Bertolt Brecht [Link]
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Bertolt Brecht (1898-1956)
German poet, playwright, and theatrical reformer, one of the most
prominent figures in the 20th-century theatre. Bertolt Brecht was
concerned with encouraging audiences to think rather than becoming too
involved in the story line and to identify with the characters. In this
process he used alienation effects (A Effekts). Brecht developed a form
of drama called epic theatre in which ideas or didactic lessons are
important.
Choose another "In order to produce A Effects the actor has to discard whatever
writer in this means he has learned of persuading the audience to identify itself
calendar: with the characters which he plays. Aiming not to put his audience
into a trance, he must not go into a trance himself. His muscles must
by name: remain loose, for a turn of the head, e.g., with tautened neck muscles,
ABCDEFGH will "magically" lead the spectators' eyes and even their heads to
I JKLMNO P turn with it, and this can only detract from any speculation or
Q RSTUVW X reaction which the gestures may bring about. His way of speaking has
YZ to be free from ecclesiastical singsong and from all those cadences
which lull the spectator so that the sense gets lost." (from A Short
by birthday from Organum for the Theatre, 1948)
the calendar.
Credits and
Bertolt Brecht was born in Augsburg. His father, a Catholic, was the
feedback director of a paper company and his mother, a Protestant, was the
daughter of a civil servant. Brecht began to write poetry as a boy, and
TimeSearch had his first poems published in 1914. After finishing elementary school,
for Books and he was sent to the Königliches Realgymnasium, where he gained fame as
Writers
by Bamber
an enfant terrible.
Gascoigne
In 1917 Brecht enrolled as a medical student at the Ludwig Maximilian
University of Munich, where he sometimes attended also the theatre
seminar conducted by Professor Artur Kutscher. Between 1919 and
1921 he wrote theatre criticisms for the left-wing Socialist paper Die
Augsburger. After military service as a medical orderly, he returned to
his studies, but abandoned them in 1921. During the Bavarian
revolutionary turmoil of 1918, Brech wrote his first play, BAAL, which
was produced in 1923. The play celebrated life and sexuality and was
huge success.
Brecht's association with Communism began in 1919, when he joined the
Independent Social Democratic party. Friendship with the writer Lion
Feuchtwanger was an important literary contact for the young writer.
Feuchtwanger advised him on the discipline of playwriting. In 1920
Brecht was named chief adviser on play selection at the Munich
Kammerspiele. As a result of a brief affair with Fräulein Bie Banholzer,
Brecht's son Frank was born. In 1922 he married the opera singer
Marianne Zoff; they divorced in 1927.
Brecht was appointed in 1924 a consultant at Max Reinhardt's Deutches
Theater in Berlin. Brecht´s rise to international fame began with
TROMMELN IN DER NACHT (1922). DIE DREIGROSCHENOPER,
after John Gay´s The Beggar´s Opera, Brecht made with the composer
Kurt Weil. Gay's play, revived by Sir Nigel Playfair at the Lyric Theatre
in London, had been a great success from 1920. Brecht moved the action
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to Victorian times, and instead of mocking the pretentions of Italian
grand opera, he attacked on bourgeois respectability. Although
rehearsals were disastrous, the audience wanted to hear over and over
again the duet between Macheath and the Police Chief, Tiger Brown.
"Oh, the shark has pretty teeth, dear -
And he shows them pearly white -
Just a jackknife has Macheath, dear -
And he keeps it out of sight."
(from The Threepenny Opera, 1928)
Around 1927 Brecht started to study Karl Marx's Das Kapital and by
1929 he had adopted Communist ideology. At the Schiffbauerdam
Theater he trained many actors who were to become famous on stage
and screen, among them Oscar Homolka, Peter Lorre, and the singer
Lotte Lenya, Kurt Weil's wife. MANN IST MANN, in which Lorre
played Galy Gay, a simple Irish dock worker, closed only after six
performances in 1931, but Brecht defended Lorre's performance as the
hallmark of a new style of acting. With Hanns Eisler Brecht worked on a
political film, Kuhle Wampe, the name referring to an area of Berlin
where the unemployed lived in shacks. The film was released in 1932
and forbidden shortly afterward. Brecht's politcally committed play, DIE
MASSNAHME (1930, The Measures Taken) reflected his
antisentimentality and directness, which even the Communist Party
found hard. In the play a young Communist is murdered by the Party -
his sympathy for the poor and their suffering only postpones the day of
the historical showdown between the working class and capitalist class.
