My favorite theater writer! I think I've read all of his plays but my favorite must be "The good person of setzhuan". I read it about once a year or so and finally managed to see it at a theatre last summer. I'm so glad you included part of the epilogue in this video!
3:49 "There's no crying in Dialectical Materialism" is a quote I shall henceforth use completely out of context to befuddle those foolish enough to listen to me.
This made me think about Seth MacFarlane and Family Guy. MacFarlane's characters often seem to be "gesturing" or "showing Lear" rather than being fully engaged in their parts. The interjection of non-contextual (or meta-contextual) irony seems to occur every few seconds in Family Guy. I think it's fair to suggest that Brecht and other European playwrights have a noticeable influence on our animated TV shows.
@@FlosBlog in contrast to many people called by the committee for not being "patriotic" enough, Brecht was literally a communist, so it should have been mentioned explicitly. he used the words "dialectic materialism" but no need to be implicit and avoid saying "marxist or "communist". and there is a difference between the first and the last two.
I did a Freshman Seminar intensive on Brecht's "Galileo" in 1998 at UC Berkeley. I guess I'm coming round to it more, although I was always more of an Isherwood kid.
It's so sad for me as a German Brecht-Fan that English videos are more precise than German ones (if you don't want to listen to an old dusty prof reading a script with a monotone voice) xD However, thank you so much for your work, I discovered your channel when I did my first research for my essay about Kabuki. Subscribed.
I had the pleasure (or happy misfortune) of performing Brecht's The Resistible Rise of Arturo Ui during the 2016 Presidential Elections. Unfortunately, our show opened after the election ended and I'm not sure we got through to most of the audience, being that they associated the title character with the wrong modern political figure.
Epic Theater kind of reminds me of Roleplaying Games-- the combative and discordant style reminds me of the 'competitive drama' of these kinds of games.
So your DM is actively working to destroy your immersion into your character or the world? Or your PC game takes steps to throw you out of the illusion it sells? Because that would actually make it "epic" in a Brechtian sense. The competition in Brecht is not simply within the story or restricted to a criminal codes definition of physical violence! It is the destruction of the illusion of the real on stage.
In theatre studies for sixth form, I could never really grasp the techniques of brecht. I had to really delve into basic socialist theory and understanding to really get it.
All these translations of Verfremdungseffekt are very weird. I see how one can apply the meanings to the general concept but they really don't fit at all. "Alienation effect" and "estrangement effect" both sound as if they were translations of "Entfremdungseffekt" (not a real thing). Entfremdung describes a changed or twisted relationship, ie estrangement or alienation. "Distancing effect" sounds as if people translated "Verfernungseffekt". "Verfernung" is not a real word, but if it was it'd be related to "Entfernung" and "Ferne" both meaning distance. "Verfernung"' would be something like "making a (small) distance bigger" in other words distancing. The verb to "Verfremdung" is "verfremden" and it actually means to portray something in an unusual or weird way. Synonyms would be to manipulate or to twist. Important to realise is that it decribes the object on stage (in relation to how the viewers know or exect this object) not the relationship the viewers (will) have with the object on stage. Actual translations would be "unusual portrayal effect", "twisting effect" or "manipulation effect". Those common "translations" are at best new english names for the effect, at worst they were done by someone without german language skills and the first half of a dictionary. ;)
I disagree about Brecht's plays not achieving what he set out for them to achieve. Yes, you totally engage with the characters while you're watching, but I have never left a Brecht play NOT suddenly inspired to overhaul society and painfully feeling that everything Brecht criticises in his plays about the society he lived in is still relevant today. If we take the Threepenny Opera - yes, the songs are absolutely amazing, but watching the play - it was the first play of Brecht's I went to see - fundamentally changed me.
So kind of like the band bare naked ladies. Their music rarely thematically matches the lyrics. Like what is sleep as an easy example it's a very energetic song about being tired and an insomniac. Or duck tape heart is a pretty sad lyrics about being emotionally abused by life but it's pretty up beat.
Bonjour, Tu pourrais s'il te plaît mettre la traduction en français en plus sur ta vidéo ? J'aimerais bien comprendre, mais je ne comprends pas du tout l'anglais. Merci Crashcourse ! Nad
I'm sorry , but why can't you pronounce his surname correctly?? I don't think it's very difficult, but it very important. Also, you didn't mention a big part of his life when he was living in Moscow and that affected him a LOT
I used to get frustrated whenever a bug in a game threw me out of the experience. Or when characters acted wonky and out of character. "The Elder Scrolls:Oblivion" for example. With Bertolt Brecht its kinda like "yeah that's the point". Maybe I should internalize some sort of lesson from this.
