary\" becomes such a feature of liminal aesthetics, which manifests itself in its performative, active orientation to the understanding of reality through the document. The main features of post-documentary theater, identified by researchers, are the ability to bring to the fore the subject of the action, which records its own states \"here and now\" and turns the text into a performative event. With such an artistic strategy, the author realizes an approach to true reality, \"preserves\" the moment of creation, the fluid phase of \"here and now\", a unique moment that is valuable for its true imperfection. For a dramatic text, this can be realized in the inclusion of autobiographical material, in the metagenres of diary, notebook, letter, etc., and through the embodiment of a \"draft aesthetic\". \"Draft aesthetics\" is a contemporary strategy of \"non-finito\" as a type of artistic thinking and demonstrates conditional imperfection, incompleteness of the text, an open form that captures the variability, uniqueness, confusion of the subject's state of consciousness and realizes the performative nature of the dramatic text. The fixation of facts, characteristic of a document, becomes in the documentary a fixation of temporary fluid states of the character in the interpretation of events (past or present) in order to preserve and remember this liminal state. In contemporary Ukrainian drama, a field of frontier between documentary and post-documentary is being formed: playwrights, directors, drama and theater researchers raise issues of trust in the document, look for ways to find contemporary attitudes, artistic methods and techniques that would reflect the \"truth of the fact\", raise questions of artistic ethics regarding involvement of documentary sources. The crisis of the documentary is realized as a means of salvation in the post-documentary: playwrights embody for the recipient the maximum approximation to reality, which reflects the document as an object of artistic research.","PeriodicalId":266292,"journal":{"name":"Brecht-Magazine: Articles, Essays, Translations","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139156669","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"B. BRECHT: PROBLEMS OF TRANSFORMING A LITERARY TEXT IN THE SPACE OF PERFORMING ART","authors":"M. Diduk","doi":"10.35433/brecht.9.2023.72-82","DOIUrl":"https://doi.org/10.35433/brecht.9.2023.72-82","url":null,"abstract":"The article is devoted to the problem of transformation of Bertolt Brecht's drama into the stage space, technical and ideological accents of his work and analysis of the key problems of artistic interpretation of the text of plays. The problem of reproducing Brecht's works is closely related to the peculiarities of the \"epic theatre\" and the concepts introduced by the playwright. The article identifies the peculiarities of the created theatre, defines the accents that are important in the process of staging plays, in particular: preserving Brechtian conflict in translation, introducing the necessary artistic elements (scenery, music, costumes, etc.), understanding the technique of \"alienation\", etc. The effect of \"alienation\" is a key requirement of epic theatre and aims to portray a familiar phenomenon from an unexpected perspective. In addition, the actor becomes a part of the conventional world, does not transform into his character. In this case, the viewer becomes an actor himself, tries on the role of each character and is able to draw independent conclusions, not those dictated by the author and the plot. \"The Threepenny Opera\" is the most famous of the artist's other works. It is a synthesis of Brechtian innovations and complex interweaving of social themes that complement each other. When recreating this play on stage and on screen, directors must take into account the social and historical contexts, as well as the appropriateness of depicting theatrical scenes. A striking example of a misunderstanding of Brecht's work is the film by H. Pabst, in which the director pays more attention to artistic elements that shift the emphasis to visual rather than intellectual perception of the play.","PeriodicalId":266292,"journal":{"name":"Brecht-Magazine: Articles, Essays, Translations","volume":"22 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139157399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"BERTOLT BRECHT AND HELMUT BAIERL: THEORETICAL AND PRACTICAL INTERPRETATION.","authors":"O. Ankhym, M. Ankhym","doi":"10.35433/brecht.8.2022.7-15","DOIUrl":"https://doi.org/10.35433/brecht.8.2022.7-15","url":null,"abstract":"Helmut Baierl with his unique dramaturgy, special methods and ways of depicting reality was subjected to numerous criticisms and became one of the most controversial creative personalities in post-war Germany. His plays caused discussions not only in the GDR and FRG but also beyond their borders. There is still no unanimous opinion among literary critics about this playwright and his significance for drama. Some scholars call him an epigone of Bertolt Brecht, others call him a follower, then there are those who consider him an innovator, etc. Therefore, taking into account the unreflected artistic experience of this dramatist in modern literary studies, as well as his pronounced creative dialogue with B. Brecht, the article aims to give an objective assessment of H. Baierl's work and trace the playwright's implementation of the main principles of epic theatre. H. Baierl’s work with its inherent synthesis of theoretical and creative interpretations confirms the conclusion that creative writing is a dialogue of one artist with another one/ ones which results in a creative and / or theoretical interpretation of the works of the latter one / ones. \u0000Considerable attention is paid to H. Baierl’s theoretical and practical (creative) interpretation of works by B. Brecht. It is stated