The lesson is that the freedom of the individual must be suppressed
today so that in the future mankind will be able to achieve freedom.
In the 1930s Brecht´s books and plays were banned in Germany, and
theatrical performances were interrupted by the police or summarily
forbidden. He went into exile, first to Denmark, where he lived mostly
near Svendborg on the island of Fyn until 1939, and then in April, 1940,
to Finland, where he settled in Iitti in Villa Marlebäck as the guest of the
Finnish author Hella Wuolijoki. The place is in the middle of the
countryside, far from the cities, and perhaps boring for a person used to
lively metropolitan surroundings. "... these light nights are very
beautiful," Brecht wrote in his diary. "i got up at three o'clock because of
the flies, and went out. cocks were crowing, but it had not been dark. i
like to relieve myself in the open ..." During the months at Marlebäck,
Brecht wrote with Wuolijoki the folk-comedy HERR PUNTILA UND
SEIN KNECHT MATTI (1940), and made during his stay his admiring
"surrogate mother" jealous because of affairs with other women. Brech,
who disliked bathing, was also famous for his promiscuousness.
Brecht continued in May of 1941 with his wife, children and secretary
through Russia to the United States, eventually ending in Santa Monica.
Ruth Berlau, a Danish actress and Brecht's mistress, had joined family in
Helsinki and travelled with them from Finland to America Margarete
Steffin, a German proletarian writer and Brecht's secretary and mistress,
died in Moscow; she had been tubercular when she left Germany. Like
Berlau, she made contributions to Brecht’s exile plays. In the new
country Brecht tried to write for Hollywood, but the only script that
found partial acceptance was Hangmen Also Die (1942). This anti-Nazi
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film was directed by Fritz Lang, the screenplay was written by John
Wexley. "The intellectual isolation here is enormous," Brecht
compained. "Compared to Hollywood, Svendborg was a world center."
His ideas, such as "the production, distribution and enjoyment of bread,"
were not taken seriously by movie moguls. In 1947 Brecht was accused
of un-American activities, but managed to confuse with half-truths J.
Parnell Thomas, the chairman of the House Committee on Un-American
Activities, who praised Brecht for being an exemplary witness. However,
Brecht had seen the writing on the wall and he flew to Switzerland,
without waiting for the opening of his play Galileo in New York.
Between the years 1938 and 1945 Brecht wrote his four great plays.
LEBEN DES GALILEI (1938-39, The Life of Galileo), which did follow
too slavishly the actual historical person, dealt with the hero's
self-condemnation for giving up his heliocentric theory in front of the
Inquisition. Originally it was aimed at Broadway with Peter Lorre and
Lotte Lenya playing the central roles. MUTTER COURAGE UND IHRE
KINDER (1939) was an attempt to demonstrate that greedy small
entrepreneurs make devastating wars possible. "What they could do with
round here is a good war. What else can you expect with peace running
wild all over the place? You know what the trouble with peace is? No
organization." DER GUTE MENSCH VON SEZUAN (1938-40)
examined the dilemma of how to be virtuous and at the same time
survive in a capitalist world, and DER KAUKASICHE KREIDEKREIS
(1944-45), demonstrating that ownership belongs best to those who can
make humane use of it.
Hollywood never opened its doors to Brecht, who sketched notes for
more than fifty films. With one exception, he sold no stories and wrote
no screenplays. For Peter Lorre, who had become a star, Brecht wrote
film treatments and SCHWEYK IM ZWEITEN WELTKRIEG, a stage
version of Jaroslav Hasek's The Good Soldier Švejk. He was also
interested in bringing Edgar Lee Masters's Spoon River Anthology to the
screen. With Lion Feuchtwanger he collaborated on The Visions of
Simone Machard. Brecht received at least $20,000 for his original idea.
