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Der gute Mensch von Sezuan
Das Stück, eine Parabel, zeigt am Einzelfall des Mädchens Shen Te das allgemeine Gesetz dieser Welt auf, daß es unmöglich ist, "gut zu sein und doch zu leben". Drei Götter durchwandern die Welt auf der Suche nach einem guten Menschen. Sie wollen das Gerücht Lügen strafen, wonach die wirtschaftlichen Bedingungen auf Erden zu unerträglich seien, als daß die Menschen die Gebote der Götter zu befolgen vermöchten."Der gute Mensch von Sezuan" wurde in den Jahren 1938 bis 1940 in der Emigration geschrieben und am 4.2.1943 in Zürich uraufgeführt.
213 pages, Paperback
First published February 4, 1943
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About the author
Bertolt Brecht
1,612 books1,933 followersEugen Berthold Friedrich Brecht was a German poet, playwright, and theatre director. A seminal theatre practitioner of the twentieth century, Brecht made equally significant contributions to dramaturgy and theatrical production, the latter particularly through the seismic impact of the tours undertaken by the Berliner Ensemble—the post-war theatre company operated by Brecht and his wife and long-time collaborator, the actress Helene Weigel—with its internationally acclaimed productions.
From his late twenties Brecht remained a life-long committed Marxist who, in developing the combined theory and practice of his 'epic theatre', synthesized and extended the experiments of Piscator and Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism. Brecht's modernist concern with drama-as-a-medium led to his refinement of the 'epic form' of the drama (which constitutes that medium's rendering of 'autonomization' or the 'non-organic work of art'—related in kind to the strategy of divergent chapters in Joyce's novel Ulysses, to Eisenstein's evolution of a constructivist 'montage' in the cinema, and to Picasso's introduction of cubist 'collage' in the visual arts). In contrast to many other avant-garde approaches, however, Brecht had no desire to destroy art as an institution; rather, he hoped to 're-function' the apparatus of theatrical production to a new social use. In this regard he was a vital participant in the aesthetic debates of his era—particularly over the 'high art/popular culture' dichotomy—vying with the likes of Adorno, Lukács, Bloch, and developing a close friendship with Benjamin. Brechtian theatre articulated popular themes and forms with avant-garde formal experimentation to create a modernist realism that stood in sharp contrast both to its psychological and socialist varieties. "Brecht's work is the most important and original in European drama since Ibsen and Strindberg," Raymond Williams argues, while Peter Bürger insists that he is "the most important materialist writer of our time."
As Jameson among others has stressed, "Brecht is also ‘Brecht’"—collective and collaborative working methods were inherent to his approach. This 'Brecht' was a collective subject that "certainly seemed to have a distinctive style (the one we now call 'Brechtian') but was no longer personal in the bourgeois or individualistic sense." During the course of his career, Brecht sustained many long-lasting creative relationships with other writers, composers, scenographers, directors, dramaturgs and actors; the list includes: Elisabeth Hauptmann, Margarete Steffin, Ruth Berlau, Slatan Dudow, Kurt Weill, Hanns Eisler, Paul Dessau, Caspar Neher, Teo Otto, Karl von Appen, Ernst Busch, Lotte Lenya, Peter Lorre, Therese Giehse, Angelika Hurwicz, and Helene Weigel herself. This is "theatre as collective experiment [...] as something radically different from theatre as expression or as experience."
There are few areas of modern theatrical culture that have not felt the impact or influence of Brecht's ideas and practices; dramatists and directors in whom one may trace a clear Brechtian legacy include: Dario Fo, Augusto Boal, Joan Littlewood, Peter Brook, Peter Weiss, Heiner Müller, Pina Bausch, Tony Kushner and Caryl Churchill. In addition to the theatre, Brechtian theories and techniques have exerted considerable sway over certain strands of film theory and cinematic practice; Brecht's influence may be detected in the films of Joseph Losey, Jean-Luc Godard, Lindsay Anderson, Rainer Werner Fassbinder, Nagisa Oshima, Ritwik Ghatak, Lars von Trier, Jan Bucquoy and Hal Hartley.
During the war years, Brecht became a prominent writer of the Exilliteratur. He expressed his opposition to the National Socialist and Fascist movements in his most famous plays.
From his late twenties Brecht remained a life-long committed Marxist who, in developing the combined theory and practice of his 'epic theatre', synthesized and extended the experiments of Piscator and Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism. Brecht's modernist concern with drama-as-a-medium led to his refinement of the 'epic form' of the drama (which constitutes that medium's rendering of 'autonomization' or the 'non-organic work of art'—related in kind to the strategy of divergent chapters in Joyce's novel Ulysses, to Eisenstein's evolution of a constructivist 'montage' in the cinema, and to Picasso's introduction of cubist 'collage' in the visual arts). In contrast to many other avant-garde approaches, however, Brecht had no desire to destroy art as an institution; rather, he hoped to 're-function' the apparatus of theatrical production to a new social use. In this regard he was a vital participant in the aesthetic debates of his era—particularly over the 'high art/popular culture' dichotomy—vying with the likes of Adorno, Lukács, Bloch, and developing a close friendship with Benjamin. Brechtian theatre articulated popular themes and forms with avant-garde formal experimentation to create a modernist realism that stood in sharp contrast both to its psychological and socialist varieties. "Brecht's work is the most important and original in European drama since Ibsen and Strindberg," Raymond Williams argues, while Peter Bürger insists that he is "the most important materialist writer of our time."
As Jameson among others has stressed, "Brecht is also ‘Brecht’"—collective and collaborative working methods were inherent to his approach. This 'Brecht' was a collective subject that "certainly seemed to have a distinctive style (the one we now call 'Brechtian') but was no longer personal in the bourgeois or individualistic sense." During the course of his career, Brecht sustained many long-lasting creative relationships with other writers, composers, scenographers, directors, dramaturgs and actors; the list includes: Elisabeth Hauptmann, Margarete Steffin, Ruth Berlau, Slatan Dudow, Kurt Weill, Hanns Eisler, Paul Dessau, Caspar Neher, Teo Otto, Karl von Appen, Ernst Busch, Lotte Lenya, Peter Lorre, Therese Giehse, Angelika Hurwicz, and Helene Weigel herself. This is "theatre as collective experiment [...] as something radically different from theatre as expression or as experience."
There are few areas of modern theatrical culture that have not felt the impact or influence of Brecht's ideas and practices; dramatists and directors in whom one may trace a clear Brechtian legacy include: Dario Fo, Augusto Boal, Joan Littlewood, Peter Brook, Peter Weiss, Heiner Müller, Pina Bausch, Tony Kushner and Caryl Churchill. In addition to the theatre, Brechtian theories and techniques have exerted considerable sway over certain strands of film theory and cinematic practice; Brecht's influence may be detected in the films of Joseph Losey, Jean-Luc Godard, Lindsay Anderson, Rainer Werner Fassbinder, Nagisa Oshima, Ritwik Ghatak, Lars von Trier, Jan Bucquoy and Hal Hartley.
During the war years, Brecht became a prominent writer of the Exilliteratur. He expressed his opposition to the National Socialist and Fascist movements in his most famous plays.
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Displaying 1 - 30 of 594 reviews
February 7, 2017
*Read for class*
March 11, 2018
Opening with a monologue from a water seller (Wang), who is waiting for the Gods on the impoverished streets of a city outskirts, it doesn't take a genius to figure out that not only is this a Brecht play, but also it's setting is the far east (Chinese Culture being something that fascinated him). And he may have been one of the most innovative and influential playwrights of the 20th century, but Brecht’s main concern was getting an audience to think first, rather than engaging them easily on an emotional level.
