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Brecht Collected Plays #7
Collected Plays 7: The Visions of Simone Machard / Schweyk in the Second World War / The Caucasian Chalk Circle / The Duchess of Malfi
Published by Methuen Drama, the collected dramatic works of Bertolt Brecht are presented in the most comprehensive and authoritative editions of Brecht's plays in the English language.
The seventh volume of Brecht's Collected Plays contains the plays which Brecht wrote during his six-year stay in the United States from 1942 to 1948. The Visions of Simone Machard is a French resistance version of the Joan of Arc story. Schweyk in the Second World War transposes Hasek's 'good soldier' to the Prague of Hitler and Heydrich. The Caucasian Chalk Circle, based on the biblical story of the judgement of Solomon, was originally written for production on Broadway, with W. H. Auden responsible for the verse. A morality masterpiece, the play powerfully demonstrates Brecht's pioneering theatrical techniques and has since become one of his most popular works.
The translations are ideal for both study and performance. The volume is accompanied by a full introduction and notes by the series editor John Willett and includes Brecht's own notes and relevant texts as well as all the important textual variants.
The seventh volume of Brecht's Collected Plays contains the plays which Brecht wrote during his six-year stay in the United States from 1942 to 1948. The Visions of Simone Machard is a French resistance version of the Joan of Arc story. Schweyk in the Second World War transposes Hasek's 'good soldier' to the Prague of Hitler and Heydrich. The Caucasian Chalk Circle, based on the biblical story of the judgement of Solomon, was originally written for production on Broadway, with W. H. Auden responsible for the verse. A morality masterpiece, the play powerfully demonstrates Brecht's pioneering theatrical techniques and has since become one of his most popular works.
The translations are ideal for both study and performance. The volume is accompanied by a full introduction and notes by the series editor John Willett and includes Brecht's own notes and relevant texts as well as all the important textual variants.
480 pages, Paperback
First published January 1, 1974
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About the author
Bertolt Brecht
1,603 books1,927 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 - 5 of 5 reviews
December 29, 2018
VII – plays from 1942-46, while in exile in the US. Includes useful contextual introduction as well as notes, drafts, and related theory. At no extra cost: author’s adaptation and translation of Webster’s Duchess of Malfi.
Visions of Simone Machard - Joan of Arc returns to fight the NSDAP. Makes it very plain that it is not a nationalist concern, but rather that the local bourgeois collaborate with the fascist invader, mostly because it is “anarchy” if “order has ceased to exist. Property doesn’t exist any more” (24). That said, “one or the other has got to be abolished: the people or the war” (5). Simone is cautioned that she’ll need arms and armor “now that you’re the Maid of Orleans” (16), as though it were an office that she fills. Made plain is the revolutionary doctrine that “you should fight, even if the enemy has won” (35), the extreme resistance thesis. “On the one side the German tanks, on the other Simone Machard, the daughter of a common laborer” (59).
Schweyk in the Second World War - More satire of fascism, through Hasek’s well-worn Czech eiron. Schweyk has a certain pattern to his humor: “I’m told that Hitler brought us more order than anybody thought possible. When there’s plenty, there’s no order. For instance, when I’ve sold a dachshund, my money is all mixed up in my pocket” (67) or “There’s got to be order. Black-marketing is an evil and it won’t stop until there’s nothing left. Then we’ll have order right away, am I right?” (109) or “Do you fellows know what Bolshevism is? It’s the sworn ally of Wall Street which has planned our destruction under the leadership of the Jew Rosenfeld in the White House” (114). His ironies are taken sufficiently seriously to the point where “a military commission officially declared me an idiot” (78), which insulates him somewhat, and somewhat paradoxically, from NSDAP caprice. But it is difficult to disagree with his conclusions, even based on completely ironized premises, official idiocy or not: “Mongrels are smarter, but purebreds are racially superior and favored by dog thieves. Usually they’re so dumb they need two or three maids to tell them it’s time to shit or open their mouths to eat. High-class people are the same way” (80). The basic operating principle is disclosed when Schweyk is accused of being a “stoolpigeon,” of having “no reason to crawl up their asses” (115): “Don’t say that. It’s an art. A lot of small animals would be glad if they could squeeze into a tiger. That way he couldn’t get at them and they’d feel relatively safe” (id.) (recalling of course the comments on ‘art’ in The Threepenny Opera).
