BACK
STAGE WEST
February
05, 1998
Under
the Influence
Quotes
about Brecht's legacy among theatre artists
"Brecht
was a strong personality, and I think it's that strong artistic personality
that takes a hold of people. But I don't think of Brecht as a direct influence
on me. I don't think influence is a good thing if what it means is people
imitate. Imitating a Brecht play never works out, because his essential talent
is a poetic one, and that can't be imitated. A lot of students are interested
in Brecht's theories; I'm not sure why. I don't think his theories are all
they're cracked up to be. The story about Brecht and theory is, When he was
young, his plays weren't doing very well. To be taken seriously, you needed to
have a theory; this was Germany, after all, and everyone had a philosophy. He
went home and got a theory, and then his plays took off, you see. But I think
of him chiefly as a poet, not in terms of special terminology."
Eric
Bentley
Brecht
translator, playwright, and critic
"The
impact of Brecht on our work, first at the Yale Repertory Theatre, later in
Cambridge at the American Repertory Theatre, has been prodigious. Not only have
we staged and adapted a large number of his own plays and musicals, but we have
often employed his non-illusionistic theatre practices in seeking a fresh
approach to the classics. Brecht's rejection of Western realism, his cabaret
style, his epic canvas, and his ironic view of human hypocrisy have all been
important to us. Rarely has such an unpleasant human being been the source of
so much intelligence, insight, yes, and pleasure."
Robert
Brustein
Artistic
director, American Repertory Theatre
"Brecht's
work has shaped our theatre in the second half of the century, particularly for
those of us who are political theatre workers. He was among the first theorists
who focused on the context of theatrical performance, the nature of the
audience/actor relationship. In this way, Brecht provided us with a starting
point for postmodern political theatre and performance."
David
Catanzarite
Head
of directing program, Pomona College, and artistic director of West Coast
Brecht Centennial Festival
"His
influence is felt in this country less than in any other. Everywhere else in
the world--Europe, Asia, Latin America--Brecht is regarded as definitely one of
the big masters, if not the big master, of the 20th century. His work contains
the clearest political arguments about property, power, class, but in very
close-up and personal form. Although Brecht always talked against emotion, his
plays are very emotional. They're very moving, but there's a larger meaning. That
kind of larger meaning American theatre largely shuns. The only American
playwright who's big and mainstage who could be called Brechtian is Tony
Kushner.
"Formally,
his theatrical discoveries--how you do crowd scenes, how you do narrative, how
you teach lessons--he didn't invent these, but it's like he rediscovered them.
Would there be a Les Miz if there hadn't been Brecht? Would anybody think you could
those kinds of scenes? Brecht showed us you could do anything. But I think
there was another artistic instinct at work, as well: the instinct to want to
break out of that box of naturalism, out of the living room. American theatre
has largely retreated back to the living room, or never really gotten out of
it. Brecht remains as an example when people want to think bigger; when they
want to break out of the box, the example of Brecht is there. He offers a
treasure of techniques and inventions."
Joan
Holden
Artistic
director of the San Francisco Mime Troupe, which staged and toured Brecht's The
Mother in 1973
"I
think his influence has almost disappeared. You don't hear about him anymore;
in colleges, you do. On paper, his theories confused uneducated people--I don't
mean that in a harsh way at all, but it's almost as if his theories took over
from the presentation of his work, especially in America.
"Therese
Giehse, who played the original Mother Courage, I asked her, 'What was it like
working with him?' She said, 'Just like Stanislavski. He wanted a real
experience onstage; he didn't want alienation.' The whole alienation theory
comes from talking to the audience--when people ask how to do Brecht, they're
always talking about the parts where the characters talk to the audience. They
talk about this alienation as if it should be done distantly and coldly. That
is a huge misunderstanding of his work. I saw productions of his work in
Austria, and it was eerie--it was not false theatrics, not formalistic acting,
not old-fashioned acting, but real acting.
"I
wish he still did have meaning here. I think the reason he doesn't is because
of those goddamned theories."
Uta
Hagen
Actor/teacher,
who starred in The Good Woman of Setzuan in 1956
"My
work is very influenced by Brecht. I'm interested in the question: What is the
thing that theatre can do? What is the dialogue that only theatre can have,
that we can only conduct on the stage? What I take from Brecht, more than his
politics, is the way he incorporated his politics into the theatre. His plays
are not about pyschology of one man but the society in which a man lived.