After 15 years of exile Brecht returned in 1948 to Germany. "When they
accused me of wanting to steal the Empire State Building," Brech joked,
"I thought it was high time to leave." Perhaps anticipating that Lorre's
career in Hollywood was turning down, Brecht invited his favorite actor
to join his ensemble in Berlin – "I need Lorre, unconditionally," he said.
At the same time, he was well aware that Lorre was a drug addict.
Brecht spend a year in Zürich working on Sophocles’ Antigone (trans. by
Friedrich Hölderin) and on his major theoretical work A Little Organum
for the Theatre. After Zürich, Brech moved in 1949 to Berlin where he
founded his own Marxist theater, the Berliner Ensemble. Its first
production at the Stadttheater was Herr Puntila und sein Knecht Matti.
Brecht’s second wife, Helene Weigel, whom he had married in 1928,
was his chief actress and carried on as a director. With the new
authorities of DDR Brecht had some problems, although he wrote prose
that pleased the censors. In his verse Brecht cryptically expressed his
suspicion about the regime. "What times are these, when / to speak of
trees is almost a crime / because it passes in silence over such infamy!,"
he said. To assure for himself freedom of travel, Brecht obtained the
Austrian passport in 1950.
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In the West as well as in the East Germany Brecht became the most
popular contemporary poet, outdistanced only by such classics as
Shakespeare, Schiller, and Goethe. Jean Vilar's production of Mutter
Courage in 1951 secured him a following in France, and the Berliner
Ensemble's participation in the Paris International Theatre Festival
(1954) further spread his reputation. In 1955 Brecht received the Stalin
Peace Prize. The next year he contracted a lung inflammation and died
of a coronary thrombosis on August 14, 1956, in East Berlin.
Brecht's works have been translated into 42 languages and sold over 70
volumes. Drawing on the Greek tradition, he wanted his theater to
represent a forum for debate hall rather than a place of illusions. From
the Russian and Chinese theaters Brecht derived some of his basic
concepts of staging and theatrical stylization. His concept of the
Verfremdungseffekt, or V-Effekt (sometimes translated as 'alienation
effect') centered on the idea of "making strange" and thereby making
poetic. He aimed to take emotion out of the production, persuade the
audience to distance from the make believe characters and urge actors to
dissociate from their roles. Then the political truth would be more easy
to comprehend. Once he said: "Nothing is more important than learning
to think crudely. Crude thinking is the thinking of great men."
"His theater of alienation intended to motivate the viewer to think.
Brecht's postulate of a thinking comportment converges, strangely
enough, with the objective discernment that autonomous artworks
presupposes in the viewer, listener, or reader as being adequate to
them. His didactic style, however, is intolerant of the ambiguity in
which thought originates: It is authoritarian. This may have been
Brecht's response to the ineffectuality of his didactic plays: As a
virtuoso of manipulative technique, he wanted to coerce the desired
effect just as he once planned to organize his rise to fame." ( Theodor
Adorno in Aesthetic Theory, 1997)
Brecht formutated his literary theories much in reaction to Georg Lukács
(1885-1971), a Hungarian philosopher and Marxist literary theoretician.
He disapproved Lukács attempt to distinguish between good realism and
bad naturalism. Brecht considered the narrative form of Balzac and
Tolstoy limited. He rejected Aristotele's concept of catharsis and plot as
a simple story with a beginning and end. From Marx he took the idea of
superstructure to which art belongs, but avoided too simple explanations
of ideological world view - exemplified in the character of the Good
Woman of Setzuan.
