Analyzing the Works of Bertolt Brecht

Brecht gives the name "A-effect" or madness effect to the process whereby a scene may " renounce the spectator to criticize (a situation] constructively from a social read of view" (Brecht, Street 91). Accordingly, The Caucasian Chalk Circle is very a play within a play, wherein the subtext of Grusha's fate is similarly the fate of the dispute over the collective farm that putatively forms the junction for presentation of the fable. Good Woman of Setzuan reaches into the depths of human experience of the object lesson (or more exactly immoral) universe by illustrating the impotence of foretell intervention and the persistent mean-spiritedness of human fundamental interaction and enterprise; it is very clear at the end of the play that Shen-Te will be eaten alive, both loved and despised for her desperate goodness, fearful of existence victimized by those whom she does not love and by Sun, whom she does love. She is a character who embodies the paradox of the human experience of the consequences of behaving with decency. Galileo is replete with the concerns of an allegedly with child(p) Mind, but Brecht explores the irony of greatness, for his Galileo is equally concerned astir(predicate) the uses to which science is put and whether he will be the Great Man to get credit for inventing the telescope.

The significance of suggesting Brecht's programmati

cally ironic, paradoxical approach to character and story lies in the fact that the basis for the attitudes the characters enact reaches beyond individual psychology, with the enactment of such psychology and toward the inevitability of confrontation and interaction of the ideas individuals hold of what properly constitutes the human community on hotshot hand, and of themselves as members of that community on the other. Brecht elaborates this idea in a discussion of character as an adumbration, not determinant, of dramatic structure.

Bentley, Eric. Bertolt Brecht. A Reader's Encyclopedia of the Theatre. Ed. John Gassner and Edward Quinn. New York: Crowell, 1969.

Abel, Lionel. Metatheatre: A New sight of Dramatic Form. A Dramabook. New York: Hill & Wang, 1963.

Shaffer, Peter. Amadeus. New York: harpist & Row, Publishers, 1981.

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