Taking you inside the too often unexamined lives of common folk, petty criminals and outcasts living out a life of brutalising poverty is nothing new to him. But with The Good Person of Setzuan, there is an artistic adventurousness that adds something different to the melting pot. The play, like other works of his, still remains pessimistic, but dazzles nonetheless. Coming from an era when the author was creating parables for the stage, productions that invite you to consider such issues as how economics affect life decisions and how power is surrendered and wielded. With a perception that everyone requires such a dual or split personality to survive an ever present harsh world environment.
This is a story of the streets, not the sort of streets I would want to wander around any time soon.
Most of the action taking place in a poverty-stricken neighborhood. The prostitute, Shen Tei, has a soul like that of a blossoming flower. She wants to become something beautiful, to someone or something. It's her heart’s desire. But her kindness is not predicated on giving as good as she gets. Rather, she gives because sharing is a natural art, just like when she paints her mouth bright red to attract male clientele. She is the only one in Szechwan who offers the Gods a place to stay after Wang assures them that Szechwan is just the kind of town that will refute their notion that a good person is a rare thing. As a reward, the Gods give their hostess a small amount of money. With it,
Shen Tei opens a modest tobacco shop and life seems to take shape for the better. But always lurking is a battle of faith, and of good and evil, that tips the apple cart. How can she survive as a new and honest person, play straight in a corrupt world of ruthlessness, without her former hard self to help get her through?.
Brecht insisted the mechanics of making theatre should always be exposed, so audiences would be made aware of how the theatre sought to manipulate them. He rejected with contempt the popular notion that the chief aim of the theatre was to create empathy. He wanted his audience to think and act critically about their situation, inside the theatre and beyond it's walls. Critiquing capitalism is an underlying theme here, and the tightly-knit text made for a thought-provoking read.
The briskly paced bare bones nature that cuts to the gist of the story in this and his other plays, was always likely to provoke a response and get people talking from whomever attended it's theatrical production, just as Brecht would have wanted it.
The fact he stuck the finger up to Nazi repression and carried on regardless makes me like him
that extra bit more. Not only as a Playwright, but as a person.
Taking you inside the too often unexamined lives of common folk, petty criminals and outcasts living out a life of brutalising poverty is nothing new to him. But with The Good Person of Setzuan, there is an artistic adventurousness that adds something different to the melting pot. The play, like other works of his, still remains pessimistic, but dazzles nonetheless. Coming from an era when the author was creating parables for the stage, productions that invite you to consider such issues as how economics affect life decisions and how power is surrendered and wielded. With a perception that everyone requires such a dual or split personality to survive an ever present harsh world environment.
This is a story of the streets, not the sort of streets I would want to wander around any time soon.
Most of the action taking place in a poverty-stricken neighborhood. The prostitute, Shen Tei, has a soul like that of a blossoming flower. She wants to become something beautiful, to someone or something. It's her heart’s desire. But her kindness is not predicated on giving as good as she gets. Rather, she gives because sharing is a natural art, just like when she paints her mouth bright red to attract male clientele. She is the only one in Szechwan who offers the Gods a place to stay after Wang assures them that Szechwan is just the kind of town that will refute their notion that a good person is a rare thing. As a reward, the Gods give their hostess a small amount of money. With it,
Shen Tei opens a modest tobacco shop and life seems to take shape for the better. But always lurking is a battle of faith, and of good and evil, that tips the apple cart. How can she survive as a new and honest person, play straight in a corrupt world of ruthlessness, without her former hard self to help get her through?.
Brecht insisted the mechanics of making theatre should always be exposed, so audiences would be made aware of how the theatre sought to manipulate them. He rejected with contempt the popular notion that the chief aim of the theatre was to create empathy. He wanted his audience to think and act critically about their situation, inside the theatre and beyond it's walls. Critiquing capitalism is an underlying theme here, and the tightly-knit text made for a thought-provoking read.
The briskly paced bare bones nature that cuts to the gist of the story in this and his other plays, was always likely to provoke a response and get people talking from whomever attended it's theatrical production, just as Brecht would have wanted it.
The fact he stuck the finger up to Nazi repression and carried on regardless makes me like him
that extra bit more. Not only as a Playwright, but as a person.
February 18, 2018
The world we are introduced to in The Good Person of Szechwan is a grim one, and the premise is almost allegory: Is it possible to be a good and selfless person when everyone else is bad? Pragmatism and idealism clash in this work, in a way that questions them both.
Three unnamed gods are looking for a good human being. If we can find only one good person, a person that is able to live a decent life, they tell us, then the world is saved. And they seem to find one: Shen Te, a poor woman living in Szechwan. They decide to give her some money and keep an eye on her to see how she gets along.
The only thing Shen Te wants, is to be unconditionally good. This inevitably leads her to be tricked and exploited. But even when she sees it coming, she can't help herself. If somebody asks her for something, she gives it. She borrows money for her rent but ends up giving it away. She feeds more people than she can afford to, without them giving back in any way. She finds joy in helping others, and suffers when they suffer.
But the world she lives in does not condone that type of goodness. It is a world of poverty, pollution and exploitation. You cannot be good and live a decent life here - not when you have to choose between stealing or starving. You can only build up a decent quality of life for yourself by being pretty strict and ruthless to others. Even Shen Te expresses fatigue with trying to be good, and loses her faith in people. First, she is good because she believes in the good in others. Later on, she is good (or tries to be), in spite of knowing that people will just take advantage. As she gets exploited time and time again, Shen Te needs to deal with it somehow.
This is when she
But this does not fulfill the gods' conditions. One must not only be a good person, but make a decent living for oneself being that good person. And neither Shen Te, nor Shui Ta, can do both.
What Brecht alludes to throughout the play, is the premise or condition - the kind of world we are living in. In Shen Te's world, goodness and selflessness cannot to survive and prosper. Good people are doomed to poverty.
Shen Te is, like everybody else, a victim to her circumstances, but she is consistently good, in spite of them. At least until she sees that this is not working. The initial goodness in Shen Te is pure and instant. It's a naive and thoughtless goodness, one that does not plan ahead, does not take into account that other people might not be good, and this, naturally, makes it easy for others to take advantage. Shen Te's goodness is, therefore, impossible to sustain.
But are there, maybe, other ways of being good? Is it not possible for a good person to scheme and plan? Does goodness have to be stupid?
This comparison of goodness with naivety, and evil with cleverness and planning, is not one I am immediately willing to buy, but I do think that the biggest pitfall for the clever good people is that planning and scheming makes it easy to reduce people to pawns, to means instead of goals.
All in all, I thought this play presented the reader with a very interesting clash between idealism and grim reality. It seems like goodness needs a lot of pragmatism and life experience not to backfire. And to understand that there are consequences to every action, even the ones that might seem good at the moment. The good act you perform now, might make it that much more difficult to continue to do good in the future (especially if you give all your money away).
Three unnamed gods are looking for a good human being. If we can find only one good person, a person that is able to live a decent life, they tell us, then the world is saved. And they seem to find one: Shen Te, a poor woman living in Szechwan. They decide to give her some money and keep an eye on her to see how she gets along.
The only thing Shen Te wants, is to be unconditionally good. This inevitably leads her to be tricked and exploited. But even when she sees it coming, she can't help herself. If somebody asks her for something, she gives it. She borrows money for her rent but ends up giving it away. She feeds more people than she can afford to, without them giving back in any way. She finds joy in helping others, and suffers when they suffer.
But the world she lives in does not condone that type of goodness. It is a world of poverty, pollution and exploitation. You cannot be good and live a decent life here - not when you have to choose between stealing or starving. You can only build up a decent quality of life for yourself by being pretty strict and ruthless to others. Even Shen Te expresses fatigue with trying to be good, and loses her faith in people. First, she is good because she believes in the good in others. Later on, she is good (or tries to be), in spite of knowing that people will just take advantage. As she gets exploited time and time again, Shen Te needs to deal with it somehow.