For further reading: Brecht: A Choise of Evils by M. Esslin (1959);
Brecht: The Man and His Work by M. Esslin (1959); Bertolt Brecht by
R. Gray (1961); The Art of Bertolt Brecht by W. Weideli (1963); Bertolt
Brecht by F. Ewen (1967); Bertolt Brecht by W. Haas (1968);
Understanding Brecht by W. Benjamin (1973); Brecht as they knew
him, ed. by H. Witt (1975); Bertolt Brecht in America by James K. Lyon
(1981); Brecht in Exile by Bruce Cook (1983); Brecht by R. Hayman
(1983); Bertolt Brecht by [Link] (1987); The Poetry of Brecht, by P.J.
Thompson (1989); Postmodern Brecht by E. Wright (1989); Brecht by
Hans Mayer (1996); Brecht & Co. by John Fuegi (1997); Brecht-
Chronik by Klaus Völker (1997); Bertolt Brecht by G. Berg (1998) -
See also: Elias Canetti, Bertolt Brecht/Kurt Weil's Alabama Song
(Whisky Bar), performed by The Doors
"Oh! Moon of Alabama
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We now must say good-by
We've lost our good old mama
And must have whiskey
Oh, you know why!"
( 'Alabama Song' from Rise and Fall of the City of Mahagonny, 1931)
HERR PU1TILA U1D SEI1 K1ECHT MATTI (wr. 1940/41, prod.
1948). Based on stories by the Finnish writer Hella Wuolijoki. Puntila is
a rich farmer, a kind of Dr. Jekyll and Mr. Hyde figure, who is generous
when intoxicated and mean and selfish when sober. Puntila wants his
daughter Eva to marry a diplomat, but his drunk personality sees a better
choice in his chauffeur and drinking companion Matti. An party is
arranged to celebrate Eva's engagement to a diplomat. When Puntila gets
drunk he insults the fiancé, and wants Matti to marry her. Matti puts her to
the test. She fails to prove herself to be a good proletarian wife, and
Matti leaves Puntila to join his working-class comrades. - Suom.:
Brechtiltä on myös suomennettu kirjoituksia Aikamme teatterista sekä
Runoja 1914-56. Elämäkerroista mainittakoon Kalervo Haikaran mittava
teos Bertolt Brechtin aika, elämä ja tuotanto (1992).
Selected works:
BAAL, 1918 (published 1922) - Baal (trans. E. Bentley: Peter
Tegel) - film The Life Story of Baal, 1978, dir .by Edward
Bennett, starring Neil Johnston
DIE HOCHZEIT, 1919 (published 1953 under the title DIE
KLEINBÜRGERHOCHZEIT) - The Petitbourgeois Wedding
DER BETTLER, ODER DER TOTE HUND, 1919 (published
1953) - The Beggar, or The Dead Dog
ER TREIB EINEN TEUFEL AUS, 1919 (published 1953) - He
Exorcises a Devil
TROMMELN IN DER NACHT, written 1919 (produced in 1922)
- Rummut yössä - Drums in the Night (tr. by Frank Jones)
LUX IN TENEBRIS, 1919 (published 1953) - Light in the
Darkness
IM DICKICHT DE STÄDTE, 1921/1923 (published 1927) -
Jungle of Cities (tr. by Anselm Hollo); In the Swamp
LEBEN EDUARDS DES ZWEITEN VON ENGLAND,
1923/1924 (with Lion Feuchtwanger, based on Christopher
Marlowe's Edward II from 1594) - Edward II (tr. E. Bentley)
HAUSPOSTILLE, 1927 - A Manual of Piety (tr. E. Bentley)
MANN IST MANN, 1927 - Mies kuin mies - A Man's a Man (tr.