The ThreePenny Opera is an adaptation of John Gay’s 18th century play The Beggar’s Opera (which is also pretty fun so if you liked the Brecht version, you should check it out). The plot and characters are rather similar so I don’t think it rocked the boat that much.
Dangerous how? It's only dangerous when it's the government enforcing certain types of art. Artists are by and large political, it just means having a viewpoint about how the society is conducted. All but the most cynically commercial works contain things that could be seen as political. The second a gay character appears in a work someone complains about the gay agenda being forced upon them.
retread01 I know. I only say dangerous because it can cause riots or even someone would consider assassination of the artist or the govt official the artist is protesting. But you are right just as well
The Three Penny Opera is a rip off of a British play from the 1780s called The Beggar's Opera. It's strange the Brecht made the film in modern dress, with all the characters talking and singing in German with English cloths and scenery. In all, you'd think this guy would have said a thing or two about the fascist takeover of his country but it appears he ignored the Nazis or their treatment of Jews.
alg11297 The three penny opera was written in 1928. A couple of years before the nazis took over. Brecht did write about and against the nazis, the drama Fear and misery of the third reich (written in ‘38) was explicitly so.
@@dr.strangelove2066 You can spin it all you want but F. Scott Fitzgerald, referred to the Nazis and anti-semitism in his 1925 book The Great Gatsby which is supposed to take place in 1922. But F Scott was an anti-semite himself and unlike Brecht lived in America. How is it Weil gets so little mention here?
Brecht didn't need to mention the Nazis in his plays because they would regularly turn up and try to wreck the performances. I suspect Brecht didn't want to give them any spotlight (a terrible anti-fascist tactic, but it was the first time round...). After the Nazis came to power and killed a great many of his comrades, Brecht did write a number of anti-fascist plays, such as the 'Resistible Rise of Arturo Ui'.
Brecht's play never take place in either Germany during the Keiserreich or after the Keiserreich. They take place elsewhere because that takes away the pressure of pointing fingers and, well, alienating people from watching his plays. Mann ist Mann takes place in somewhere in India, Die Dreigroschenoper takes place in England, Aufstieg und Fall der Stadt Mahagonny takes place in the US. Even though they might have been set abroad, that does not take away the relevancy of problems you find at home: senseless militarism, oppression, the impossibility of being happy under capitalism, etc, etc. As far as nazism goes, yes, he was not too vocal. As someone already mentioned: Nazi sympathizers would show up and heckle his plays (as it was the case of Mahagonny). He did write Der aufhaltsame Aufstieg des Arturo Ui and Die Spitzkoepfe und die Rundkoepfe though, where he openly mocks nazism and their ideology of racial purity. However, he did not do enough before things when to hell when the nazis took power, and people like Kurt Tucholsky were already warning about how out of touch the intellectuals were from the the actual everyday problems. People like Brecht were, according to some, more like petite Bourgeoisie: people well off who thought they knew the working class well enough to be part of the struggle (Masse Mensch, from Ernst Toller, illustrates this problem perfectly). In other words, they were too busy discussing their theories and methods about how to bring things like theater, cinema, architecture, etc. to the general public, when in reality the country as a whole had other priorities, like not starving, that groups like the Nazis found easy to capitalize on.
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
My favorite theater writer! I think I've read all of his plays but my favorite must be "The good person of setzhuan".
I read it about once a year or so and finally managed to see it at a theatre last summer. I'm so glad you included part of the epilogue in this video!
I swear, this is the best Crash Course series in years.
And I don't even really like theater.
Bravo!
It's Mike. He is, like, the bestest.
Best one since Mike hosted the Mythology series
Brecht is my practitioner for my A-level exam, and this whole series is super useful!
All the Brecht info is great, but I have to say, animated John and Hank Green in a boxing match is the highlight for me.
"There's no crying in dialectical materialism" is my takeaway from this. :D
Great video, only poor timing. I had a test on Brecht three days ago.😂😂
Christiaan winkelmeijer Was it difficult?
Neanderthal Cave Becky not really if you prepared well enough. But this video would have definitely helped.
