I found this play, although interesting, to fully satisfy the alienation that Brecht intended to place upon his audience. It was somehow very difficult to feel any really emotion except disdain, and perhaps hatred, towards Mother Courage herself, and this was not helped by her continual hipocracy and mecurial nature. I would have prefered something perhaps slightly more aimed at providing a satisfying read (or show) for the audience, and somehow found "Mother Courage" rather depressing and horrid. She is a symbol for everything wrong with the world and I hope that I never come across anyone of similar moral or ethical values.

Brecht doesn't want emotion because that is Brechtian theater. He thought that in order for a play to invoke social change, it needed to be clear to the audience, that the audience needed to learn something. Emotions, Brecht felt, clog the mind and only feed the brain sentiment, not rational thought. Mother Courage and Her Children is, quite obviously, an anti-war play. Brecht wants you to see that war makes criminals out of everyone, even mothers. He wants you to love Mother Courage while you hate her so that the emotion is cancelled out and you are only left with the thoughts of her actions and why they were wrong. If you want a play to read or perform that is challenging, amazing, and intellectual all at once, this is the way to go. I performed this and I was forever changed.

Saying that Brecht didn't want his plays to evoke an emotional response is an extreme oversimplification of his theories. He just didn't want the emotional response to overwhelm the intellectual response and remove the audience's capacity to judge the work objectively. In this play, we have a heroine who is not a heroine. We understand her, but we never empathize with her. Consequently, the interdependence of war and economy is illuminated without making the reader wallow in excessive emotion. Yes, we do feel strongly when Kattrin is beathing her drum, but that feeling is not what the audience leaves with at the end of the play.

The author is best known for his theatrical work and poems, while his narrative prose has been underestimated. This collection of 37 short stories (reprinted for Brecht's centenary) shows another facet of Brecht's literatry gift. This is writing with an unpretentious tone and reporting style. The composition of the stories falls into three distinct periods. The Bavarian stories written between 1920 and 1924 treat mainly autobiographical problems of a young man in his early twenties. The Berlin stories written between 1924 and 1933 marks his most intense period in this genre. These stories have a sober and realistic style, thematically dominated by topical issues of the 1920's, aiming to reveal the social behavior of individuals. The third group refers to stories written during Brecht's exile (1937-1940), the first pieces serve as ammunition in the struggle against fascism, and the later ones have a strong socially critical orientation. The reader familiarized with the work of Brecht (poems and plays) will certainly recognize the author's style stamped in these short stories, his determination to represent reality accurately, lack of affectation, anecdotal but with a sense of dread. Quite a treat for a lover of short stories!

The author is best known for his theatrical work and poems, while his narrative prose has been underestimated. This collection of 37 short stories (reprinted for Brecht's centenary) shows another facet of Brecht's literary gift. This is writing with an unpretentious tone and reporting style. The composition of the stories falls into three distinct periods. The Bavarian stories written between 1920 and 1024 treat mainly autobiographical problems of a young man in his early twenties. The Berlin stories written between 1924 and 1933 marks his most intense period in this genre. These stories have a sober and realistic style, thematically dominated by topical issues of the 1920's, aiming to reveal the social behavior of individuals. The third group refers to stories written during Brecht's exile (1937-1940), the first pieces serve as ammunition in the struggle against fascism, and the later ones have a strong socially critical orientation. The reader familiarized with the work of Brecht (poems and plays) will certainly recognize the author's style in these short stories, his determination to represent reality accurately, lack of affectation, anecdotal but with a sense of dread. Quite a treat for a lover of short stories!

St Joan is one of Brecht's less well-known plays. Set in Chicago, it is the story of Joan Dark and is the modern version of the biblical story, Joan of Arc. Joan is a leader of a religious group, the Black Straw Hats. Throughout the play, she preaches to common-folk and the "meat kings" of Chigago, namely Mauler, Cridle and Lennox. Although criticised, her support for the needy is much appeciated. The play consists of lots of monologues, linked by short sections of dialogue. Joan uses biblical phrases and terms in her preaching such as "Oh ye of little faith" and words like "ordain" and "salvation". The structure of this play makes it ideal to be used for monolgues, after a bit of editing.