This is when she
But this does not fulfill the gods' conditions. One must not only be a good person, but make a decent living for oneself being that good person. And neither Shen Te, nor Shui Ta, can do both.
What Brecht alludes to throughout the play, is the premise or condition - the kind of world we are living in. In Shen Te's world, goodness and selflessness cannot to survive and prosper. Good people are doomed to poverty.
Shen Te is, like everybody else, a victim to her circumstances, but she is consistently good, in spite of them. At least until she sees that this is not working. The initial goodness in Shen Te is pure and instant. It's a naive and thoughtless goodness, one that does not plan ahead, does not take into account that other people might not be good, and this, naturally, makes it easy for others to take advantage. Shen Te's goodness is, therefore, impossible to sustain.
But are there, maybe, other ways of being good? Is it not possible for a good person to scheme and plan? Does goodness have to be stupid?
This comparison of goodness with naivety, and evil with cleverness and planning, is not one I am immediately willing to buy, but I do think that the biggest pitfall for the clever good people is that planning and scheming makes it easy to reduce people to pawns, to means instead of goals.
All in all, I thought this play presented the reader with a very interesting clash between idealism and grim reality. It seems like goodness needs a lot of pragmatism and life experience not to backfire. And to understand that there are consequences to every action, even the ones that might seem good at the moment. The good act you perform now, might make it that much more difficult to continue to do good in the future (especially if you give all your money away).
September 2, 2017
دوستانِ گرانقدر، این نمایشنامه از 215 صفحه تشکیل شده است و با وجودِ سادگی، نکاتِ بسیاری را در خود گنجانده است.... شخصیتِ اصلی داستان، دختری تنها و بی خانواده به نامِ <شن تن> است، که از رویِ ناچاری و نداری، روی به خودفروشی آورده است ... داستان از آنجایی آغاز میشود که از بینِ خدایان، 3 تن به زمین می آیند تا بلکه بتوانند از میانِ انسانها، شخصی نیکوکار و خوش رفتار برگزینند.... خدایان در ایالتِ "سچوان" به آب فروشی به نامِ <یانگ> بر میخورند و <یانگ> که انتظار خدایان را میکشیده است و شخصی نویدِ ورودِ خدایان را به وی داده بود
، به آنها باور داشته و به دنبالِ مکانی برایِ استراحتِ آنها میگردد... امّا هیچکس حاضر نمیشود به خدایان، جا و مکانی، حتی برایِ یک شب بدهد... تنها کسی که این کار را انجام میدهد و یک شب خدایان را در منزلِ کوچکش جای میدهد، همان دخترِ نامبرده، <شن تن> است.... خدایان که از دلِ پاکِ او باخبر هستند، به او فرصتی میدهند تا بلکه در راه درست گام بردارد، در نتیجه به او هزار دلار میدهند تا او کسب و کاری خوب راه انداخته و انسانِ پاکی شود و به نوعی بر روی او سرمایه گذاری میکنند
این دخترِ مهربان، با این پول مغازه ای تنباکو فروشی یا به نوعی دیگر سیگار فروشی باز میکند و به بی نوایان و بی جا و مکانها، کمکِ فراوان میکند... امّا بسیاری هستند که از رفتار و مهربانی او سواستفاده کرده و او را به مرزِ بدبختی و ورشکستگی می رسانند
در این میان شخصیتی به نامِ <شوی تا> در داستان نمایان میشود، که او را با عنوانِ پسر عمویِ <شوی تا> میشناسیم... در صورتیکه میدانیم او هیچ خویشاوندی ندارد... هرگاه <شوی تا> نمایان میشود، <شن تن> ناپدید میشود و بلعکس... این موضوع تنها نکتهٔ مرموز و سر به مهرِ داستان است که البته در پایانِ داستان، پرده از این راز، برداشته میشود
نکته ای که باید به آن اشاره کنم این است که، <شن تن> عاشقِ مردی به نامِ <یانگ سون> میشود.. <یانگ سون> خلبانی بیکار و بیعار است... او نیز همچون دیگران، از خویِ پاکِ دختر سواستفاده کرده و به <شن تن> وعدهٔ ازدواج میدهد...البته به شرطی که <شن تن> پانصد دلار برای وی فراهم کند تا او بتواند به استخدامِ شرکتِ پُستِ هوایی، درآید
عزیزانم، بهتر است خودتان این داستان را بخوانید و از سرنوشتِ این دخترِ بیچاره آگاه شوید
آیا به راستی در این دنیایِ بی رحم، جایی برایِ نیکوکارها وجود ندارد!؟... آیا بدی و زشتی ها در این دنیا حکمرانی میکنند!؟
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در زیر بخشهایی از این نمایشنامه را به انتخاب برایتان مینویسم
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وانگِ آب فروش: در منطقهٔ سونگ، محلی وجود دارد که آن را جنگلِ مقدس می نامند.. در آنجا درختهایِ کاتالپ و سرو و توت، فراوان می روید... عده ای برایِ ساختنِ لانهٔ سگهایشان، درختهایی را که یک الی دو وجب قطر دارند، قطع میکنند... برخی که ثروتمندتر و با شخصیت تر هستند، درختهایِ قطور تر را قطع میکنند تا از چوبِ آنها برایِ خویش تابوت بسازند و برخی دیگر، درختهایی را که هفت الی هشت وجب قطر دارند، می اندازند و چوبِ آنها را در ساختمانِ ویلاهایِ مدرنشان به مصرف میرسانند... به این ترتیب، هیچکدام از این درختها، عمرِ طبیعی نمیکنند و در نیمه راهِ زندگی، با ارّه و تبر، از پا در می آیند... چنین است ثمرهٔ مفید بودن
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نیکان را توانِ آن نیست که خود را یاور باشند.. و خدایان درمانده اند.... چرا خدایان صاحبِ تانک و توپ و ناوشکن و بمب افکن و مینِ انفجاری، نیستند؟.. تا مردمِ بدنهاد را از پای درآورند و نیکان را نگهبان باشند
********************
نیکان را توانِ آن نیست که برایِ دیر زمانی، نیک بمانند... وقتی کاسه ها پُر نباشد، سفره نشینان به سر و کلهٔ هم میزنند... فرامینِ خدایان، جوابگویِ احتیاجاتِ ما نیست
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بدونِ لگدمال کردنِ گروهی، نمیتوان درمانده ای را یاری نمود
چرا خدایان در آسمانها با صدایِ بلند، اعتراف نمیکنند که دنیایِ خوبی را به انسانهایِ نیک، مدیون هستند؟
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شن ته به تماشاگران: عاشق در آسمانها پرواز میکند، امّا خوشتر آن است که رویِ زمین، رویِ همین آسفالت راه برود
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دست هایِ نوازشگر، روزی حلقومِ آدمی را میفشارد.. و زمزمه هایِ عشق، به فریادهایِ وحشت، تبدیل خواهد شد
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امیدوارم از خواندنِ این نمایشنامه، لذت ببرید
<پیروز باشید و ایرانی>
، به آنها باور داشته و به دنبالِ مکانی برایِ استراحتِ آنها میگردد... امّا هیچکس حاضر نمیشود به خدایان، جا و مکانی، حتی برایِ یک شب بدهد... تنها کسی که این کار را انجام میدهد و یک شب خدایان را در منزلِ کوچکش جای میدهد، همان دخترِ نامبرده، <شن تن> است.... خدایان که از دلِ پاکِ او باخبر هستند، به او فرصتی میدهند تا بلکه در راه درست گام بردارد، در نتیجه به او هزار دلار میدهند تا او کسب و کاری خوب راه انداخته و انسانِ پاکی شود و به نوعی بر روی او سرمایه گذاری میکنند