I have a performance evaluation tommorow and i have to write up my essay!
3:49 "There's no crying in Dialectical Materialism" is a quote I shall henceforth use completely out of context to befuddle those foolish enough to listen to me.
This made me think about Seth MacFarlane and Family Guy. MacFarlane's characters often seem to be "gesturing" or "showing Lear" rather than being fully engaged in their parts. The interjection of non-contextual (or meta-contextual) irony seems to occur every few seconds in Family Guy. I think it's fair to suggest that Brecht and other European playwrights have a noticeable influence on our animated TV shows.
I like to think of Brecht as the Lemony Snicket of theatre
In school we had a toy bear called Lemony Snicket
Wow, you managed to make a ten minute video about Brecht without explicit reference to Marxism! Wow! Wow! Why! Wow!
Well, it must have been clear to any viewer. McCarthy didn't invite him for supper.
@@FlosBlog in contrast to many people called by the committee for not being "patriotic" enough, Brecht was literally a communist, so it should have been mentioned explicitly.
he used the words "dialectic materialism" but no need to be implicit and avoid saying "marxist or "communist". and there is a difference between the first and the last two.
Obsessed with this channel.
Mr. Miracle in the Thought Bubble is the highlight of my day ☺️
I loved this!
I don't know if all the jokes landed, but there was a charm about them that made it... better that they didn't land?
I love it.
This was really helpful and very information packed im really glad i found this video!
Nooo my Mother Courage quiz was a week ago
Every time you come out with an episode, I'm like yay, I'm not demanding too much for an episode to not come out. I'm pretty happy.
I appreciate the pace of the lecture.
Thumbs up, because the narrator is very good, and no french words were harmed (for once.)
*Only when the tide goes out do you discover who's been swimming naked. %*
Loved this episode. Especially the Greens boxing, and the Brechtian explanation at the end being cut off. :)
I wrote about the plays that were influenced by Brechtian theatre. Love the episode!
Good I had to do a GCSE drama project on this man and this helped SOOOO much. by the way I got an A for it. THANKS
Was the project a performance? Could I ask you some questions?
I did a presentation on him but I wasn’t involved in the performance
An even bigger hit was the pop standard version of “Mack The Knife” sung by Bobby Darren😎
So coooool! Need more videos about German writers 🇩🇪😍
Simply Brilliant!!!!🙏🙏🙏🙏
Mr. Miracle is a fun god
This is one of the best youtube channels out there and has inspired me to create my own channel thanks so much Green Brothers!
Yeah i know there great! that's awesome that you have created your own! Look forward to more videos on Learn Academy and KEEP IT UP GREEN BROTHERS!
Yeah great that's awesome WELL done
Yeah that's great Awesome WELL DONE.... You have some pretty cool content but well done to CC as well!
Thanks so much
Him: Brecht died in 1956.
Me and my notes: hmm well what about the other 9 minutes
Yesssss! Next week finally!
I did a Freshman Seminar intensive on Brecht's "Galileo" in 1998 at UC Berkeley. I guess I'm coming round to it more, although I was always more of an Isherwood kid.
Thanks for this video
What do you mean by he apprenticed himself to Max Reinhardt? Thank you for your work.
Love the ending!
Thankq very much
It's so sad for me as a German Brecht-Fan that English videos are more precise than German ones (if you don't want to listen to an old dusty prof reading a script with a monotone voice) xD
However, thank you so much for your work, I discovered your channel when I did my first research for my essay about Kabuki. Subscribed.
Great insights! Thanks
Verfremdungseffekt, mein Lieblingswort aus dem Deutschunterricht.
I paused the video and wondered for half an hour on the difference between Verfremdung and Entfremdung :D
I love Crash Course I use it for history and now drama !!! Please do a video on Athol Fugard !!!
Great video!
I remember reading Mother Courage.
I had the pleasure (or happy misfortune) of performing Brecht's The Resistible Rise of Arturo Ui during the 2016 Presidential Elections. Unfortunately, our show opened after the election ended and I'm not sure we got through to most of the audience, being that they associated the title character with the wrong modern political figure.
Who were you supposed to be referencing? Who did the audience THINK you were referencing?
I'd suggest an episode on Edward Bond's approach to Theater!
Broadway doe? Also these are all amazing.
I knew I would learn more about Brecht than I already knew. How do learn so much in less than a quarter of an hour.