E. Bentley) / Man Equals Man (translated by Gerhard Nellhaus) -
film 1931, dir. by Bertolt Brecht, Carl Koch, starring Theo Lingen, Peter Lorre,
Helene Weigel
DAS ELEFANTENKALB, 1927 - The Elephat Calf (translated by
Gerhard Nellhaus) / The Elephant Calf (in The Jewish Wife and
Other Short Plays, tr. E. Bentley, 1965)
KALKUTTA, 4 MAI, 1927 (with Lion Feuchtwanger) - Warren
Hastings
DIE DREIGROSCHENOPER, 1928 (music by Kurt Weil) -
Kolmen pennin ooppera (suom. Max Rand & Turo Unho) /
Kerjäläisooppera (suom. M. Haavio ) - Three-Penny Opera (trans.
by Ralph Manheim and John Willett; E. Bentley) - films: 1931, dir.
by G.W. Pabst, starring Rudolf Forster, Carola Neher, Reinhold Schünzel, Fritz
Rasp, Lotte Lenya; 1963, dir. by Wolfgang Staudte; 1990, Mac the Knife, dir. by
Menahem Golan, starring Raul Julia, Richard Harris, Julia Migenes, Julie
Walters
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HAPPY END, 1929 (with Elisabeth Hauptmann) - Happy end:
kolminäytöksinen komedia (suom. Elvi Sinervo)
DER FLUG DER LINDBERGHS / DER OZEANFLUG, 1929 -
The Flight of the Lindberghs
AUFSTIEG UND FALL DER STADT MAHAGONNY, 1929 -
Mahagonnyn kaupungin nousu ja tuho - Ride and Fall of the City
Mahagonny (trans. by W.H. Auden and Chester Kallman)
DIE HEILIGE JOHANNA DER SCHLACHTHÖFE, 1929-30 -
Teurastamojen Pyhä Johanna - Saint Joan of the Stockyards (trans.
by C. and A.L. Lloyd; Frank Jones)
DIE AUSNAHME UND DIE REGEL, 1930 (written) - The
Exception and the Rule (tr. E. Bentley, in New Directions in Prose
and Poetry, 1955)
DAS BADENER LEHRSTÜCK VOM EINVERSTÄNDNIS, 1930
- The Didactic Play of Baden
DER JASAGER, 1931 - He Who Says Yes
DER NEINSAGER, 1931 - He Who Says No
DIE MASSNAHME, 1931 - Toimenpide - The Measures Taken
(translated by E. Bentley, in The Modern Theatre, vol. 6, 1955-60)
DIE MUTTER: LEBEN DER REVOLUTIONÄRIN PELEGEA
WLASSOWA AUS TWER, 1932 - Äiti - The Mother: Life of
Revolutionary Pelegea Vlassova from Tver
DIE SIEBEN TODSÜNDEN DER KLEINBÜRGER, ca.1933
(published 1959) - Pikkuporvarin seitsemän kuolemansyntiä - The
Seven Deadly Sins of the Lower Middle Class (tr. 1961)
VERSUCHE, 1930-1933 (vols. 1-7)
DREIGROSCHENROMAN, 1934 - Kerjäläisromaani (suom.
Aarno Peromies) - The Three-Penny Novel (translated by
Desmond I. Vesey; verses translated by Christopher Isherwood)
LIEDER, GEDICHTE, CHÖRE, 1934
DIE RUNDKÖPFE UND DIE SPITZKÖPFE, 1936 - The
Roundheads and the Peakheads (tr. by N. Goold-Verschoyle)
DIE GEWEHRE DR FRAU CARRAR, 1937 - Rouva Carrarin
kiväärit - Señora Carrar's Rifles (tr. 1938, free adaptation of J.M.
Synge's Riders to the Sea from 1904) / The Guns of Carrar (tr. G.
Tabori)
FURCHT UND ELEND DES DRITTEN REICHES, 1935/1938,
published 1945 - The Private Life of the Master Race (tr. E.
Bentley)
DIE HORATIER AND DIE KURATIER, 1938 - Horatiukset ja
Kuriaukset - The Horatians and the Curatians (tr. 1947)
GESAMMELTE WERKE, 1938 (2 vols.)
LEBEN DES GALILEI, 1938-39 (published 1955) - Galilein
elämä (suom. Ritva Arvelo) - The Life of Galileo (trans. by D.I.
