PORTRAYAL OF PAST AND PRESENT IN ONE
Whatever you portray you should always portray
As if it were happening now. Engrossed
The silent crowd sits in the darkness, lured
Away from its routine affairs. Now
The fisherman's wife is being brought her son whom
The generals have killed. Even what has just happened
In her room is wiped out. What is happening here is
Happening now and just the once. To act in this way
Is habitual with you, and now I am advising you
To ally this habit with yet another: that is, that your acting
At the same time express the fact that this instant
On your stage is often repeated; only yesterday
You were acting it, and tomorrow too
Given spectators, there will be a further performance.
Nor should you let the Now blot out the
Previously and Afterwards, nor for that matter whatever
Is even now happening outside the theatre and is similar in
Nor even things that have nothing to do with it all - none of
Should you allow to be entirely forgotten.
So you should simply make the instant
Stand out, without in the process hiding
What you are making it stand out from. Give your acting
That progression of one-thing-after-another, that attitude of
Working up what you have taken on. In this way
You will show the flow of events and also the course
Of your work, permitting the spectator
To experience this Now on many levels, coming from
Merging into Afterwards, also having much else now
Alongside it. He is sitting not only
In your theatre but also
In the world.
You artists who, for pleasure or for pain
Deliver yourselves up to the judgement of the audience
Be moved in future
To deliver up also to the judgement of the audience
The world which you show.
You should show what is; but also
In showing what is you should suggest what could be and
And might be helpful. For from your portrayal
The audience must learn to deal with what is portrayed.
Let this learning be pleasurable. Learning must be taught
As an art, and you should
Teach dealing with things and with people
As an art too, and the practice of art is pleasurable.
To be sure, you live in a dark time. You see man
Tossed back and forth like a ball by evil forces.
Only an idiot lives without worry. The unsuspecting
Are already destined to go under. What were the earthquakes
Of grey prehistory compared to the afflictions
Which we suffer in cities? What were bad harvests
To the need that ravages us in the midst of plenty?
ON THE CRITICAL ATTITUDE
The critical attitude
Strikes many people as unfruitful.
That is because they find the state
Impervious to their criticism.
But what in this case is an unfruitful attitude
Is merely a feeble attitude. Give criticism arms
And states can be demolished by it.
Canalising a river
Grafting a fruit tree
Educating a person
Transforming a state
These are instances of fruitful criticism
And at the same time
Instances of art.
THEATRE OF EMOTIONS
Between ourselves, it seems to me a sorry trade
Putting on plays solely
To stir up inert feelings. You remind me of masseurs
Singing their fingers in all too fatty
Flanks, as in dough, to knead away sluggards'
Bellies. Your situations are hastily assembled to
Excite the customers to rage
Or pain. The audience
Thus become voyeurs. The sated
Sit next the hungry.
The emotions you manufacture are turbid and impure
General and blurred, no less false
Than thoughts can be. Dull blows on the backbone
Cause the dregs of the soul to rise to the surface.
With glassy eyes
Sweaty brow and tightened calves
The poisoned audience follows
No wonder they buy their tickets
Two by two. And no wonder
They like to sit in the dark that hides them.
*Bertolt Brecht Poems 1913-1956, Edited by John Willett and Ralph Manheim with the co-operation of Erich Fried, 1979 edition.
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