This is pure Jim Morrison and the DOors 🚪 👍🏾
Stan!! I missed you Stan.
Your all to good Mike
I’m performing The Resistible Rise Of Arturo Ui with my drama class later this year :)
How was it
Educational!
So fun 👏👏
Driving out a devil is in what time setting?
I thought until now that the skull was added in post!
Niiiice 👍🏾🔥🔥🔥
They should have you in my university!
There are 44 of these? Wow, how many episodes are there going to be?
Epic Theater kind of reminds me of Roleplaying Games-- the combative and discordant style reminds me of the 'competitive drama' of these kinds of games.
'Competitive drama' sums up a D&D game with 8 party members quite nicely. ;)
So your DM is actively working to destroy your immersion into your character or the world? Or your PC game takes steps to throw you out of the illusion it sells? Because that would actually make it "epic" in a Brechtian sense. The competition in Brecht is not simply within the story or restricted to a criminal codes definition of physical violence! It is the destruction of the illusion of the real on stage.
In theatre studies for sixth form, I could never really grasp the techniques of brecht. I had to really delve into basic socialist theory and understanding to really get it.
Oh, Hi Stan.
Eventually, Cosplay will be the last episode, right?
No, last episode is on Fursona.
@@xxiao5156 Fursona? Like how is *that* theater? (I *know* / *think* your being sarcastic, but like, it's a fetish of mine to correct people, 'kay?)
talk about saunders lewis~
Hi, Stan!
So many ways to say "curtain", so little time.
Anyone else catch the Wilhelm Scream at 9:31?
All these translations of Verfremdungseffekt are very weird. I see how one can apply the meanings to the general concept but they really don't fit at all.
"Alienation effect" and "estrangement effect" both sound as if they were translations of "Entfremdungseffekt" (not a real thing). Entfremdung describes a changed or twisted relationship, ie estrangement or alienation. "Distancing effect" sounds as if people translated "Verfernungseffekt". "Verfernung" is not a real word, but if it was it'd be related to "Entfernung" and "Ferne" both meaning distance. "Verfernung"' would be something like "making a (small) distance bigger" in other words distancing.
The verb to "Verfremdung" is "verfremden" and it actually means to portray something in an unusual or weird way. Synonyms would be to manipulate or to twist. Important to realise is that it decribes the object on stage (in relation to how the viewers know or exect this object) not the relationship the viewers (will) have with the object on stage.
Actual translations would be "unusual portrayal effect", "twisting effect" or "manipulation effect". Those common "translations" are at best new english names for the effect, at worst they were done by someone without german language skills and the first half of a dictionary. ;)
K
I disagree about Brecht's plays not achieving what he set out for them to achieve. Yes, you totally engage with the characters while you're watching, but I have never left a Brecht play NOT suddenly inspired to overhaul society and painfully feeling that everything Brecht criticises in his plays about the society he lived in is still relevant today.
If we take the Threepenny Opera - yes, the songs are absolutely amazing, but watching the play - it was the first play of Brecht's I went to see - fundamentally changed me.
Brechts co-workes didn‘t feel exploited. Brecht wasn‘t keen on getting credit as far as i can tell.
Talk about Susan glaspell please
She's mentioned in 3 previous episodes.
I love the New Gods reference at 8:30.
So kind of like the band bare naked ladies. Their music rarely thematically matches the lyrics. Like what is sleep as an easy example it's a very energetic song about being tired and an insomniac. Or duck tape heart is a pretty sad lyrics about being emotionally abused by life but it's pretty up beat.
The best :)
Also that ending?!
Sounds like Dr.Seuss
1:40 LMFAO!!
"yep"
So cute hear you trying to speak German.. I know we have a harsh language
Mike Rugnetta - both educational AND entertaining. Take that Brecht!
Brecht goes a bit Dr. Seuss there. It's like the end of The Lorax.
Bonjour, Tu pourrais s'il te plaît mettre la traduction en français en plus sur ta vidéo ? J'aimerais bien comprendre, mais je ne comprends pas du tout l'anglais. Merci Crashcourse ! Nad
Isn't it The Good Woman of Szechuan?
