By Bertolt Brecht, Antony Tatlow, Tom Kuhn
Bertolt Brecht's Me-ti, which remained unpublished in his personal lifetime, now seems to be for the 1st time in English. Me-ti counselled opposed to 'constructing too whole photographs of the world'. For this paintings of fragments and episodes, Brecht gathered anecdotes, poems, own tales and exams of latest politics. Given its debatable nature, he sought a conceal, utilizing the identify of a chinese language modern of Socrates, identified this present day as Mozi. motivated by way of his funny aphoristic sort and social concentration, in addition to an engrained chinese language knowledge of the move of items, Brecht constructed a pragmatic, philosophical, anti-systematic ethics, discussing Marxist dialectics, Lenin, Hitler, Stalin, the Moscow trials, and the theories at the back of present occasions, whereas caution how ideology makes humans the 'servants of priests'.
Me-ti is imperative to an realizing of Brecht's serious reflections on Marxist dialectics and his dedication to alter and the non-eternal, the philosophy which informs a lot of his writing and his most famed performs, resembling The sturdy individual of Szechwan. Readers will locate themselves either involved and beguiled by way of the reflections and knowledge it offers.
First released in German in 1965 and now translated and edited by way of Antony Tatlow, Brecht's Me-ti: booklet of Interventions within the move of Things offers readers with a much-anticipated obtainable variation of this crucial paintings. It includes a vast creation to the troubles of the paintings, its genesis and context - either inside of Brecht's personal writing and in the wider social and political heritage, and gives an unique choice and service provider of texts. vast notes light up the paintings and supply statement on similar works from Brecht's oeuvre.
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Extra resources for Bertolt Brecht’s Me-ti: Book of Interventions in the Flow of Things
This derives from his need to maintain that Brecht’s continual stress on the importance of individual production must be seen in the context of those objective laws of dialectical determinism, which constituted the official ideology of the German Democratic Republic in the 1970s. So even though Brecht defended Stalin in the 1930s as the symbol of the need to construct a socialist state under the most difficult conditions, and performed, when viewing events from his isolation in Svendborg, veritable salti mortali in support, though often in ironical defence, of the overpraised heroic leader, Mittenzwei objected to Brecht’s ‘undifferentiated description of Stalin’s influence’, especially in one of his most critical passages, Development and Decline under Ni-en, by misrepresenting Stalin and views voiced by organizations outside the Soviet Union.
Though Brecht at times supported Stalin, he was no Stalinist. In Moscow in 1936, he was counted among the anti-Stalinists and wisely kept his distance from those who so classified him. 20 Critical dialectics Hans Mayer wondered if Brecht’s work was finally not that far removed from Adorno’s negative dialectics. ). Adorno, on the other hand, dismissed it as too aligned with the positive dialectics evident in Lenin’s statement. He was particularly scornful about Brecht’s recourse to invocations of Chinese wisdom, accusing him of infantility and the idyllic rusticity Marx had mocked.
The evidence of Brecht’s support for the tactical practices of the innovative and indefatigable Lenin is unmistakable in Me-ti. Yet the chiastic analogy between Korsch’s ‘mental action’ (geistige Aktion), however we translate it, to which the soi-disant ‘materialists’ took such exception, and Brecht’s advocacy of ‘interventionary thought’ (eingreifendes Denken) is surely too close to be accidental. Ruth Berlau Brecht wrote many more letters to Ruth Berlau (1906–1974) than to anyone else, and more than to the rest of his female collaborators together.