Vesey; Howard Brenton) / Galileo (English version by Charles
Laughton) - film: Leben des Galileo, 1974, dir. by Joseph Losey, starring ,
Charles Laughton
DER GUTE MENCH VON SEZUAN, 1938-39 (published 1953) -
Setsuanin hyvä ihminen (suom. Elvi Sinervo) - The Good Woman
of Setzuan (trans. by Eric Bentley) / The Good Person of
Szechwan (translated by John Willett)
SVENDBORGER GEDICHTE, 1939
MUTTER COURAGE UND IHRE KINDER, 1939 (published
1949) - Barbara Peloton ja hänen lapsensa / Äiti Peloton ja hänen
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lapsensa (suom. Elvi Sinervo) - Mother Courage and Her Children
(trans. Eric Bentley; based on Hans Jakob Grimmelshausen's novel
Simplicissimus from 1669) / Mother Courage (tr. H.R. Hays) -
films: 1955, dir. by Wolfgang Staudte, starring Helene Weigel, Simone Signoret;
1961, Berliner Ensemble, dir. by Peter Palitzsch & Manfred Wekwerth, starring
Helene Weigel
DAS VERHÖR DES LUKULLUS, 1940 - The Trial of Lucullus
([Link])
HERR PUNTILA UND SEIN KNECHT MATTI, 1940 -
Iso-Heikkilän isäntä ja hänen renkinsä Kalle (with Hella
Wuolijoki) / Herra Puntila ja hänen renkinsä Matti (with Hella
Wuolijoki) – Mr. Puntila and His Man Matti (trans. by John
Willett) / Puntila and His Hired Man (tr. G. Hellhaus) - films: 1957,
dir. by Alberto Cavalcanti, starring Curt Bois, Heinz Engelmann; 1979, dir. by
Ralf Långbacka, starring Lasse Pöysti, Pekka Laiho, Arja Saijonmaa
DER AUFHALTSAME AUFSTEIG DES ARTURO UI, 1941
(published 1957) - The Resistible Rise of Arturo Ui (trans. by
Ralph Manheim) - film Karera Arturo Ui, 1966, dir. by Boris Blank, starring
Aleksandr Filippenko
DIE GESICHTE DER SIMONE MACHARD, 1941/43 (published
1956) - Simone Machard'in unet - The Visions of Simone Machard
(trans. by Carl Richard Mueller)
SCHWEYK IM ZWEITEN WELTKRIEG, 1941/43 (published
1956) - Shveyk toisessa maailmansodassa - Schweyk in the Second
World War (tr. 1975, based on Jaroslav Hašek's novel The Good
Soldier Schweik from 1920-23)
LEBEN DES KONFUTSE, written before 1944 (published 1958) -
The Ginger Jar (tr. 1958)
DER KAUKASISCHE KREIDENKREIS, 1944-45 (published
1949) - Kaukaasialainen liitupiiri - The Caucasian Chalk Circle
(translated by E. and M. Bentley; rev. ed. 1967, tr. James and
Tania Stern with W.H. Auden; based on the Chinese play The
Circle of Chalk)
Selected Poems, 1947 (translation and introd. by H. R. Hays)
DIE ANTIGONE DES SOPHOKLES, 1947/48 (published 1948) -
The Antigone of Sophocles / Sophocles’ Antigone (trans. by Judith
Malina; based on Friedrich Hölderlin's translation of Sophocles'
drama)
Parables for the Theatre, 1948 (tr. E. and M. Bentley)
KALENDERGESCHICHTEN, 1948 - Tales From the Calendar
(translated by Michael Hamburger)
KLEINES ORGANON FÜR DAS THEATER, 1949 - A Little
Organon for the Theatre (tr. B. Gottlieb) / A Short Organum for
the Theatre (in Brecht on Theatre: The Development of an
Aesthetic, tr. John Willett , 1964)
VERSUCHE, 1949-1957 (vols. 7-15)
DIE TAGE DER COMMUNE, 1948/1949 (published 1957) -
Kommuunin päivät - The Days of the Commune (trans. by Clive
Barker and Arno Reinfrank; based on Nordahl Grieg's The Defeat)
DER HOFMEISTER, 1951 - The Tutor (translated by Pip
Broughton) / The Private Tutor (adaptation of Jakob Lenz's Der
Hofmeister from 1778)
HUNDERT GEDICHTE, 1951
HERRNBURGER BERICHT, 1951 - Report from Herrnburger
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DER PROZESS DER JEANNE D'ARC ZU ROUEN 1431, 1952
(published 1959) - The Trial of Joan of Arc at Rouen, 1431 (tr.
