Mother Courage
Mother Courage and Her Children (1939)
Bertolt Brecht: Frasi in inglese
Bertolt Brecht era drammaturgo, poeta e regista teatrale tedesco. Frasi in inglese.
Bertolt Brecht:
196
frasi
128
Mi piace
“Art is not a mirror to hold up to society, but a hammer with which to shape it.”
Mistakenly attributed to Vladimir Mayakovsky in The Political Psyche (1993) by Andrew Samuels, p. 9; mistakenly attributed to Brecht in Paulo Freire: A Critical Encounter (1993) by Peter McLaren and Peter Leonard, p. 80; variant translation: "Art is not a mirror held up to society, but a hammer with which to shape it."
First recorded in Leon Trotsky, Literature and Revolution (1924; edited by William Keach (2005), Ch. 4: Futurism, p. 120): "Art, it is said, is not a mirror, but a hammer: it does not reflect, it shapes."
Disputed
"Finland 1940" [Finnland 1940] (1940), trans. Sammy McLean in Poems, 1913-1956, p. 350
Poems, 1913-1956 (1976)
"The Popular and the Realistic" (written 1938, published 1958), as translated in Brecht on Theatre (1964) edited and translated by John Willett.
“The man who laughs has simply not yet had the terrible news.”
"To Those Born Later", part of the Svendborg Poems (1939)
quoted in Poems, 1913-1956, p. 318
Variation: He who laughs last has not yet heard the bad news.
German: Wer jetzt noch lacht, hat die neuesten Nachrichten noch nicht gehört.
Poems, 1913-1956 (1976)
"Solidarity song" [Solidaritätslied] (1931), trans. John Willett in Poems, 1913-1956, p. 186
Poems, 1913-1956 (1976)
“General, man is very useful.
He can fly and he can kill.
But he has one defect:
He can think.”
"General, Your Tank Is a Powerful Vehicle", in "From a German War Primer", part of the Svendborg Poems (1939); as translated by Lee Baxandall in Poems, 1913-1956, p. 289
Poems, 1913-1956 (1976)
First recorded in Terra Nossa: Newsletter of Project Abraço, North Americans in Solidarity with the People of Brazil http://books.google.gr/books?id=iR68AAAAIAAJ&q=, Vols. 1–7, Resource Center for Nonviolence, 1988, p. 42. No citation to a book by Brecht is given.
Disputed
"Freedom for Whom", as translated in Brecht on Brecht : An Improvisation (1967) by George Tabori, p. 18
Contesto: Firebugs dragging their gasoline bottles
Are approaching the Academy of Arts, with a grin.
And so, instead of embracing them, Let us demand the freedom of the elbow
To knock the bottles out of their filthy hands.
Even the most blockheaded bureaucrat,
Provided he loves peace,
Is a greater lover of the arts
Than any so-called art-lover
Who loves the arts of war.
“Art and science coincide insofar as both aim to improve the lives of men and women.”
Bertolt Brecht
A Short Organum for the Theatre
A Short Organum for the Theatre (1949)
Contesto: Art and science coincide insofar as both aim to improve the lives of men and women. The latter normally concerns itself with profit, the former with pleasure. In the coming age, art will fashion our entertainment out of new means of productivity in ways that will simultaneously enhance our profit and maximize our pleasure.
"Entertainment or Education? (1936)
Contesto: The theater-goer in conventional dramatic theater says: Yes, I've felt that way, too. That's the way I am. That's life. That's the way it will always be. The suffering of this or that person grips me because there is no escape for him. That's great art — Everything is self-evident. I am made to cry with those who cry, and laugh with those who laugh. But the theater-goer in the epic theater says: I would never have thought that. You can't do that. That's very strange, practically unbelievable. That has to stop. The suffering of this or that person grips me because there is an escape for him. That's great art — nothing is self-evident. I am made to laugh about those who cry, and cry about those who laugh.
“Thus for art to be 'unpolitical' means only to ally itself with the 'ruling' group.”
Bertolt Brecht
A Short Organum for the Theatre
¶ 55
A Short Organum for the Theatre (1949)
Contesto: Unless an actor is satisfied to be a parrot or a monkey he must master our period's knowledge of human social life by himself joining the war of the classes. Some people may feel this is degrading, because they rank art, once the money side has been settled, as one of the highest things; but mankind's highest decisions are in fact fought out on earth, not in the heavens; in the 'external world', not inside people's heads. Nobody can stand above the warring classes, for nobody can stand above the human race. Society cannot share a common communication system so long as it is split into warring classes. Thus for art to be 'unpolitical' means only to ally itself with the 'ruling' group.
"Entertainment or Education? (1936)
Contesto: The theater-goer in conventional dramatic theater says: Yes, I've felt that way, too. That's the way I am. That's life. That's the way it will always be. The suffering of this or that person grips me because there is no escape for him. That's great art — Everything is self-evident. I am made to cry with those who cry, and laugh with those who laugh. But the theater-goer in the epic theater says: I would never have thought that. You can't do that. That's very strange, practically unbelievable. That has to stop. The suffering of this or that person grips me because there is an escape for him. That's great art — nothing is self-evident. I am made to laugh about those who cry, and cry about those who laugh.
“Let nothing be called natural
In an age of bloody confusion”
Bertolt Brecht
libro
The Exception and the Rule
The Exception and the Rule (1937), Prologue
Contesto: Let nothing be called natural
In an age of bloody confusion,
Ordered disorder, planned caprice,
And dehumanized humanity, lest all things
Be held unalterable!
Essays on the Art of Theater (1954).
Contesto: It is not enough to demand insight and informative images of reality from the theater. Our theater must stimulate a desire for understanding, a delight in changing reality. Our audience must experience not only the ways to free Prometheus, but be schooled in the very desire to free him. Theater must teach all the pleasures and joys of discovery, all the feelings of triumph associated with liberation.