Bertolt Brecht believed not in ‘Good old days, but the bad new ones’

Brecht was an expressionist, whose works effectively collected the main stream of theatrical modernism. He dismissed "Aristotle's" dramatic form and culinary commercial entertainment. He believed that art played a pivotal role in ensuring social justice and would serve for moral and aesthetic purposes. Transferred to the dualistic, schizophrenic character of his mature theatre, in which the command and instinct of wealth or class conflicted, this created a radically different type of character that was radically different from the coherent individual of naturalism. Meyerhold says of Brecht, “He analyzes the character by emphasizing the act of separating the various presentation elements.” Brecht has an amazing gift that puts body and blood into his character. He allowed people to ask questions, and while looking at the audience, the questioning character engaged the audience directly in the practice of seeing how the drama exists, beyond the idea concealed by the abstraction of catharsis.

Brecht said he was not interested in "good old days, bad bad days". As a playwright, he knew he was responsible for bringing something to the audience in a way that energized the theater, criticizing and evaluating the nature of things around it. Brecht believed in those shocked by outright people and never showed a romantic past. For Brecht, exploring a new era was a challenge, and instead of contributing to the culinary theater, problems that plagued society were presented and the solution created a problem that was determined by the audience himself.

Brecht talked about bringing “maps” and “entertainment” together. He believed that entertainment should be expanded for moral purposes. In the old days, the general view of experiencing entertainment in the social world was related to the idea of ​​sin, this profound guilt implied the fall of an individual's life. In the Brechtian theater, critical examinations, faithful to the educational nature, were enacted dramatically to be thoroughly enjoyed.

His philosophy of “a messy ship that doesn't respect people” and a “moral that doesn't grow on an empty stomach” has also influenced Shaw and other playwrights, and has been able to materialize similar concepts. The Brecht Theater stimulates sound debate in the minds of the audience, allowing them to understand the concepts needed to see and discuss considerations about individuality, personal pragmatism, practicality of life, and the relativity of various societies. Whether the concept of justice and virtue is actually applicable to a particular society.

Brecht sees social patterns and deficiencies in society itself and creates ideas that arouse ideas about how situations and situational needs differ from society to society, and therefore should be practiced in a society that needs fairness instead of justice and mediocreity instead of avid virtue. Just good things can be a problem. play Good man in Setsu It's not a question of how Shenteh will remain a good person despite his situation, but he asks how to create a society where everyone can stay good and in good condition. Brechtian Theatre largely objected to outstanding ideas, wanted to create a theater that responded to everyone's problems and hardships, and encouraged the audience to find solutions to improve their status as communities.

Sequential quality is eliminated in the Brechtian theater. His theater is about the whole community and collective plight, and every scene has its own plot and connection. Edward Bond said, “When it comes to anecdotal quality, I suggest how Brecht's work affected him. The great playwright guides the audience through various tributaries, which is Brecht as a playwright. Some of Brecht's interests in the overall development of society and want to invest and channel his efforts towards a "bad new day" instead of reminding him of a "good day" include survival, war and poverty, Human life stamped and wounded with lifelong painful reminders like struggle.

in Good man in SetsuPoverty is a compassionate personality as war is one Mother courage. With Maslow & # 39; s Pyramid participating here, are you beginning to question whether self-realization is possible within an individual without having to provide food, shelter and clothing by default? Other questions seem to surprise the audience at their standard of living, such as what is needed to maintain their existence and whether their intelligence is hungry. in Mother courageBrecht talks about how the war itself is a “suicide” attempt and how ironic it is. Killing in war and killing conscience. There is a quote in the play, “Human Runs Rough,” which explains how it is impossible to follow a decent level by explaining how people are used as cannon fodder and how humans generally control and expose all kinds of negativity. Civilized laws, and individuals should not be blamed for their terrible actions because they are a terrible world in which they live. Good man in SetsuThey should be exploited to Shenteh.

Socialist theories are not simply erupted by characters, nor are they psychologicalized. teh te Good man in Setsu One aspect that represents many centes and where psychology emerges is Shenteh denying himself because of his situation and becoming Shui Ta.

White chalk circlesTalk about a deeper philosophy that explains what is not what you have because of your birth rights. He must try to get it. The other ideas depicted through the play are the ideas of justice and how they should be easily accessible in all societies. Brecht says that Azdak's way of distributing justice can work in a fickle way, but with common sense quality. But Brecht's emphasis is that the true judge actually distributes justice Good man in Setsu Since the gods are incapable of power, the very destructive idea of ​​making Azduk a judge is of utmost importance. Brecht will therefore invent the problem of inventing, playing and leaving a character with a Messianic being, but what he really pursues is the concept that humans cannot rely because there is no Azduk in real human life. For the masquerade, they are supposed to help themselves by getting their own cross.

like Mother courageAbsolute conditions why Brecht cannot define humans as representatives of society, because of the way she relies on and benefits from war, a kind of wound through motherhood, the way she contributes to war effort.

Brecht does not irrationally appreciate his personality. in Three Penny Opera Brecht continues to deteriorate the situation of the characters, these become rapists, and show how the stage does not allow the character to be completely disturbed depending on the situation. This idea shows how Brecht takes responsibility on the shoulder of the individual and leads the audience to understand these concepts of looking at the present and the future from deceptive rumors about the past. Babies White chalk circles and Good man in Setsu It reflects this future that Brecht hopes to secure by the audience by striving to improve his present life. The larger ideology he persuades is to revolutionize the legal system in a way that distrusts the notion of "sacred" war and "famous" war and seeks personality in general, but helps the community in a productive way.

In conclusion, as part of an effort to improve the actor-audience relationship, Brecht's play constantly wipes grain, and requires practical handling of life, so that the individual perceives the ability to make his life something.