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"The world is out of joint, certainly and it will take powerful movement to manipulate it all back again." Bertholt Brecht. This very famous quote by Bertholt Brecht was remembered throughout the world for the world was in war. Individuals in the world were going through life and social change. Bertholt Brecht was one of the chief innovators of modern theatrical techniques and he was both a poet and playwright. His epic theatrical creations developed drama as a forum for social and idealistic causes. Brecht's imagination, artistic genius, and social views distinguish his work and life. Eugene Bertholt Brecht was born February 10, 188 in Augsburg, Germany. Brecht was influenced by a variety of selections including Chinese, Japanese and Indian theatre, the Elizabethans (especially Shakespeare), Greek tragedy and many more. In the early 10's, Europe was a cauldron of social and political unrest. Literature sought not to provide accurate images, but it provoked change, encouraged thought and evaluation. Bertholt Brecht attempted to highlight the undeniable triumph of reason and knowledge to emphasise victory over authoritarian oppression.
The foundations of world literature have always been based on the attitudes and values of society. Authors, playwrights and poets are influenced fundamentally by the ideologies around them which brought all of Brecht's plays to a form of social and political instruction. Bertholt Brecht did not consider drama to be a form of entertainment; however he instead portrayed important images to the people of Europe, showing them the potential for social, political and economic change. Brecht being a Marxist, he grew up in an ordinary German family; saw the progress of several regimes of European history, including the accedence of Adolf Hitler and the effects of government's ideology on people. These encounters brought Brecht to become a respected social commentator and he questioned the ideologies and views of the government. In one of Brecht's play The Life of Galileo, the ideologies were prevalent to government in Europe at the time.
It's not difficult to realise why his texts were banned from Germany not long after they became widely read. His support for the empowerment of the common man and those marginalised in society is clear, and his endorsement of socialism is outright. Rejecting the methods of traditional realistic drama, Brecht preferred a loose narrative form in which he used distancing devices to prevent the spectator from identifying with the characters on stage. Brechts one commercial success was The Threepenny Opera, a play still subject to occasional revival. Based on John Gays The Beggars Opera, it portrays the poor of London, living lives that are nasty, brutish, squalid, and short. Brechts intention was to display the fundamentally evil nature of society, but his largely bourgeois audience merely took it as a reasonably accurate portrayal of impoverished existence, never questioning their own role in sustaining poverty, perhaps even feeling their ambivalent attitude towards the oppressed reinforced by the play. Brecht loathed this reaction, feeling that the play was completely misunderstood, and vowed not to repeat his mistake in creating something that the bourgeoisie society could like.
Many of Bertholt Brechts first plays were written in Germany during the 10s; however he was not widely known until much later. Eventually his theories of stage presentation exerted more influence on the course of mid-century theatre in the West than did those of any other individuals. Brechts earliest work was heavily influenced by German Expressionism, but it was his preoccupation with Marxism and the idea that man and society could be intellectually analysed. This then led him to develop his theory of epic theatre. Brecht believed that theatre should appeal not to the spectators feelings but to his reason. While still providing entertainment, it should be strongly didactic and capable of provoking social change. In the Realistic theatre of illusion, he argued, the spectator tended to identify with the characters on stage and become emotionally involved with them rather than being stirred to think about his own life.
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