This play, one of Brecht's best if least known, is perhaps the first postmodern classic. It combines the dramaturgy of a tragedy and a comedy and a passion play. It makes an attempt (years before todays financial tv programs) to make the market and its affairs excitingly dramatic. This new translation by Ralph Manheim, arguably Brecht's most accomplished translator, does much to save the text from earlier mistranslations. This year (2001) there will be an all star performance of the new translation in Chicago, the city in whose Stockyards and at whose Board of Trade the Play was originally set. This could be the seminal Brecht performance of the year!

In a pleasant and intertaining discription of the life of Galileo, Bertolt Brecht explores not only the advancement of our knowledge of the earth but more important the role of the church during the time period.

The book is a good guide on tracing the evolution of the notion of alienation in theater. A different route from the naturalistic theater tradition, alienation aims at "extracting" emotions in theater and sticking with the message and aim of a play. Peter Thompson's work indirectly traces the idea of showing that acting is just plain "acting". He does this by reviewing the various experiences of staging Brecht's classic "Mother Courage and Her Children". For actors dreaming to just plainly "act" in theater (acting a character and not being a character), the good is a good guide. For those dreaming to be the mother in Mother Courage and The Mother, Shente in The Good Person of Setzuan, and St. Joan in St. Joan of the Stockyards--learn from this book.

The problem with delivering Brecht to an English student audience is the fact that he is such a man of his time, culturally and historically, that the first few lectures end up being as much about 'Sturm und Drang', the Weimer republic and the rise of fascism, as they do about any theory by our Bertie. This wonderfully concise and pragmatic guide has been a real find. Dealing with the magor Brechtian themes and theories in a way that applies them both practically and with due reference to their historical/cultural significance. A real 'must buy' for students and teachers of drama!

It's popular now-a-days to call communism "out of touch" and socialism "out of style." Brecht's question, then: Who should own anything? Should possession be nine-tenths of the law? Or should the laws of ownership remain an open-ended affair? -- could be called a foregone conclusion.

Woe to the foregone conclusion, then. Its trial date is ever on the way.

Laughably, the Helms-Burton bill, recently signed into law by Pres. Bill Clinton, is a giggle back to Brecht's discussion. And a silly one. One should think that were the United States to be in the business of giving back land "once stolen," that the Navajo, Sioux, Chippewa, et. al. would be first in line.

Not so!

Apparently, Cuba's land belongs not to its current owners, but to its capitalists of 40 years hence. Oh, silliness. Oh, amusement.

So ask Brecht's question, then, not as a socialist, a communist or a red. Ask it as a human being. To whom does anything belong? What is belonging? What is ownership? Who owns anything? When - and why - does ownership occasionally turn on its own head?

I had to read this for my theatre department at school. But as I did I found that through the course of this play, Brecht gives a sense of honesty in all of the chracters. Weather that honesty is good or bad, it is a truthfull play that brings forth many aspects of seraching for what is good and bad.

It's a fascinating play, but it's important to take into consideration that it takes up to 4 hours to produce in its entirety, requires a cast of up to 40 people plus orchestra and tech crew. The carnival scene (10) also requires many props, and setting it during the renaissance can be demanding for a costumier! We performed it outside in winter at night. Brrrr...

"The Measures Taken and Other Lehrstucke," by Bertolt Brecht, brings together four theater pieces by this important German playwright. The book is edited by John Willett and Ralph Manheim. Included is an introductory note entitled "The Lehrstuck or Learning-Play," which is excerpted from an essay by Brecht. The pieces in this book, all of which were written from 1929 to 1930, are as follows:

"The Measures Taken," translated by Carl R. Mueller, is the story of a group of Communist agitators from Moscow who go to spread ... in China. It's a compelling story about the conflict between idealism and doctrinal orthodoxy. "The Exception and the Rule," translated by Ralph Manheim, is about an expedition headed by an exploitative merchant. It's a story of greed, violence, and law. "He Who says Yes" and "He Who Says No," both translated by Wolfgang Sauerlander, are a linked pair of plays; each one tells the story of a young man's quest to get medicine for his ailing mother.

Overall, the plays have a very ritualized quality; three of them make use of a chorus. The stories told in these plays have the flavor of parables. Overall, I found these pieces very intriguing, particularly in a post-Cold war context.