In John Willett’s compendium of some of Brecht’s most important critical writings, the editor helps to outline the theatremaker’s development of his style. Each letter and article allows for a further glimpse into Brecht’s take on Epic Theatre, acting, and the alienation effect for which his works are so renowned.
On anxiety, Brecht aptly points out:
“In his obscure anxiety not to let the audience get away the actor is immediately so steamed up that he makes it seem the most natural thing in the world to insult one’s father. At the same time it can be seen that acting takes a tremendous lot out of him. And a man who strains himself on the stage is bound, if he is any good, to strain all the people sitting in the stalls.” – From Berliner Börsen-Courier, 1926
Around the same time this article was written, Brecht was insisting on a new type of audience engagement in the form of what he called “ ’smokers’ theatre.” The audience would puff on cigars and look on as if taking in a boxing match, therefore developing a more detached and critical outlook than was possible in the ordinary German theatre. Smoking was verboten in theatres at the time.
“That in a Shakespearean production one man in the stalls with a cigar could bring about the downfall of Western art. He might as well light a bomb as light his cigar. I would be delighted to see our public allowed to smoke during performances. And I’d be delighted mainly for the actor’s sake. In my view it is quite impossible for the actor to play unnatural cramped and old-theatre to a man smoking in the stalls.”
Forever pushing the boundaries of what theatre was “allowed to be” at the time, Brecht paved the way for many in the modern day interactive and absurdist theatre realms. Brecht on Theatre is a delight – like sitting down for a rare and illuminating coffee-date with Brecht himself.