این دخترِ مهربان، با این پول مغازه ای تنباکو فروشی یا به نوعی دیگر سیگار فروشی باز میکند و به بی نوایان و بی جا و مکانها، کمکِ فراوان میکند... امّا بسیاری هستند که از رفتار و مهربانی او سواستفاده کرده و او را به مرزِ بدبختی و ورشکستگی می رسانند
در این میان شخصیتی به نامِ <شوی تا> در داستان نمایان میشود، که او را با عنوانِ پسر عمویِ <شوی تا> میشناسیم... در صورتیکه میدانیم او هیچ خویشاوندی ندارد... هرگاه <شوی تا> نمایان میشود، <شن تن> ناپدید میشود و بلعکس... این موضوع تنها نکتهٔ مرموز و سر به مهرِ داستان است که البته در پایانِ داستان، پرده از این راز، برداشته میشود
نکته ای که باید به آن اشاره کنم این است که، <شن تن> عاشقِ مردی به نامِ <یانگ سون> میشود.. <یانگ سون> خلبانی بیکار و بیعار است... او نیز همچون دیگران، از خویِ پاکِ دختر سواستفاده کرده و به <شن تن> وعدهٔ ازدواج میدهد...البته به شرطی که <شن تن> پانصد دلار برای وی فراهم کند تا او بتواند به استخدامِ شرکتِ پُستِ هوایی، درآید
عزیزانم، بهتر است خودتان این داستان را بخوانید و از سرنوشتِ این دخترِ بیچاره آگاه شوید
آیا به راستی در این دنیایِ بی رحم، جایی برایِ نیکوکارها وجود ندارد!؟... آیا بدی و زشتی ها در این دنیا حکمرانی میکنند!؟
--------------------------------------------
در زیر بخشهایی از این نمایشنامه را به انتخاب برایتان مینویسم
*******************
وانگِ آب فروش: در منطقهٔ سونگ، محلی وجود دارد که آن را جنگلِ مقدس می نامند.. در آنجا درختهایِ کاتالپ و سرو و توت، فراوان می روید... عده ای برایِ ساختنِ لانهٔ سگهایشان، درختهایی را که یک الی دو وجب قطر دارند، قطع میکنند... برخی که ثروتمندتر و با شخصیت تر هستند، درختهایِ قطور تر را قطع میکنند تا از چوبِ آنها برایِ خویش تابوت بسازند و برخی دیگر، درختهایی را که هفت الی هشت وجب قطر دارند، می اندازند و چوبِ آنها را در ساختمانِ ویلاهایِ مدرنشان به مصرف میرسانند... به این ترتیب، هیچکدام از این درختها، عمرِ طبیعی نمیکنند و در نیمه راهِ زندگی، با ارّه و تبر، از پا در می آیند... چنین است ثمرهٔ مفید بودن
********************
نیکان را توانِ آن نیست که خود را یاور باشند.. و خدایان درمانده اند.... چرا خدایان صاحبِ تانک و توپ و ناوشکن و بمب افکن و مینِ انفجاری، نیستند؟.. تا مردمِ بدنهاد را از پای درآورند و نیکان را نگهبان باشند
********************
نیکان را توانِ آن نیست که برایِ دیر زمانی، نیک بمانند... وقتی کاسه ها پُر نباشد، سفره نشینان به سر و کلهٔ هم میزنند... فرامینِ خدایان، جوابگویِ احتیاجاتِ ما نیست
********************
بدونِ لگدمال کردنِ گروهی، نمیتوان درمانده ای را یاری نمود
چرا خدایان در آسمانها با صدایِ بلند، اعتراف نمیکنند که دنیایِ خوبی را به انسانهایِ نیک، مدیون هستند؟
********************
شن ته به تماشاگران: عاشق در آسمانها پرواز میکند، امّا خوشتر آن است که رویِ زمین، رویِ همین آسفالت راه برود
********************
دست هایِ نوازشگر، روزی حلقومِ آدمی را میفشارد.. و زمزمه هایِ عشق، به فریادهایِ وحشت، تبدیل خواهد شد
---------------------------------------
امیدوارم از خواندنِ این نمایشنامه، لذت ببرید
<پیروز باشید و ایرانی>
July 14, 2016
Celebrity Death Match Special: Der gute Mensch von Sezuan versus Superman
[A bar in the Chinatown area of Metropolis. CLARK KENT and SHEN TE, at opposite ends of the counter, both staring disconsolately at half-empty glasses]
CLARK KENT: [Sighs] Women!
SHEN TE: [Sighs] Men!
[They look up, noticing each other for the first time]
CLARK KENT: Hey, don't get me wrong. I shouldn't complain. I have a swell job. I work with some great people and there's nothing I enjoy more than helping them. It's just, you know...
SHEN TE: ... they keep using you all the time. That's the way it is.
[They both nod sadly]
CLARK KENT: I wouldn't really mind, but I seem to have... uh... well, see, there's this girl, Lois...
SHEN TE: Me too. If I didn't love Yang Sun, it'd be bearable.
[A pause, then CLARKE KENT gets to his feet and sings]
The Ballad of the Overlooked Nice Guy
She just takes me for granted
Acts like I'm not there
Well it's breaking my heart an'
It's hard not to care.
I'm just the overlooked nice guy
The overlooked nice guy
The--
SHEN TE: Wait a minute. I know someone who might be able to help you.
[Exit SHEN TE. Shortly after, enter SHUI TA. He is smartly dressed and acts like he owns the place]
SHUI TA: So my cousin tells me things aren't working out with the Lane dame.
CLARK KENT: Really, I'd rather not--
SHUI TA: Look buster, face facts. She's never going to be interested in you.
CLARK KENT: I know.
SHUI TA: She wants a different person.
CLARK KENT: I know.
SHUI TA: Well, you need to be that different person.
CLARK KENT: Okay, I can see how she feels about Superman. But--
SHUI TA: Who said anything about Superman? She'll come to despise him too given time.
CLARK KENT: Wait, what are you--
SHUI TA: Come on, it's obvious. Just think about it.
CLARK KENT: [After a pause] You're right. Goodbye, Mr. Nice Guy. Hello, world domination!
[He takes off his hairpiece, revealing LEX LUTHOR's trademark bald head. SHUI TA nods approvingly. Curtain]
No winner declared due to essential inconsistency of Judeo-Christian morality
[A bar in the Chinatown area of Metropolis. CLARK KENT and SHEN TE, at opposite ends of the counter, both staring disconsolately at half-empty glasses]
CLARK KENT: [Sighs] Women!
SHEN TE: [Sighs] Men!
[They look up, noticing each other for the first time]
CLARK KENT: Hey, don't get me wrong. I shouldn't complain. I have a swell job. I work with some great people and there's nothing I enjoy more than helping them. It's just, you know...
SHEN TE: ... they keep using you all the time. That's the way it is.
[They both nod sadly]
CLARK KENT: I wouldn't really mind, but I seem to have... uh... well, see, there's this girl, Lois...
SHEN TE: Me too. If I didn't love Yang Sun, it'd be bearable.
[A pause, then CLARKE KENT gets to his feet and sings]
The Ballad of the Overlooked Nice Guy
She just takes me for granted
Acts like I'm not there
Well it's breaking my heart an'
It's hard not to care.
I'm just the overlooked nice guy
The overlooked nice guy
The--
SHEN TE: Wait a minute. I know someone who might be able to help you.
[Exit SHEN TE. Shortly after, enter SHUI TA. He is smartly dressed and acts like he owns the place]
SHUI TA: So my cousin tells me things aren't working out with the Lane dame.
CLARK KENT: Really, I'd rather not--
SHUI TA: Look buster, face facts. She's never going to be interested in you.
CLARK KENT: I know.
SHUI TA: She wants a different person.
CLARK KENT: I know.
SHUI TA: Well, you need to be that different person.
CLARK KENT: Okay, I can see how she feels about Superman. But--
SHUI TA: Who said anything about Superman? She'll come to despise him too given time.
