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Bertolt Brecht: Gesammelte Werke (Werkausgabe Edition Suhrkamp), Frank• Furt 1967

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Bertolt Brecht: Gesammelte Werke (Werkausgabe Edition Suhrkamp), Frank• Furt 1967 Notes References to Brecht's works in German text are generally to the collected edition in 20 volumes: Bertolt Brecht: Gesammelte Werke (werkausgabe edition suhrkamp), Frank­ furt 1967. Except in the case of the plays dealt with in detail in this book, the volume number is quoted first, the page following after a comma •. thus: 15, 174. It is difficult to date many of Brecht's texts, so I have dispensed with dates, but it may be useful to the reader to know that a single, very approximately chrono­ logical sequence runs through volumes 8-10 (poems), another through volumes 15-16 (essays on theatre), another through volumes 18-19 (essays on literature and art) and another through volume 20 (essays on politics); and that these groups of volumes are (like volumes 1-7, plays) through-paginated. Thus: vol. 8 pp. 1-424, poems 1913-33. val. 9 pp. 425-822, poems 1933-41. vol. 10 pp. 823-1082, poems 1941-56. vol. 15 pp. 1-498, theatre essays 1918-1942. vol. 16 pp. 499-942. theatre essays 1937-1956. vol. 18 pp. 1-284,literary essays 1920-1939. vol. 19 pp. 285-556,literary essays 1934-1956. val. 20 pp. 1-350, political essays 1919-56. His journals are quoted in the editions Bertolt Brecht: Arbeitsjournal, 2 vols., Frankfurt 1973 (abbreviated Ai .; my translations from it retain Brecht's private convention of not capitalising) and Bertolt Brecht: Tagebucher 1920-1922. Autobiographische Aufzeichnungen 1920-1954, ed. Herta Ramthun, Frankfurt 1975 (abbreviated Tb.). Theoretical works and poems contained in the following editions are quoted from them: 176 Notes Bre(:ht on Theatre- The Development of an Aesthetic, ed. and trs. John Willett, London (Methuen) 1964 (abbreviated B. on Theatre). Bertolt Brecht: The Messingkauf Dialogues, trs. John Willett, London (Methuen) 1965 (abbreviated M. Dial.). Bertolt Brecht: Poems, ed. John Willett and Ralph Manheim, London (Eyre Methuen) 1976 (abbreviated B. Poems). References to plays in English text are to the Methuen Modern Plays series, London (Eyre Methuen): The Life of Galileo, trs. Desmond I. Vesey, 1963, repr. 1974 (abbreviated G.). Mother Courage and her Children, trs. Eric Bentley, 1962, repr, 1976. The Good Person of Szechwan, trs. John Willett, 1965, repr. 1974. The Caucasian Chalk Circle, trs. James and Tania Stern, with W. H. Auden, 1963, repr. 1975. Quotations from these plays are supplied first with the page number in volumes 3, 4 or 5 of Gesammelte Werke (Galilei in vol. 3, Kreidekreis in vol. 5, the others in vol. 4); then comes the page number in the Methuen edition; finally (unless clear from the context) the number of the scene, for those not using either of these editions. Alternative editions, some using other translations, are published by Eyre Methuen, Blackie and Penguin in Great Britain; and Grove Press, Random House and Pantheon Books in the U.S. Grove Press publish individual editions of all four plays- Galileo in the second version with two scenes cut. The following important or useful books on Brecht, or by his friends, are re­ ferred to in text and footnotes by author's name only. Hanns