1973, from Anna Segher's version)
DON JUAN, 1952 (published 1959, based on Moliere's Don Juan
from 1665)
CORIOLAN, 1952/53 (published 1959) - Coriolanus (tr. 1973,
adaptation of Shakespeare's Coriolianus)
STÜCKE, 1953-1966 (13 vols.)
TURANDOT ODER DER KONGRESS DER WEISSWÄSCHER,
1950-54 - Turandot eli Puhtaaksipesijän kongressi - Turandot, or
The Congress of Whitewashers
PAUKEN UND TROMPETEN, 1955 (with Elisabeth Hauptmann
and Benne Besson) - Rummut ja torvet - Trumpets and Drums
(trans. by Rose and Martin Kastner; adaptation of George
Farquhar's The Recruiting Officer from 1706)
DIE GESCHÄFTE DES HERRN JULIUS CÄSAR, 1957 - film
Geschichtsunterricht, 1972, dir. by Danièle Huillet, Jean-Marie Straub
SCHRIFTEN ZUM THEATER, 1957 - Aikamme teatterista
(suom. Max Rand)
STÜCKE, 1956-59 (12 vols.)
GESCHICHTEN VOM HERRN KEUNER, 1958 - Stories of Mr.
Keuner (translated by Martin Chalmers)
FLÜHTLINGSGESPRÄCHE, 1961 – Pakolaiskeskusteluja (suom.
Elvi Sinervo) - The Refugee Dialogues
Poems of the Theatre, 1961 (translated by John Berger and Anna
Bostock)
Seven Plays, 1961 (ed. by E. Bentley)
Brecht on Theatre, 1964 (edited and translated by John Willett)
The Jewish Wife and Other Short Plays, 1965 (tr. E. Bentley)
PROSA, 1965 (5 vols.)
ME-TI. DAS BUCH DER WENDUNGEN. FRAGMENTE
1933-1956, 1965 (ed. by Uwe Johnson) - Me-ti: käänteiden kirja
(suom. Vesa Oittinen) - Me-ti: The Book of Changes. Fragments,
1933-1956
The Jewish Wife and Other Short Plays, 1965 (English versions by
Eric Bentley)
SCHRIFTEN ZUR LITERATUR UND KUNST, 1966-67 (3 vols.)
GESAMMELTE WERKE, 1967 (20 vols.)
SCHRIFTEN ZUR POLITIK UND GESELLSCHAFT, 1968
TEXTE FÜR FILME, 1969 (2 vols.)
Collected Plays, 1971 (edited by Ralph Manheim and John
Willett)
ARBEITSJOURNAL, 1973 (3 vols.) - Journals 1934-1955 (ed. by
John Willett)
TAGEBÜCHER 1920-22, AUTOBIOGRAPHISCHE
AUFZEICHNUNGEN 1920-54 - Diaries 1920-1922 (ed. and
translated by John Willett) )
Collected Poems 1913-1956, 1980 (eds. J. Willett and R.
Manheim)
Short Stories 1921-46, 1983 (translated by Yvonne Kapp, Hugh
Rorrison, and Antony Tatlow)
Letters, 1990 (translated by Ralph Manheim)
Poems and Songs from the Plays, 1990
GROSSE KOMMENTIERTE BERLINER UND FRANKFURTER
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AUSGABE, BRIEFE 3, 1998
ÜBER VERFÜRUNG, EROTISCHE GEDICHTE MIT
RADIERUNGEN VON PABLO PICASSO, 1998
In Association with [Link]
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