CLARK KENT: Wait, what are you--
SHUI TA: Come on, it's obvious. Just think about it.
CLARK KENT: [After a pause] You're right. Goodbye, Mr. Nice Guy. Hello, world domination!
[He takes off his hairpiece, revealing LEX LUTHOR's trademark bald head. SHUI TA nods approvingly. Curtain]
No winner declared due to essential inconsistency of Judeo-Christian morality
March 10, 2017
I want to go with the one I love.
I do not want to calculate the cost.
I do not want to think about whether it's good.
I do not want to know whether he loves me.
I want to go with whom I love.
Brecht is brutal here, situating his play in China, dangling the Gods who swing between Divine Indifference and Hypocrisy and filling the ranks with all the avarice and sloth that floats from our unctuous species. Some (may) find exception with the titular heroine and her Manichean solution to the query -- How To Serve Man: spoiler, it isn't a cookbook. I thought the device employed by the character is brilliant, a heady response to the pop-up morality of Snapchat Elysium. One came imagine Brecht seething.
Sexually frank but lacking overt violence (with one exception) this play becomes a lumpen comedy of manners. Who's laughing?
I do not want to calculate the cost.
I do not want to think about whether it's good.
I do not want to know whether he loves me.
I want to go with whom I love.
Brecht is brutal here, situating his play in China, dangling the Gods who swing between Divine Indifference and Hypocrisy and filling the ranks with all the avarice and sloth that floats from our unctuous species. Some (may) find exception with the titular heroine and her Manichean solution to the query -- How To Serve Man: spoiler, it isn't a cookbook. I thought the device employed by the character is brilliant, a heady response to the pop-up morality of Snapchat Elysium. One came imagine Brecht seething.
Sexually frank but lacking overt violence (with one exception) this play becomes a lumpen comedy of manners. Who's laughing?
September 25, 2018
I read this in school.
That's a long time ago, and yet, I remember it better than many novels I read last year (or last month). I remember it despite the fact that I must have had a typical teenage brain at the time. It is just such a fundamental truth of injustice that it remained with me until this day, consoling me when I am frustrated, reminding me that at least the annoying topic made it into the realm of art.
If you are good, you are exploited.
That is the message, and I don't think anyone is free from the experience of trying to make things work better, only to see some opportunistic people step in and take advantage of the situation. It is a perfect dream to be able to keep a controlled balance by taking a secret double role - helping in one shape, keeping parasites at bay in the other.
Brecht was a clever one, he made it possible in fiction - and that has made a difference to me in reality!
That's a long time ago, and yet, I remember it better than many novels I read last year (or last month). I remember it despite the fact that I must have had a typical teenage brain at the time. It is just such a fundamental truth of injustice that it remained with me until this day, consoling me when I am frustrated, reminding me that at least the annoying topic made it into the realm of art.
If you are good, you are exploited.
That is the message, and I don't think anyone is free from the experience of trying to make things work better, only to see some opportunistic people step in and take advantage of the situation. It is a perfect dream to be able to keep a controlled balance by taking a secret double role - helping in one shape, keeping parasites at bay in the other.
Brecht was a clever one, he made it possible in fiction - and that has made a difference to me in reality!
May 11, 2025
نمایشنامه "زن خوب ایالت سچوان" داستانی ساده و کوتاه بود ولی سنگین و عمیق با اینکه کمحرف بود، ولی حرف زیادی برای گفتن داشت. در طول خوندن این کتاب مدام از خودت میپرسی بالاخره خوب بودن توی این دنیای بی رحم فایده داره یا نه؟ ایا با خوبی کردن به کسی داری سادگی خودت رو نشون میدی یا محبتت رو؟
و در آخر نویسنده تو رو با این سوال بی جواب رها میکنه.
و در آخر نویسنده تو رو با این سوال بی جواب رها میکنه.
April 27, 2022
Философская пьеса-сказка о добре и зле ставит перед читателем/зрителем вечные вопросы. Почему добро беззащитно? Почему, чтобы достичь успеха, нужно отказаться от доброты и надевать личину зла и поступать не по-доброму? Понятие добра антонимично сразу двум понятиям зла и денег – есть пары антонимов добрый/злой, добрый/жадный. Это уравнивает понятия зла и денег, дает им одинаковый отрицательный заряд. В этой пьесе как раз об этом. Боги понимают понятие зла и плохо понимают понятие денег. Брехт считает, что как инь и янь в каждом человеке есть добро и зло и герои пьесы также дуальны, не только Шен Де/Шой Да. В каждом есть и доброе и злое начало, которое постоянно борются между собой, но этот конфликт неразрешим, поскольку человек не может отказаться от одной из своих ипостасей. Шен Де восклицает: «Но мне нужен Шой Да» и боги разрешают, но не слишком часто. Добро должно быть с кулаками, чтобы защитить себя.
August 9, 2021
"چنین گفت سیمرغ کز راه مهر
بگویم کنون باتو راز سپهر
که هرکس که او خون اسفندیار
بریزد ورا بشکرد روزگار
همان نیز تا زنده باشد ز رنج
رهایی نیابد نماندش گنج
بدین گیتیش شوربختی بود
وگر بگذرد رنج و سختی بود"
شاهنامهی فردوسی، داستان رستم و اسفندیار
تراژدی روسپی مهربان
یا
گشایشی برای تهیدستان نیست
تراژدی شنته، انسان نیک سچوان، از جنس تراژدیهای روم و یونان قدیم نیست بدین معنی که اینجا قضا و قدر سرنوشت رو تعیین نمیکنن. این انتخابهای شنته هستن که اون رو پلهپله به سمت مراحل بعدی هدایت میکنن. گرچه این انتخابها محدودن و من رو یاد راههای پیش روی رستم در مواجهه با اسفندیار میندازن. در هر سو نوعی تباهی قهرمان رو انتظار میکشه و انتخاب نکردن هم نوعی انتخابه و فقط سقوط رو پیش میندازه.
داستان از این قراره که خدایان در شهری در پی یک انسان نیک میگردند تا براشون ثابت بشه در دنیایی که ساختهاند، امکان نیک بودن با معیار فرامینشون وجود داره. پس از اینکه همه در شهر از آزمون اخلاقی شکستخورده بیرون میان، روسپی مسکین ولی دلرحم قصه با وجود گرفتاریهای شخصی با انتخاب درست از آتش آزمون سربلند بیرون میاد (هرچند آزمون چنان کار شاقی به نظر نمیاد). اینجا خدایان به شنته لقب "انسان نیک سچوان" میدن و در کنارش مقداری سرمایه بهش میبخشن.
تا پیش از این اتفاق هرچند شنته زندگی فلاکتباری داشت، تشویش نیکماندن و داشتنِ لیاقت انسانِ نیک خوانده شدن رو نداشت. از این پس هرچند افقهای جدیدی از زندگی به روش باز میشن همواره باید تصمیمات سخت و سختتری بگیره چرا که زمینه برای نیکو بودن فراهم نیست.
من قبل از انسان نیک سچوان نمایشنامهی زندگی گالیله رو خونده بودم که در مقام مقایسه از نظر من از ابتدای نمایشنامه کار قویتری بود. اینجا هم البته هرچه جلوتر میریم همپای مفاهیم درگیرکننده ظرافتهای داستانی هم پختهتر میشن ولی این رویه از ابتدای کار برقرار نبود.
پ.ن: قسمتی از هر نمایشنامهی برشت رو شعر و تکخوانی یا همسرایی شخصیتها تشکیل میده و این مترجم رو به تکاپو میندازه تا ترجمهی متناسبی از اشعار ارائه بده که کار آسونی نیست. با وجود این، به نظرم مترجمان دو اثری که بهشون اشاره کردم تا حد خوبی از پس اینکار براومدن.
_________________________________________________
بریدههایی از کتاب
"شویتا: بهنظر میاد، یادتون رفته که اون یه انسانه و عقلی داره.
