1. Good Person of Szechwan (1938- 1943)

2. Written in exile

3. Good Person of Szechwan (1938- 1943) Written in exile Collaboration with Ruth Berlau and Margarete Steffin

4. Good Person of Szechwan (1938- 1943) Written in exile Collaboration with Ruth Berlau and Margarete Steffin Music by Paul Dessau

5. Good Person of Szechwan (1938- 1943) Written in exile Collaboration with Ruth Berlau and Margarete Steffin Music by Paul Dessau Multi-art; collision of different arts

6. Kurt Weil, Mac the Knife (Three Penny Opera)

7. Good Person of Szechwan

8. Geographic estrangement: China

9. Source: Greek fable. Old couple, Philemon and Baucis, are the only ones who give shelter to disguised gods, who have come to test the goodness of humans

10. Good Person of Szechwan Geographic estrangement: China Fable:

11. Good Person of Szechwan Geographic estrangement: China Fable: simple structure

12. Good Person of Szechwan Geographic estrangement: China Fable: simple structure supernatural

13. Good Person of Szechwan Geographic estrangement: China Fable: simple structure supernatural moral conclusion

14. Good Person of Szechwan Geographic estrangement: China Fable: simple structure supernatural moral conclusion universal, not tied to specific location

15. Shen Te and Shui Ta played by same actor

16. Visible costume change: audience knows something the characters on stage don’t

17. Shen Te and Shui Ta played by same actor Visible costume change: audience knows something the other characters don’t Expert audience

18. Shen Te and Shui Ta played by same actor Visible costume change: audience knows something the other characters don’t Expert audience Estranged acting

19. Brecht on Chinese acting

20. No fourth wall

21. Brecht on Chinese acting No fourth wall Use of symbols

22. Brecht on Chinese acting No fourth wall Use of symbols visible scene changes

23. Brecht on Chinese acting No fourth wall Use of symbols visible scene changes “the actors openly choose those positions which will best show them off to the audience, just as if they were acrobats”

24. Estranged acting Western drama and Asia: non-naturalistic theater

25. Estranged acting Western drama and Asia: non-naturalistic theater Overt theatricality:

26. Estranged acting Western drama and Asia: non-naturalistic theater Overt theatricality: scene titles

27. Estranged acting Western drama and Asia: non-naturalistic theater Overt theatricality: scene titles direct address to audience

28. Berliner Ensemble, 1957

31. dramatic theater epic theater

32. suspenseprocess

33. dramatic theater epic theater suspenseprocess feelingreason

34. dramatic theater epic theater suspenseprocess feelingreason suggestionargument

35. dramatic theater epic theater suspenseprocess feelingreason suggestionargument experiencespicture of world

36. dramatic theater epic theater suspenseprocess feelingreason suggestionargument experiencespicture of world world unalterableworld alterable

37. dramatic theater epic theater suspenseprocess feelingreason suggestionargument experiencespicture of world world unalterableworld alterable individualsocial being

38. dramatic theater epic theater suspenseprocess feelingreason suggestionargument experiencespicture of world world unalterableworld alterable individualsocial being absorptionaction

39. Shen Te – Shui Ta Not psychological conflict (split personality)

40. Shen Te – Shui Ta Not psychological conflict (split personality), but conflicting social conditions

41. Shen Te – Shui Ta Not psychological conflict (split personality), but conflicting social conditions Goodness versus economic survival

42. Shen Te – Shui Ta Not psychological conflict (split personality), but conflicting social conditions Goodness versus economic survival under capitalism

43. Wang

44. Wang: mediating figure; go-between

45. compromise

46. Wang: mediating figure; go-between compromise Does it work?

47. Gods: guardians of goodness

48. They are ignorant of the real world

49. Gods: guardians of goodness They are ignorant of the real world They ignore economic relations

50. Gods: guardians of goodness They are ignorant of the real world They ignore economic relations or rather, they don’t want to interfere

51. Gods: guardians of goodness They are ignorant of the real world They ignore economic relations or rather, they don’t want to interfere: morality and economics are kept separate

53. Brecht wants to make connections, connect that which the gods want to keep separate

54. Trial scene

55. Street scene

56. “The Street Scene: A Basic Model for an Epic Theatre” “an eyewitness demonstrating to a collection of people how a traffic accident took place. The bystanders may not have observed what happened, or they may simply not agree with him, may “see things a different way”; the point is that the demonstrator acts the behavior of driver or victim or both in such a way that the bystanders are able to form on opinion about the accident.”

57. “The Street Scene: A Basic Model for an Epic Theatre” “an eyewitness demonstrating to a collection of people how a traffic accident took place. The bystanders may not have observed what happened, or they may simply not agree with him, may “see things a different way”; the point is that the demonstrator acts the behavior of driver or victim or both in such a way that the bystanders are able to form an opinion about the accident.”

58. Solution?

59. Get rid of the gods

60. Solution? Get rid of the gods Get rid of capitalism

61. Bruce Norris, The Low Road (2013)

62. Estrangement of capitalism

63. Norris, The Low Road Narrator: Adam Smith (epic theater)

64. Norris, The Low Road Narrator: Adam Smith (epic theater) Actors walk across stage with signs (titles)

65. Norris, The Low Road Narrator: Adam Smith (epic theater) Actors walk across stage with signs (titles) Overt theatricality

66. Norris, The Low Road Narrator: Adam Smith (epic theater) Actors walk across stage with signs (titles) Overt theatricality Play about economic relations:

67. Norris, The Low Road Narrator: Adam Smith (epic theater) Actors walk across stage with signs (titles) Overt theatricality Play about economic relations: distorted view of Smith through a character who articulates clichés about invisible hand, self interest, anti-charity

68. Norris, The Low Road Narrator: Adam Smith (epic theater) Actors walk across stage with signs (titles) Overt theatricality Play about economic relations: distorted view of Smith through a character who articulates clichés about invisible hand, self interest, anti-charity Second act: contemporary talk show about economics