The human race tends to remember the abuses to which it has been subjected rather than the endearments. What’s left of kisses? Wounds, however, leave scars.
The alienation effect in German epic theater is achieved not only through the actors, but also through music (chorus and song) andsets (transparencies, film strips, etc.). Its main purpose is to place the staged events in their historical context.
Recently my fingers have developed a prejudice against comparatives. They all follow this pattern: a squirrel is smaller than a tree; a bird is more musical than a tree.
I was called up in the war and sent to a hospital. I dressed wounds, applied iodine, gave enemas, did blood transfusions. If the doctor ordered: “Brecht, amputate a leg!”, I would reply, “Certainly, Your Excellency!”, and cut off the leg. If I was told, “Perform a trepanning!”
There are men who struggle for a day and they are good. There are men who struggle for a year and they are better. There are men who struggle many years, and they are better still. But there are those who struggle all their lives: These are the indispensable ones.
We need a type of theatre which not only releases the feelings, insights and impulses possible within the particular historical field of human relations in which the action takes place, but employs and encourages those thoughts and feelings which help transform the field itself.
