LYCOS RETRIEVER 
Bertolt Brecht: Theatre
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Brecht criticises what he calls “Culinary theatre”. This is theatre which merely gives an experience, mental refreshment as a meal is a bodily restorative. Brecht despises theatre which provides mental foodstuffs but makes no difference to audience. He believes that the audience should be made not to feel, but to think.
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In 1949 Brecht opened his own theatre in East Berlin, the Berliner Ensemble. But he soon came into conflict with the Stalinist cultural bureaucracy. They forced him to make changes in several productions and even stopped two of them.
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After he was driven into exile by the rise of Hitler in 1933, for the next 15 years Brecht's plays were seldom to reach the stage. Thwarted in his ambition to create a new theatre geared to the revolutionary promise of his time, he spent his last years defining and reworking his ideas while kowtowing to the new rulers of the GDR, who gave him a theatre of his own, the Berliner Ensemble.
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In 1924 Brecht went to Berlin and stayed until 1933. Here he worked as a dramatist, attached to the Deutsches Theatre. At the same time he created a group of well-known collaborators.
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Brecht was struggling at the time with the question of how to dramatize the complex economic relationships of modern capitalism in his unfinished project Joe P. Fleischhacker (which Piscator's theatre announced in its programme for the 1927-28 season). It wasn't until his Saint Joan of the Stockyards (written between 1929-1931) that Brecht solved it.[44] In 1928 he discussed with Piscator plans to stage Shakespeare's Julius Caesar and Brecht's own Drums in the Night, but the productions did not materialize.[45]
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German playwright, poet, and theatrical reformer Eugen Berthold Friedrich Brecht (1898–1956) developed theatre as a forum for critical reflection on society in order to advance his Marxist beliefs. Born in Augsburg, Bavaria, on February 10,...
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