سون (با مسخرگی): قضاوتی که بعضی مردم دربارهی خویشاوندای مؤنثشون میکنن و دربارهی تأثیر گفتار عاقلانه در اونا، همیشه باعث تعجب من میشد. تا حالا چیزی در مورد قدرت عشق و فرمان غریزه شنیدین؟ شما میخواین عقل اونو خطاب قرار بدین؟ اون که عقل نداره! آخ یه عمر مورد بدرفتاری بوده، طفلک! اگه من دست روی شونهش بذارم و بگم《تو با من میای》، براش مث شنیدن صدای دلنواز ناقوسه و دیگه حتی مادرشو نمیشناسه."
"ز ترس است شاید که خفته است افکار بیدارمان
از این پیش هم اینچنین بودهایم و چه باشد کنون چارهی کارمان؟
نیابیم چاره، نه! حتی به سیم و به زر
جهانی دگر باید آیا و انسان دیگر؟
و شاید خدایان دیگر، و یا بیخدایی است چاره؟
چه کرد از درون روح ما را چنین پارهپاره؟
برای برونرفتِ ما از چنین دردسر
نباشد جز اندیشههای شما راهبر."
بگویم کنون باتو راز سپهر
که هرکس که او خون اسفندیار
بریزد ورا بشکرد روزگار
همان نیز تا زنده باشد ز رنج
رهایی نیابد نماندش گنج
بدین گیتیش شوربختی بود
وگر بگذرد رنج و سختی بود"
شاهنامهی فردوسی، داستان رستم و اسفندیار
تراژدی روسپی مهربان
یا
گشایشی برای تهیدستان نیست
تراژدی شنته، انسان نیک سچوان، از جنس تراژدیهای روم و یونان قدیم نیست بدین معنی که اینجا قضا و قدر سرنوشت رو تعیین نمیکنن. این انتخابهای شنته هستن که اون رو پلهپله به سمت مراحل بعدی هدایت میکنن. گرچه این انتخابها محدودن و من رو یاد راههای پیش روی رستم در مواجهه با اسفندیار میندازن. در هر سو نوعی تباهی قهرمان رو انتظار میکشه و انتخاب نکردن هم نوعی انتخابه و فقط سقوط رو پیش میندازه.
داستان از این قراره که خدایان در شهری در پی یک انسان نیک میگردند تا براشون ثابت بشه در دنیایی که ساختهاند، امکان نیک بودن با معیار فرامینشون وجود داره. پس از اینکه همه در شهر از آزمون اخلاقی شکستخورده بیرون میان، روسپی مسکین ولی دلرحم قصه با وجود گرفتاریهای شخصی با انتخاب درست از آتش آزمون سربلند بیرون میاد (هرچند آزمون چنان کار شاقی به نظر نمیاد). اینجا خدایان به شنته لقب "انسان نیک سچوان" میدن و در کنارش مقداری سرمایه بهش میبخشن.
تا پیش از این اتفاق هرچند شنته زندگی فلاکتباری داشت، تشویش نیکماندن و داشتنِ لیاقت انسانِ نیک خوانده شدن رو نداشت. از این پس هرچند افقهای جدیدی از زندگی به روش باز میشن همواره باید تصمیمات سخت و سختتری بگیره چرا که زمینه برای نیکو بودن فراهم نیست.
من قبل از انسان نیک سچوان نمایشنامهی زندگی گالیله رو خونده بودم که در مقام مقایسه از نظر من از ابتدای نمایشنامه کار قویتری بود. اینجا هم البته هرچه جلوتر میریم همپای مفاهیم درگیرکننده ظرافتهای داستانی هم پختهتر میشن ولی این رویه از ابتدای کار برقرار نبود.
پ.ن: قسمتی از هر نمایشنامهی برشت رو شعر و تکخوانی یا همسرایی شخصیتها تشکیل میده و این مترجم رو به تکاپو میندازه تا ترجمهی متناسبی از اشعار ارائه بده که کار آسونی نیست. با وجود این، به نظرم مترجمان دو اثری که بهشون اشاره کردم تا حد خوبی از پس اینکار براومدن.
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بریدههایی از کتاب
"شویتا: بهنظر میاد، یادتون رفته که اون یه انسانه و عقلی داره.
سون (با مسخرگی): قضاوتی که بعضی مردم دربارهی خویشاوندای مؤنثشون میکنن و دربارهی تأثیر گفتار عاقلانه در اونا، همیشه باعث تعجب من میشد. تا حالا چیزی در مورد قدرت عشق و فرمان غریزه شنیدین؟ شما میخواین عقل اونو خطاب قرار بدین؟ اون که عقل نداره! آخ یه عمر مورد بدرفتاری بوده، طفلک! اگه من دست روی شونهش بذارم و بگم《تو با من میای》، براش مث شنیدن صدای دلنواز ناقوسه و دیگه حتی مادرشو نمیشناسه."
"ز ترس است شاید که خفته است افکار بیدارمان
از این پیش هم اینچنین بودهایم و چه باشد کنون چارهی کارمان؟
نیابیم چاره، نه! حتی به سیم و به زر
جهانی دگر باید آیا و انسان دیگر؟
و شاید خدایان دیگر، و یا بیخدایی است چاره؟
چه کرد از درون روح ما را چنین پارهپاره؟
برای برونرفتِ ما از چنین دردسر
نباشد جز اندیشههای شما راهبر."
July 29, 2021
Taught this play a few times, when Oedipus was required earlier. Contrast how despite altars and consulting the god of Delphi, the gods are not on stage as the Greek play begins, whereas that's precisely how Brecht begins. I would ask what kind of a voice a god has: I'd do a local Fall River accent, a Boston accent, and a deep, resonant male voice, ask a girl student to speak as a female god. In Good Woman, three anticipated gods show up in oldfashioned dress and dusty feet, looking for a place to stay the night. When Shen Te, the Good Woman shows up, she lets them stay at her room, for which she is delivered some money after they leave. With it, she buys a tobacco shop. In mid play, someone ironizes about how she got money, "A gift of the gods, I suppose," and she, "How did you know?"(435).
A satire on capitalism, the best there is, here a former prostitute is too generous, her old associates come with their whole family to stay in her tobacco store, and she feeds them a large bowl of rice. Shen Te's goodness requires her male cousin Shui Ta to come and kick the crashers out; but we find out capitalism required Shen Te to become Shui Ta to save herself. Shui Ta tells the crashers, "This is a tobacco shop, not a gold mine"(424). He also says, "My poor cousin has the worst possible reputation.." but not prostitution, "the reputation of being poor"(428).
In a Brechtian proverb that seems made for the U.S. in 2020, the gods observe, "No-one can be good long if goodness is not in demand"(422). In the US, a fraudulent, criminal president makes sure none of his appointees demand ethics or goodness. As a retired couple, my wife and I receive a fraudulent request over the phone or email at least once a day. In some cases, if you don't delete, it will remove all the minutes on your phone.
Certain cultural insights, such as how in order to fly the mail, the pilot had to give the boss quite a bit of money--he says, because to allow him to fly, he has to fire one of the others for incompetence, and that's not easy since they're competent. Shen Te has fallen for this unemployed pilot, so she tries to come up with the money, by giving him the loan she just got. She had been advised to marry to gain capital, but she fails and falls first.
The good Shen Te and the bad, but successful Shui Ta (he starts a thriving tobacco factory) are discovered to be--no spoiler here-- who they are, and revealed to the Gods. Shen Te has an ofer from the adjoining rich guy, but she cannot give up her romance with the contemptible Yang Sun. The Gods learn of Shen Te and Shui Ta, and sum the play in their final "Valedictory Hymn" (494) :
"What rapture, oh, it is to know
A good thing when you see it
And having seen a good thing, oh,
What rapture is to flee it."