Crash course Astrophysicist please
That Like/Dislike ratio
Before we say anything I am NOT German 😂
Hi
How about more showing and not telling
Mr miracle is a god, .... but a chinesse god?
please do post modernism
You are doing so great with these! But keep in mind that the false binary between Brecht and Artaud serves nobody. ;)
I'm sorry , but why can't you pronounce his surname correctly?? I don't think it's very difficult, but it very important. Also, you didn't mention a big part of his life when he was living in Moscow and that affected him a LOT
Ay
So Brecht's works were collaborations. Any chance of his collaborators names being added to future productions and publications of his works?
who else here cuz of skl
send help
It’s pronounced “Thruppenny Opera”!
can anyone explain to me why Mike pronounces the "l" in folk? Is this an american thing? In my dialect of English we don't pronounce it.
Might just be a "your accent" thing to *not* pronounce it?
Not all Americans pronounce words in the same way.
@@anttibjorklund1869 I'm from London, but i can't think of any other British dialect where the "L" is pronounced. Is this a regional thing?
I used to get frustrated whenever a bug in a game threw me out of the experience. Or when characters acted wonky and out of character. "The Elder Scrolls:Oblivion" for example.
With Bertolt Brecht its kinda like "yeah that's the point".
Maybe I should internalize some sort of lesson from this.
The ThreePenny Opera is an adaptation of John Gay’s 18th century play The Beggar’s Opera (which is also pretty fun so if you liked the Brecht version, you should check it out). The plot and characters are rather similar so I don’t think it rocked the boat that much.
Time for the “woke” side of theatre! Politics in art is always dangerous
Dangerous how? It's only dangerous when it's the government enforcing certain types of art. Artists are by and large political, it just means having a viewpoint about how the society is conducted. All but the most cynically commercial works contain things that could be seen as political. The second a gay character appears in a work someone complains about the gay agenda being forced upon them.
retread01 I know. I only say dangerous because it can cause riots or even someone would consider assassination of the artist or the govt official the artist is protesting. But you are right just as well
Szechuan should have tried to make some schezuan sauce.
Very funny did laugh
The Three Penny Opera is a rip off of a British play from the 1780s called The Beggar's Opera. It's strange the Brecht made the film in modern dress, with all the characters talking and singing in German with English cloths and scenery. In all, you'd think this guy would have said a thing or two about the fascist takeover of his country but it appears he ignored the Nazis or their treatment of Jews.
alg11297 The three penny opera was written in 1928. A couple of years before the nazis took over. Brecht did write about and against the nazis, the drama Fear and misery of the third reich (written in ‘38) was explicitly so.
@@dr.strangelove2066 You can spin it all you want but F. Scott Fitzgerald, referred to the Nazis and anti-semitism in his 1925 book The Great Gatsby which is supposed to take place in 1922. But F Scott was an anti-semite himself and unlike Brecht lived in America. How is it Weil gets so little mention here?
Brecht didn't need to mention the Nazis in his plays because they would regularly turn up and try to wreck the performances. I suspect Brecht didn't want to give them any spotlight (a terrible anti-fascist tactic, but it was the first time round...). After the Nazis came to power and killed a great many of his comrades, Brecht did write a number of anti-fascist plays, such as the 'Resistible Rise of Arturo Ui'.
Brecht's play never take place in either Germany during the Keiserreich or after the Keiserreich. They take place elsewhere because that takes away the pressure of pointing fingers and, well, alienating people from watching his plays. Mann ist Mann takes place in somewhere in India, Die Dreigroschenoper takes place in England, Aufstieg und Fall der Stadt Mahagonny takes place in the US. Even though they might have been set abroad, that does not take away the relevancy of problems you find at home: senseless militarism, oppression, the impossibility of being happy under capitalism, etc, etc.
As far as nazism goes, yes, he was not too vocal. As someone already mentioned: Nazi sympathizers would show up and heckle his plays (as it was the case of Mahagonny). He did write Der aufhaltsame Aufstieg des Arturo Ui and Die Spitzkoepfe und die Rundkoepfe though, where he openly mocks nazism and their ideology of racial purity.
However, he did not do enough before things when to hell when the nazis took power, and people like Kurt Tucholsky were already warning about how out of touch the intellectuals were from the the actual everyday problems. People like Brecht were, according to some, more like petite Bourgeoisie: people well off who thought they knew the working class well enough to be part of the struggle (Masse Mensch, from Ernst Toller, illustrates this problem perfectly). In other words, they were too busy discussing their theories and methods about how to bring things like theater, cinema, architecture, etc. to the general public, when in reality the country as a whole had other priorities, like not starving, that groups like the Nazis found easy to capitalize on.