![]() ![]() ![]() Unlike dramatic theater, in which the tightly constructed plot creates suspense, epic theater uses loosely connected scenes that are set off against one another. In his notes to Rise and Fall of the City of Mahagonny, Brecht lists the differences he perceives between his epic theater and the Aristotelian (or dramatic) theater. (Toward the end of his life, Brecht wanted to change the name of his theater from “epic” to “dialectical,” to stress the central role of argument in his plays.) Brecht summarizes his theories of epic theater in his notes to Rise and Fall of the City of Mahagonny he later recapitulated and revised his theories in Kleines Organon für das Theater (1948 A Little Organum for the Theater, 1951) and in other theoretical writings. Although this concept did not originate with Brecht, he developed it into a revolutionary form of drama. Epic Theaterīrecht is well known for his theories on epic theater. By making people aware of social abuses, he believed, literature can help make the world a better place it can help bring the Marxist goal of a classless Utopia closer to realization. To the end of his life, Brecht thought of the theater as both a place of entertainment and of learning. In his later plays, Brecht combined the vitality of his early period with his Marxist beliefs to create plays that are dramatically effective, socially committed, and peopled with realistic characters. These plays were intended to be performed in schools and factories by nonprofessional actors. ![]() In the years after his conversion to Marxism, Brecht wrote didactic plays, similar in many respects to late medieval morality plays, whose style is austere and functional. In them, he glorifies antisocial outsiders such as adventurers, pirates, and prostitutes the tone of these works is often cynical. Bertolt Brecht’s (10 February 1898 – 14 August 1956) early dramas are anarchic, nihilistic, and antibourgeois. ![]()
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