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Die Burgschaft, or "Brecht ohne Brecht"

Die Burgschaft, or "Brecht ohne Brecht" Mic hael Evenden Die Bürgschaft, or “ Brec ht ohne B re c h t ” To hindsight—and, indeed, to contemporary eyes—the premiere of the opera The Rise and Fall of the City of Mahagonny, on March 9, 1930, seemed likely to be the sum and conclusion of a particular theatrical partnership, Brecht /Neher /Weill, a temporary tripartite entity that had (as librettist, designer, and composer) altered theatrical history with productions of the Mahagonny “Songspiel,” the Threepenny Opera, and now the Mahagonny opera as well. Brecht’s “Notes on the Opera,” published that year in his Versuche 2, encapsulates their shared accomplishment and constitutes Brecht’s most developed and complete statement to that date of his theater aesthetic (familiar to many a college classroom under John Willett’s title “The Modern Theatre Is the Epic Theatre”).1 In that crucial essay, Brecht sets forth the Brecht /Neher /Weill synthesis by incorporating Kurt Weill’s ironic, popular-song music and Caspar Neher’s designs, which layered actors against projected words and satiric cartoons as crucial elements of the “epic” style Brecht sought to develop.2 At this early point of clarification, then, the “epic” theater, despite Brecht’s efforts to appropriate its innovations to his own credit, is http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Theater Duke University Press

Die Burgschaft, or "Brecht ohne Brecht"

Evenden, Michael
Theater , Volume 30 (3) – Jan 1, 2000
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Publisher
Duke University Press
Copyright
Copyright 2000 by Yale School of Drama/Yale Repertory Theatre
ISSN
0161-0775
eISSN
1527-196X
DOI
10.1215/01610775-30-3-63
Publisher site
See Article on Publisher Site

Abstract

Mic hael Evenden Die Bürgschaft, or “ Brec ht ohne B re c h t ” To hindsight—and, indeed, to contemporary eyes—the premiere of the opera The Rise and Fall of the City of Mahagonny, on March 9, 1930, seemed likely to be the sum and conclusion of a particular theatrical partnership, Brecht /Neher /Weill, a temporary tripartite entity that had (as librettist, designer, and composer) altered theatrical history with productions of the Mahagonny “Songspiel,” the Threepenny Opera, and now the Mahagonny opera as well. Brecht’s “Notes on the Opera,” published that year in his Versuche 2, encapsulates their shared accomplishment and constitutes Brecht’s most developed and complete statement to that date of his theater aesthetic (familiar to many a college classroom under John Willett’s title “The Modern Theatre Is the Epic Theatre”).1 In that crucial essay, Brecht sets forth the Brecht /Neher /Weill synthesis by incorporating Kurt Weill’s ironic, popular-song music and Caspar Neher’s designs, which layered actors against projected words and satiric cartoons as crucial elements of the “epic” style Brecht sought to develop.2 At this early point of clarification, then, the “epic” theater, despite Brecht’s efforts to appropriate its innovations to his own credit, is

Journal

Theater – Duke University Press

Published: Jan 1, 2000

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