The Gods abandon Shen Te to her myriad problems, debt, love, and housing because of pregnancy. Her, and the play's last word, "Help!"
Can't recall whether I first taught this in another translation in the late 60's, or in Bentley's fine translation here.
A satire on capitalism, the best there is, here a former prostitute is too generous, her old associates come with their whole family to stay in her tobacco store, and she feeds them a large bowl of rice. Shen Te's goodness requires her male cousin Shui Ta to come and kick the crashers out; but we find out capitalism required Shen Te to become Shui Ta to save herself. Shui Ta tells the crashers, "This is a tobacco shop, not a gold mine"(424). He also says, "My poor cousin has the worst possible reputation.." but not prostitution, "the reputation of being poor"(428).
In a Brechtian proverb that seems made for the U.S. in 2020, the gods observe, "No-one can be good long if goodness is not in demand"(422). In the US, a fraudulent, criminal president makes sure none of his appointees demand ethics or goodness. As a retired couple, my wife and I receive a fraudulent request over the phone or email at least once a day. In some cases, if you don't delete, it will remove all the minutes on your phone.
Certain cultural insights, such as how in order to fly the mail, the pilot had to give the boss quite a bit of money--he says, because to allow him to fly, he has to fire one of the others for incompetence, and that's not easy since they're competent. Shen Te has fallen for this unemployed pilot, so she tries to come up with the money, by giving him the loan she just got. She had been advised to marry to gain capital, but she fails and falls first.
The good Shen Te and the bad, but successful Shui Ta (he starts a thriving tobacco factory) are discovered to be--no spoiler here-- who they are, and revealed to the Gods. Shen Te has an ofer from the adjoining rich guy, but she cannot give up her romance with the contemptible Yang Sun. The Gods learn of Shen Te and Shui Ta, and sum the play in their final "Valedictory Hymn" (494) :
"What rapture, oh, it is to know
A good thing when you see it
And having seen a good thing, oh,
What rapture is to flee it."
The Gods abandon Shen Te to her myriad problems, debt, love, and housing because of pregnancy. Her, and the play's last word, "Help!"
Can't recall whether I first taught this in another translation in the late 60's, or in Bentley's fine translation here.
August 16, 2025
wenn die kapitalisten dieser welt mal wieder ihr shen-te-gesicht zeigen, sollte man sich immer fragen, wo gerade shui ta unterwegs ist. die didaktik nimmt manchmal überhand, auch die erratisch eingeworfene versrede der figuren bleibt oft wirkungslos, aber brechts genauigkeit in der analyse der gesellschaftlichen verhältnisse, seine typisierten arbeiter und bourgeoisen und nicht zuletzt die die bürgerlichkeit spiegelnden götter sind wunderbar getroffen. besonders witzig sind die scheuklappenbewehrten götter, die zwanghaft an ihrem gefundenen guten menschen festhalten wollen.
Read
August 4, 2024- The world is poor, because you are rich.
- Bulshits. Did you find anything else but snoring marxisms ?
You could try to be better, that's the whole philosophy.
- You don't say ! How come ?
- Oh, you're so limited... I'm sure you haven't even read Brecht's book.
- Ahh, you talk about " The Good Woman of Setzuan " ?
- Exactly.
- Then you should know that the thing with that " the world is poor..." - is just an irony. Can goodness thrive when survival hangs in the balance ?
- Well....goodness won't pay the rent.. that's for sure..
- Besides, compassion won't fill your belly. You want to help others ? Fine. But first, help yourself. Be both. Juggle kindness and pragmatism.
- But what if survival erodes my goodness ?
- Then adapt. Survival isn't a straight path, sometimes it's a tightrope. Goodness - isn't weakness, try to remember this.
- And...and if I lose myself ?
- Then..you'II be another forgotten soul. But maybe you'II thrive.
The world is poor, but it's not because you're rich, it's in the hearts that open, the kindness they bewitch.
- Bulshits. Did you find anything else but snoring marxisms ?
You could try to be better, that's the whole philosophy.
- You don't say ! How come ?
- Oh, you're so limited... I'm sure you haven't even read Brecht's book.
- Ahh, you talk about " The Good Woman of Setzuan " ?
- Exactly.
- Then you should know that the thing with that " the world is poor..." - is just an irony. Can goodness thrive when survival hangs in the balance ?
- Well....goodness won't pay the rent.. that's for sure..
- Besides, compassion won't fill your belly. You want to help others ? Fine. But first, help yourself. Be both. Juggle kindness and pragmatism.
- But what if survival erodes my goodness ?
- Then adapt. Survival isn't a straight path, sometimes it's a tightrope. Goodness - isn't weakness, try to remember this.
- And...and if I lose myself ?
- Then..you'II be another forgotten soul. But maybe you'II thrive.
The world is poor, but it's not because you're rich, it's in the hearts that open, the kindness they bewitch.
May 21, 2020
چه نمایشنامهای!!!
به یاد ندارم پس از خوندن "مرگ فروشنده" این چنین از خوندن یک نمایشنامه ارضا شده باشم! و برشت این کار رو میکنه!
برشت دو قطبی عجیبی رو برای مخاطبش ترسیم میکنه که دو روی یک سکهاند. دو قطبی نیک بودن/بد بودن! این دو قطبی بدل به تمثیلی از جهان سرمایهداری میشه.
برشت دنیایی رو تصویر میکنه که آدمهاش برای نیک بودن، باید همزمان بد هم باشن! در واقع این همون سرمایهداری است که در ظاهر به شما کمک میکنه ولی در باطن داره خون شما رو میمکه.
به یاد ندارم پس از خوندن "مرگ فروشنده" این چنین از خوندن یک نمایشنامه ارضا شده باشم! و برشت این کار رو میکنه!
برشت دو قطبی عجیبی رو برای مخاطبش ترسیم میکنه که دو روی یک سکهاند. دو قطبی نیک بودن/بد بودن! این دو قطبی بدل به تمثیلی از جهان سرمایهداری میشه.
برشت دنیایی رو تصویر میکنه که آدمهاش برای نیک بودن، باید همزمان بد هم باشن! در واقع این همون سرمایهداری است که در ظاهر به شما کمک میکنه ولی در باطن داره خون شما رو میمکه.
May 31, 2016
Da es eine Schullektüre ist, kann ich das Werk eigentlich nicht unvoreingenommen bewerten :D Allerdings gehört es doch zu den besseren Werken, die wir im Deutschunterricht behandelt haben. Inklusive einer Wendung im letzten Viertel, der mich als unaufmerksamen Leser von den Socken gehauen hat
September 12, 2025
دومین نمایشنامه بود که از برشت میخوندم و برخلاف اولی بهم چسبید 😍
برشت با این نمایشنامه به ما میگه: در دنیایی که بنیانش بر عدالت بنا نشده، در جامعهای که حتی خدایان و باورهای دینی به جای تغییر نظام فقط توصیهی اخلاقی میکنن، «خوب بودن» دوام نمیآره. انسان خوب محکوم به شکسته.
در نهایت، مسئولیت روی دوش خود ماست: باید فکر کنیم چطور میتونیم این نظام رو تغییر بدیم تا انسان خوب بودن نه یک ضعف، که یک امکان واقعی برای زندگی کردن باشه.
برشت با این نمایشنامه به ما میگه: در دنیایی که بنیانش بر عدالت بنا نشده، در جامعهای که حتی خدایان و باورهای دینی به جای تغییر نظام فقط توصیهی اخلاقی میکنن، «خوب بودن» دوام نمیآره. انسان خوب محکوم به شکسته.
در نهایت، مسئولیت روی دوش خود ماست: باید فکر کنیم چطور میتونیم این نظام رو تغییر بدیم تا انسان خوب بودن نه یک ضعف، که یک امکان واقعی برای زندگی کردن باشه.
