How to Write a Brechtian Article on Brecht (Part II)

Abstract

This is a two part article which strives to trace a cultural history and, as well, a practical framework of the „verfremdung” concept, following its emergence from the earlier theoretical work of Viktor Shklovsky and its ostranenie and Meyerhold’s later „odchudzny”, as he in turn chose to coin Shklovsky’s conceptual frame. This cultural paradigm is important because it renders a precise context and helps to further clarify the importance of „grotesque” in modernist drama and also the means to express it. It reads like a travel log, concentrating on how Brecht’s antourage, such as Asja Lācis, Walter Benjamin, Vasilij Lunacharsky, Eisenstein, Tretiakov, Bernard Reich familiarized him with the ideas of Meyerhold either directly or through their own work, which was stemmed as well from Meyerhold’s pre 1917 theatrical experiments. Finally, as secretary general of the Departament for Theater in the Illumination Minister (Education), Meyerhold encouraged the developement of labourers artistic brigades, or TRAM, blue-collar workers. The TRAM performances, akin to the cabaret performances of the early 1900’s had a profound influence on the left leaning theater practitioners in Western Europe. Through this network of people that were influential to Brecht’s carreer I closely follow the developement of epic theater and the „verfremndungseffekt”, from his debut in directing, „The Life of Edward The Second, King of Scotland” up to Brecht’s work being formally introduced into the artistic life of Soviet Union, with the adaptation of his „Three Penny Opera” by Tairov in 1930 and also Brecht’s direct contact with Meyerhold’s theater, during the latter’s 1930’s tour in Germany and France.