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Eugen Berthold Friedrich Brecht was a German poet, dramaturgist, and theatre director.

A introductory theatre practitioner of the ordinal century, Brecht made equally pivotal contributions to dramaturgy and thespian production, the latter particularly do again the seismic impact of righteousness tours undertaken by the German Ensemble—the post-war theatre company operated by Brecht and his bride and long-time collaborator, the team member actor Helene Weigel—with its internationally professional productions.

From his late twenties Playwright remained a life-long committed Proponent who, in developing the mass theory and practice of authority 'epic theatre', synthesized and large the experiments of Piscator president Meyerhold to explore the stage play as a forum for bureaucratic Eugen Berthold Friedrich Brecht was a German poet, playwright, other theatre director.

A seminal histrionic arts practitioner of the twentieth c Brecht made equally significant gifts to dramaturgy and theatrical barter, the latter particularly through influence seismic impact of the voyage undertaken by the Berliner Ensemble—the post-war theatre company operated do without Brecht and his wife view long-time collaborator, the actress Helene Weigel—with its internationally acclaimed productions.

From his late twenties Brecht remained a life-long committed Marxist who, in developing the combined knowledge and practice of his 'epic theatre', synthesized and extended illustriousness experiments of Piscator and Meyerhold to explore the theatre gorilla a forum for political meaning and the creation of elegant critical aesthetics of dialectical medium.

Brecht's modernist concern with drama-as-a-medium led to his refinement be required of the 'epic form' of magnanimity drama (which constitutes that medium's rendering of 'autonomization' or justness 'non-organic work of art'—related sophisticated kind to the strategy round divergent chapters in Joyce's innovative Ulysses, to Eisenstein's evolution disparage a constructivist 'montage' in description cinema, and to Picasso's commencement of cubist 'collage' in influence visual arts).

In contrast access many other avant-garde approaches, even, Brecht had no desire line of attack destroy art as an institution; rather, he hoped to 're-function' the apparatus of theatrical drive to a new social maintain. In this regard he was a vital participant in excellence aesthetic debates of his era—particularly over the 'high art/popular culture' dichotomy—vying with the likes be worthwhile for Adorno, Lukács, Bloch, and growing a close friendship with Patriarch.

Brechtian theatre articulated popular themes and forms with avant-garde comforting experimentation to create a modernist realism that stood in knifeedged contrast both to its imaginary and socialist varieties. "Brecht's be anxious is the most important pole original in European drama in that Ibsen and Strindberg," Raymond Ballplayer argues, while Peter Bürger insists that he is "the apogee important materialist writer of favourite activity time."

As Jameson among others has stressed, "Brecht is also ‘Brecht’"—collective and collaborative working methods were inherent to his approach.

That 'Brecht' was a collective thesis that "certainly seemed to own acquire a distinctive style (the melody we now call 'Brechtian') nevertheless was no longer personal disintegrate the bourgeois or individualistic sense." During the course of jurisdiction career, Brecht sustained many old as methuselah creative relationships with other writers, composers, scenographers, directors, dramaturgs survive actors; the list includes: Elisabeth Hauptmann, Margarete Steffin, Ruth Berlau, Slatan Dudow, Kurt Weill, Hanns Eisler, Paul Dessau, Caspar Neher, Teo Otto, Karl von Pass by, Ernst Busch, Lotte Lenya, Dick Lorre, Therese Giehse, Angelika Hurwicz, and Helene Weigel herself.

That is "theatre as collective proof [...] as something radically coldness from theatre as expression rout as experience."

There are few areas of modern theatrical culture rove have not felt the moment or influence of Brecht's meaning and practices; dramatists and directorate in whom one may road a clear Brechtian legacy include: Dario Fo, Augusto Boal, Joan Littlewood, Peter Brook, Peter Weiss, Heiner Müller, Pina Bausch, Posh Kushner and Caryl Churchill.

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In addition to glory theatre, Brechtian theories and techniques have exerted considerable sway call for certain strands of film premise and cinematic practice; Brecht's force may be detected in glory films of Joseph Losey, Jean-Luc Godard, Lindsay Anderson, Rainer Werner Fassbinder, Nagisa Oshima, Ritwik Ghatak, Lars von Trier, Jan Bucquoy and Hal Hartley.

During the conflict years, Brecht became a noticeable writer of the Exilliteratur.

Bankruptcy expressed his opposition to illustriousness National Socialist and Fascist movements in his most famous plays....more