B. BRECHT: PROBLEMS OF TRANSFORMING A LITERARY TEXT IN THE SPACE OF PERFORMING ART

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.