Eisler: Gesammelte Werke III/7 = Gespriiche mit Hans Bunge, Leipzig 1975. Erich Engel: Schriften. Dber Theater und Film, Berlin 1971. Martin Esslin: Brecht. The Man and his Work, New York 1974 (previous editions under the title Brecht, a Choice of Evils). John Fuegi: The Essential Brecht, Los Angeles 1972. Therese Giehse: 'lch hab nichts zum Sagen', Gespriiche mit Monika Sperr, 2nd. ed., Munich 1975. Ronald Gray: Brecht the Dramatist, Cambridge 1976. Fritz Hennenberg: Dessau-Brecht. Musikalische Arbeiten, Berlin 1963. Claude Hill: Bertolt Brecht, Boston 1975. Walter Hinck: Die Dramaturgic des spiiten Brecht, Gottingen 1959. Helmut Jendreiek: Bertolt Brecht. Drama der Veriinderung, Dusseldorf 1969. Volker Klotz: Bertolt Brecht. Versuch itber das Werk, 4th. ed., Bad Homburg 1971. Karl Korsch: Karl Marx, New York 1963, (also earlier editions). Karl-Heinz Ludwig: Bertolt Brecht. Philosophische Grundlagen und lmpli­ kationen seiner Dramaturgic, Bonn 1975. Hans Mayer: Brecht in der Geschichte, Frankfurt 1971. Notes 177 Rainer Pohl: Strukturelemente und Entwicklung von Pathosformen in der Dramensprache Bertold [sic] Brechts, Bonn 1969. James M. Ritchie: Brecht: Der kaukasische Kreidekreis, London, 1976. Kathe Riilicke-Weiler: Die Dramaturgie Brechts. Theater als Mittel der Ver­ iinderung, 2nd. ed., Berlin 1968. Ernst Schumacher: Drama und Geschichte. Bertolt Brechts 'Leben des Galilei' und andere Stucke, 2nd. ed., Berlin 1968. Theaterarbeit. 6 Autfuhrungen des Berliner Ensembles, ed. Ruth Berlau, Ber­ tolt Brecht, et al., 3rd. ed., Berlin n.d. Klaus Volker: Bertolt Brecht. Eine Biographie, Munich 1976. Manfred Wekwerth: Schriften. Arbeit mit Brecht, Berlin 1973. John Willett: The Theatre of Bertolt Brecht. A Study from eight Aspects, London 1959 (also later editions). Four useful volumes of commentaries, notes and factual data are published in the edition suhrkamp and edited by Werner Hecht: Materialien zu Brechts 'Leben des Galilei', 1963 (abbreviated Mat. G.). Materialien zu Brechts 'Mutter Courage und ihre Kinder', 1964 (abbreviated (Mat. C.). Materialien zu Brechts 'Der gute Mensch von Sezuan', 1968 (abbreviated Mat. S.). Materialien zu Brechts 'Der kaukasische Kreidekreis', 1969 (abbreviated Mat. K.). The abbreviation B]b. refers to the Brecht-]ahrbuch of the International Brecht Society: the first three issues under the title Brecht heute/Brecht today, and dated 1971, 1972, 1973-74; the fourth as Brecht-]ahrbuch 1974, all edited by John Fuegi and collaborators. Marx and Engels are generally quoted from their Selected Works in one volume, 2nd printing, I.ondon 1970. The notes following supply further bibliography on particular points. CHAPTER 1 (pp. 1-14) This chapter is partly based on Volker's book, which is the most up-to-date, reliable and full account of Brecht's life, especially his relationships with women. Another fairly full biography is contained in Esslin's book, though some details must be treated with care; valuable details on Brecht's childhood in Werner Frisch and K. W. Obermeier: Brecht in Augsburg, Erinnerungen, Dokumente, Texte, Fotos, Berlin and Weimar 1975. Brecht is best put in the full historical and cultural context by Frederic Ewen: Bertolt Brecht, His Life, His Art and His Times, New York 1967 and London 1970. 1 Henning Rischbieter: Brecht, vol. 1, Velber 1966, p. 22. 