that H. Baierl’s works, presented as a plurality of creative interpretation models of different levels with certain inherent elements of parody / stylization based on their pretexts, are a synthesis of a theoretical interpretation of B. Brecht’s ideas and a creative interpretation of his plays. H. Baierl not only continues the dramaturgical traditions of the master, but also adopts his characters in a certain way, tells their stories further, tracking them under other socio-historical circumstances. A comparison of the plays of both playwrights and their theoretical works shows a kinship in views on the purpose and aim of drama, as well as a community of ideological and aesthetic principles.","PeriodicalId":266292,"journal":{"name":"Brecht-Magazine: Articles, Essays, Translations","volume":"275 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121957975","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"MEANS OF CREATING THE COMIC IN B. BRECHT'S NOVEL \"THE BUSINESS AFFAIRS OF MR JULIUS CAESAR\"","authors":"O. Pryshchepa","doi":"10.35433/brecht.8.2022.73-86","DOIUrl":"https://doi.org/10.35433/brecht.8.2022.73-86","url":null,"abstract":"In the article, the author makes an attempt to identify the laughter types and to give them a literary characteristic, as well as to determine the means used for their creation in order to explain the artistic nature of the comic, being a peculiarity of this work of the outstanding German writer. The research is based on the original text and its Ukrainian translation. The theoretical considerations rely on the analysis of existing in modern literary studies statements regarding the artistic features of B. Brecht's work, in particular regarding the properties of his laughter, which is often outlined by researchers as an artistic trope that performs the function of expressing the artwork idea. The author of the article substantiates and illustrates her reflections with relevant quotations from the text of the novel. Since the laughter in this work actually has an ideological basis, the peculiarities of the embodiment of the work idea with the help of artistic figures, which in their essence are varieties of the comic, are paid a special attention to. B. Brecht builds the ideological background of the novel by means of characters’ remarks and thoughts, action, plot, as well as at the level of artistic images, the descriptions of nature in particular. Despite the incompleteness of this novel, its idea is clearly outlined by B. Brecht. It is developed with the help of various laughter types - from hidden irony and humour to grotesque and caustic satire and, according to researchers, sometimes to sarcasm and sardonic laughter. The author of the article proves the evolving nature of laughter in B. Brecht's novel \"The Business Affairs of Mr Julius Caesar\" and also makes an assumption: under the condition of this work completeness, laughter would have undergone new alterations and transformations and, at the end of the story, it would have potentially reached its apogee. On the plot level it would coincide with the moment of the final debunking of the myths about Caesar, in whose image one can read a satire on the mercantile, corrupt world and dirty politics drenched in money. Another peculiarity of the ideological background of this satirical novel is the fact that despite the tragic nature of any war (the novel deals with various wars waged by the Romans), B. Brecht finds artistic means to ridicule even the war and everything occurring around it. He also completely destroys created by historiography myths about great conquests and great conquerors, nullifying the pathos in which the narratives of historiographical sources about Rome and its rulers are shrouded. He shows in particular the conquerors’ baseness and at the same time does not deviate from the comic register of his story.","PeriodicalId":266292,"journal":{"name":"Brecht-Magazine: Articles, Essays, Translations","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132506651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"IN THE JUNGLE OF RELATIONSHIPS.\" BRECHT, CASPAR NEHER AND THE WEST GERMAN POST-WAR CULTURAL INDUSTRY","authors":"Jürgen Hillesheim","doi":"10.35433/brecht.8.2022.43-51","DOIUrl":"https://doi.org/10.35433/brecht.8.2022.43-51","url":null,"abstract":"The article deals with little-known or unknown facts from the biography of Bertolt Brecht in the first post-war decade, when he began to be transformed into an icon in the art of the German Democratic Republic. But in reality, the writer, as throughout his life, continues to look for different ways to realize his own creative plans and popularize his work in both parts of Germany: in socialist East Germany and in capitalist West Germany. Bertolt Brecht resumes quite active cooperation with Caspar Neher. This talented artist, with whom Bertolt Brecht had been friends since his youth and had a number of successful theater projects before Brechts emigration in 1933, not only did not leave Germany after the Nazis came to power, but also continued to work with theaters and after 1945 quickly became successful in West Germany, which was \"an enemy\" to the GDR's cultural policy. This is one of several examples of Brecht's unexpected creative collaboration, which goes beyond the narrow framework of his reception as a purely socialist author and demonstrates the importance of his primary task of achieving success in theatre, rather than ideological correctness. In the post-war years, Brecht was ready to deal even with partially compromised artists. This contradicts the widespread and simplified and idealized image of the author as a supporter of communism.","PeriodicalId":266292,"journal":{"name":"Brecht-Magazine: Articles, Essays, Translations","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128894048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}