January 28, 2024
μπορεί τελικά ένας άνθρωπος να είναι καλός σε έναν τόσο κακό κόσμο; Πάντα επίκαιρος ο Μπρέχτ...
September 16, 2015
He who gives help to the lost is lost for his own part
Such great lines.
"Your original order, to be good while yet surviving, split me like lightning into two people.I cannot tell what occured: Goodness to others and to myself could not both be achieved.”
The play was extremely depressing in the beginning but gradually it grew on me. The drudgery of society and it's people is portrayed brilliantly. A "good" woman who is forced to survive through any means necessary.Shen Teh's growth as an individual was interesting to watch. Of course if you want a happy ending, you should keep in mind it is a modernist play. Otherwise it is a short and interesting read.
January 4, 2017
I really like this book. Sometimes when it seems to me that I've done something wrong I remember these two characters - Shen De and Shui Da. Brecht shows us that a person cannot be only a good man or only a bad man. When Shen De does something generous and fogets herself doing positiv things, she suffers. Other people are becoming bad, cruel and insult her. Her shop doesn't bring money and so on. When Shui Da does a bad thing, others just hate him. But his own trade is going perfectly well.
To my mind, the main idea of this book is that making a compromise is the best way of solving problems and behaving in the society.
To my mind, the main idea of this book is that making a compromise is the best way of solving problems and behaving in the society.
January 8, 2014
One of the best books I've ever read.
January 17, 2019
Mein liebstes Stück (bisher). <3
September 4, 2017
Every character was annoying as heck in here. I just wanted to yell at them to get off their butts and do something DAMMIT. But I suppose that was Brecht's intention. Sigh. Effective, but still infuriating.
August 30, 2022
اثر خیلی نمادین بود
من واقعا توقع بیشتری داشتم. چیزی نبود که بگه وای تا حالا چرا نخونده بودمش یا ذهنم رو درگیر خودش بتونه بکنه
من واقعا توقع بیشتری داشتم. چیزی نبود که بگه وای تا حالا چرا نخونده بودمش یا ذهنم رو درگیر خودش بتونه بکنه
August 15, 2025
داستان از جایی شروع میشه که "وانگ" آب فروش شهر، خطاب به تماشاگران توضیح میده که در اطراف شهر منتظر ورود خدایان است و قصد داره برای اقامت آن ها در شب پناهگاهی پیدا کنه. خدایان به دنبال انسان های خوب می گردن و خسته شدن. هیچ کس آنها را قبول نمیکنه، به غیر از "شن ته"، شخصیتی که روسپی، جوان و بیچاره است.
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یکی از بهترین نمایشنامه هایی بود خوندم، همه چیز به جا و درست، دیالوگ ها و مونولوگ های جذاب و بجا و روایت پرکشش، در مجموع عالی بود.
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برشت در این نمایشنامه میگه که هیچ کس نمیتونه صد در صد خوب باشه، و با توجه به شرایطی که جهان و جامعه داره، خوب بودن قطعا زمینه سوء استفاده دیگران از فرد رو فراهم میکنه.
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از متن نمایشنامه:
سنگینی بار نیات خیر مرا بهقعر خاک فرو می برد، درحالی که اگر ظلم روا می داشتم، قدر از آنم بود و از بهترین نوع گوشت تغذیه می کردم باید دنیای شما نقصی داشته باشد، چرا که بدی را پاداش می دهند و مجازاتی این چنین سنگین در انتظار نیکوکاران است.
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یکی از بهترین نمایشنامه هایی بود خوندم، همه چیز به جا و درست، دیالوگ ها و مونولوگ های جذاب و بجا و روایت پرکشش، در مجموع عالی بود.
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برشت در این نمایشنامه میگه که هیچ کس نمیتونه صد در صد خوب باشه، و با توجه به شرایطی که جهان و جامعه داره، خوب بودن قطعا زمینه سوء استفاده دیگران از فرد رو فراهم میکنه.
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از متن نمایشنامه:
سنگینی بار نیات خیر مرا بهقعر خاک فرو می برد، درحالی که اگر ظلم روا می داشتم، قدر از آنم بود و از بهترین نوع گوشت تغذیه می کردم باید دنیای شما نقصی داشته باشد، چرا که بدی را پاداش می دهند و مجازاتی این چنین سنگین در انتظار نیکوکاران است.
Read
December 30, 2024#procrastilezen
September 20, 2017
2.5 stars.
In as far as studying this play while placing it in a particular historical and political context is concerned, I realise its significance, but otherwise this just wasn't for me. In my opinion Brect's Mother Courage is far, far better.
In as far as studying this play while placing it in a particular historical and political context is concerned, I realise its significance, but otherwise this just wasn't for me. In my opinion Brect's Mother Courage is far, far better.
January 12, 2026
That ending was absolute genius
July 12, 2022
یکی از فلسفی ترین نمایشنامه های تئاتر با ترجمه و مقدمه ای بسیار خوب که حسابی ذهن آدم رو به خودش مشغول میکنه
مدام حین خوندنش فکر میکردم چقدر برشت خوب تونست از بالا به کل مسائل هستی و انسان ها همزمان نگاه بندازه اینکار میشه تو دسته بندی ابزورد قرار داد چون آخرش پیام مهمش اینه که خدا هم اگه الان خودش بیاد رو زمین باز کاری از پیش نمیره چون تا انسان انسانه همینیه که هست و انسان نیک ناگزیر به یک پسرخاله ایه که گاهی عقلانی براش تصمیم بگیره به قول خدای اول حداقل ماهی یکبار!
از داخل متن:
"ای سیه روزان!
یک برادر مورد قهر است و چشمان شما بسته!
فرد مضروب آه و فریادش بلند است و شما خاموش؟
زورگوی مستبد میگردد این جا در پی قربانیان خود
و شما گویید: از او در امان هستیم
چون که ناخرسندی خود را نمیگوییم.
عجب شهریست این شهر و چه موجودی شما هستید!
گر که در شهری شود ظلمی، تمام شهر در آشوب و غلیان غرق میگردد
و گر از کس صدایی در نیاید بهتر است آن شهر از پی منهدم گردد
پیش از آن که شب بیاید، طعمه ی آتش گردد!"
مدام حین خوندنش فکر میکردم چقدر برشت خوب تونست از بالا به کل مسائل هستی و انسان ها همزمان نگاه بندازه اینکار میشه تو دسته بندی ابزورد قرار داد چون آخرش پیام مهمش اینه که خدا هم اگه الان خودش بیاد رو زمین باز کاری از پیش نمیره چون تا انسان انسانه همینیه که هست و انسان نیک ناگزیر به یک پسرخاله ایه که گاهی عقلانی براش تصمیم بگیره به قول خدای اول حداقل ماهی یکبار!
از داخل متن:
"ای سیه روزان!
یک برادر مورد قهر است و چشمان شما بسته!
فرد مضروب آه و فریادش بلند است و شما خاموش؟
زورگوی مستبد میگردد این جا در پی قربانیان خود
و شما گویید: از او در امان هستیم
چون که ناخرسندی خود را نمیگوییم.
عجب شهریست این شهر و چه موجودی شما هستید!
گر که در شهری شود ظلمی، تمام شهر در آشوب و غلیان غرق میگردد
و گر از کس صدایی در نیاید بهتر است آن شهر از پی منهدم گردد
پیش از آن که شب بیاید، طعمه ی آتش گردد!"
January 20, 2016
When my boyfriend and I were talking about books, he was more than shocked to find out, that I haven't read anything from Brecht so far, since he is his favorite author. So I went straight to the library and got myself a copy of The good Woman of Setzuan. And wow how I regret that I didn't read anything from him sooner! This play is now one of my favourites! Brecht is absolutely amazing and in my eyes a complete genius. The play is about the question whether and how a person can be good in a capitalist world. Best thing about it: it is so so funny!
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