2 Walter Benjamin: Understanding Brecht, London 1973, pp. 113f., 116. 3 Giehse, p. 195. 4 See Willy Haas: Bert Brecht, Berlin 1958, p. 5. 5 See Zuckmayer's contribution in Engel, pp. 251£. 178 Notes 6 See Fritz Kortner's memoir in Engel, pp. 237-9. 7 See Mayer, p. 78. 8 See Erwin Leiser: 'Der Neinsager. Notizen iiber Brecht und die Politik', in the collection Bertolt Brecht, Bad Godesberg 1966, 15-26. 9 Willett, pp. 116f. 10 It was first performed in Prague; see Kurt R. Grossmann: 'Die Exilsitua­ tion in der Tschechoslowakei', in Manfred Durzak (ed): Die deutsche Exilliteratur 1933-1945, Stuttgart 1973, p. 69. 11 Wekwerth, pp. 26-8. 12 Eisler, p. 50. 13 See especially letter from Brecht to Helene Weigel, 21.4.49, in Werner Hecht and Siegfried Unseld (eds): Helene Weigel zu ehren, Frankfurt 1970, pp. 62f. 14 Andrl! Miiller and Gerd Semmer: Geschichten vom Herrn B.• 100 neue Brecht-Anekdoten, Munich 1968, p. 93. 15 Up to the end of 1956, Senora Carrar's Rifles had achieved 24 professional productions in East Germany and Puntila 18; Mother Courage ten (nine of of them by 1951), The Caucasian Chalk Circle one; Galileo and The Three­ penny Opera, among others, remained unperformed. Data exclude the Ber­ liner Ensemble, and are from Werner Hecht (ed): Brecht-Dialog 1968, Berlin 1968, pp. 324-33. In 1954, after rationalisation, there were about 68 professional drama companies in East Germany. 16 See Christoph Funke et al. (eds): Theater-Bilanz 1945-1969, Berlin 1971, p. 226. 17 For attitudes to Brecht in the GDR see Manfred Jager: 'Zur Rezeption des Stiickeschreibers Brecht in der DDR', Text + Kritik, Sonderband Bertolt Brecht 1, 1973, 107-18. 18 Giehse, p. 95. 19 Eisler, p. 72. CHAPTER 2 (pp. 15-23) 1 See Keith A. Dickson: 'Brecht's Doctrine of Nature', B]b. 3, 106-21. 2 Wekwerth, p. 69; and the same author's Brecht?, Munich 1976, p. 16. 3 The approach particularly associated with Martin Esslin (see Chapters 9 and 10 of his book), though he puts his viewpoint with great sensibility. His approach is applied to particular plays by Charles R. Lyons: Bertolt Brecht. The Despair and the Polemic, Carbondale, Ill., 1968. 4 Engel, p. 38. 5 See Ludwig, pp. 126f., and Korsch, esp. p. 86. 6 Korsch, p. 49. 7 See Robert Brustein: The Theatre of Revolt, London 1965, pp. 252f. 8 See Korsch, p. 85. 9 See Klaus-Detlef Miiller: Die Funktion der Geschichte im Werk Bertolt Brechts, Tiibingen 1972, p. 68. 10 See Ludwig, pp. 163-5. 11 Kathe Riilicke-Weiler: 'Bemerkungen Brechts zur Kunst, Notate 1951-1955', Weimarer Beitriige, Brecht-Sonderheft 1968, 5-11, p. 8. Notes 179 12 Brecht, letter to Korsch, November 1941, quoted by Wolfdietrich Rasch: 'Bertolt Brechts marxistischer Lehrer', in Rasch: Zur deutschen Literatur seit der ]ahrundertwende, Stuttgart 1967, 243-73, p. 265. 13 See Ludwig, p. 111. 14 See Heinz Briiggemann: Literarische Technik und soziale Revolution, Rein­ bek 1973, pp. 76ff. 15 See Rasch, op. cit. (n. 12 above), esp. p. 252. 16 On Lukacs and the (rather woolly) realism debate, see Volker, pp. 264-85; and Lothar Baier: 'Streit urn den schwarzen Kasten', Text + Kritik, Sander­ band Bertolt Brecht I, 1973, 37-44. 17 Miiller and Semmer, op. cit. (n. 14 to Chapter 1), p. 47. 18 Andre Miiller and Gerd Semmer: Geschichten vom Herrn B.• 99 Brecht­ Anekdoten, Frankfurt 1967, p. 37.
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