Brecht was really trying to understand how theatre works, and I think we still
have to keep asking that. In fact, I find his ideas about theatre almost more
interesting than his plays."
Moises
Kaufman
Playwright/director,
"Gross Indecency: The Three Trials of Oscar Wilde"
"Mabou
Mines' main focus is narrative performance, and I guess you could say Mr.
Brecht is one of the pioneers of narrative performance in contemporary theatre,
so we steal a lot from him--that is to say, the idea that characters can be
narrated, actors can narrate themselves, and so on. The great thing about the
position of narration in Brecht's theatre, and therefore in contemporary
theatre, is that it allows the actor to say things that are not necessarily an
attempt to embody a role--it frees the actor from having to embody writers'
ideas of character. So there are at least two lines moving simultaneously: an
actor's opinions about the play, or the playwright, or the character, or the
thematic notions of the play, or the politics of the play--and the character as
written. Brecht was a genius at that."
Ruth
Maleczech
Founding
member and artistic director of Mabou Mines theatre company
"The
themes that resonate for me are the same themes that got him into trouble with
the House on Un-American Activities Committee--themes of class disparity--and
though he placed them in other cultures, they translate for me in ways that are
very parallel to some of what we see in today's society even now. And his
style--surreal is what I would call it--makes it very entertaining and
accessible so that he's not pounding you with a gavel with the points he's
making. He makes the point very well while at the same time keeping an audience
entertained, which I know I and some other contemporary playwrights have
trouble doing. We forget that you can be profound and entertaining at the same
time."
Lynn
Manning
Playwright
(The Central Avenue Chalk Circle, Private Battle)
"People
make a big fuss about his theories, which of course are endlessly fascinating,
but he was just a great playwright, also. He told really extraordinary stories,
and really human stories, and that's what so great about his plays, I find--that
what's happening politically and what's happening on a human scale are of equal
excellence. I can say that the two Brecht plays that I've directed for
Cornerstone in community settings are among the best productions Cornerstone
has ever done, and I think that has a lot to do with Mr. Brecht."
Bill
Rauch
Founding
member and artistic director of Cornerstone Theater Company, who directed The
Central Ave. Chalk Circle and The Good Person of Long Creek
"I
think he was one of the first to break out of that Stanislavski realist mold
significantly, and in his own peculiar kind of way. What he often isn't given
credit for is that he was a tremendous humanist--the humanism comes out in
spite of himself. He wrote Mother Courage and thought we would hate her, but we
don't. Also, he had a terrific theatrical brain. When I started reading his
plays--sometimes they don't read that well on the page, but when one starts
working with them, one realizes he knew what he was doing. He was one of thoese
rare individuals who was not only an incredible writer, a poet, but knew a lot
about directing. He was a renaissance man of the theatre."
Ron
Sossi
Artistic
director of the Odyssey Theatre Ensemble
"I
suppose in some way, as with Artaud, it was the questions that Brecht asked
about the medium that were important, probably not the answers that at
different times he tried to provide. He was concerned with what theatre is:
What is it? What are we doing? He asked those questions in his work by the way
he did his work. Too often people compare and contrast film and theatre, or
television and theatre. Theatre is a different medium. Unfortunately most
mainstream theatre today is just bad television. In places where they're still
doing real theatre, those isolated pockets of the planet, the effect of Brecht
is pretty visible."
John
Steppling
Playwright/director
and artistic director of Empire Red Lip
"Grusha
in The Caucasian Chalk Circle and Shen Te/Shui Ta in The Good Person of
Setzuan
have been the most challenging roles I've ever played. Brecht's women are so
complex; it takes everything you've got and anything you've ever learned to
play these women. Right away, you need physical strength to do it, a major
emotional life, and the courage to go there. I'd love to play these roles again
and again, because it's like Shakespeare in a way: Every time you do it,
there's something more to mine out of the role."
Charlayne
Woodard
Currently
starring in her one-woman show Neat at the Mark Taper Forum
"One
of the earliest pieces I was ever exposed to was his trilogy of one-acts, Fear
and Misery of the Third Reich. They had a strong impact on me, and in a way
enlightened me about how quote-unquote political theatre could work on a number
of levels--viscerally, emotionally--by not talking down to audiences, always
challenging audiences. His writing--it's just got bite, you know? It's never
pandering. And utilizing what the theatrical context can mean really appeals to
the best in what audiences can be, what we all can be--our strengths as
thinking individuals and feeling individuals. I admire and aspire to
that."
Tracy
Young
Playwright/director
with the Actors' Gang