The Caucasian Chalk Circle - a masterpiece, surpassed only by the Galileo. Servant saves a aristocratic baby, upon whom depends a claim to much property—only when it becomes clear that the baby controls title to the estate do the worthless waste of space aristocrats who abandoned him come forward with a claim. As one servant says to another, “nothing is harder than imitating lazy, useless people” (167). Lovely prelude involving Soviet justice, and conclusion involves a bakhtinian uncrowning made into law. Very slick.
Visions of Simone Machard - Joan of Arc returns to fight the NSDAP. Makes it very plain that it is not a nationalist concern, but rather that the local bourgeois collaborate with the fascist invader, mostly because it is “anarchy” if “order has ceased to exist. Property doesn’t exist any more” (24). That said, “one or the other has got to be abolished: the people or the war” (5). Simone is cautioned that she’ll need arms and armor “now that you’re the Maid of Orleans” (16), as though it were an office that she fills. Made plain is the revolutionary doctrine that “you should fight, even if the enemy has won” (35), the extreme resistance thesis. “On the one side the German tanks, on the other Simone Machard, the daughter of a common laborer” (59).
Schweyk in the Second World War - More satire of fascism, through Hasek’s well-worn Czech eiron. Schweyk has a certain pattern to his humor: “I’m told that Hitler brought us more order than anybody thought possible. When there’s plenty, there’s no order. For instance, when I’ve sold a dachshund, my money is all mixed up in my pocket” (67) or “There’s got to be order. Black-marketing is an evil and it won’t stop until there’s nothing left. Then we’ll have order right away, am I right?” (109) or “Do you fellows know what Bolshevism is? It’s the sworn ally of Wall Street which has planned our destruction under the leadership of the Jew Rosenfeld in the White House” (114). His ironies are taken sufficiently seriously to the point where “a military commission officially declared me an idiot” (78), which insulates him somewhat, and somewhat paradoxically, from NSDAP caprice. But it is difficult to disagree with his conclusions, even based on completely ironized premises, official idiocy or not: “Mongrels are smarter, but purebreds are racially superior and favored by dog thieves. Usually they’re so dumb they need two or three maids to tell them it’s time to shit or open their mouths to eat. High-class people are the same way” (80). The basic operating principle is disclosed when Schweyk is accused of being a “stoolpigeon,” of having “no reason to crawl up their asses” (115): “Don’t say that. It’s an art. A lot of small animals would be glad if they could squeeze into a tiger. That way he couldn’t get at them and they’d feel relatively safe” (id.) (recalling of course the comments on ‘art’ in The Threepenny Opera).
The Caucasian Chalk Circle - a masterpiece, surpassed only by the Galileo. Servant saves a aristocratic baby, upon whom depends a claim to much property—only when it becomes clear that the baby controls title to the estate do the worthless waste of space aristocrats who abandoned him come forward with a claim. As one servant says to another, “nothing is harder than imitating lazy, useless people” (167). Lovely prelude involving Soviet justice, and conclusion involves a bakhtinian uncrowning made into law. Very slick.
June 29, 2025
Machard: St Joan in WW2. Schweyk: fine anti-fascist satire based on Hasek. Chalk: excellent comedy on social-utility/love vs property-rights/greed. Malfi: interesting adaptation.
February 9, 2017
Schweyk in the Second World War **** and Visions of Simone Machard*** -- You can find my review here:
https://www.goodreads.com/review/show...
The Caucasian Chalk Circle ***** - You can find my review here:
https://www.goodreads.com/review/show...
The Duchess of Malfi ** -- Brecht (and a bevy of others) takes on Webster’s sprawling tragedy. This is a play that seems ripe for someone to do a good rewrite of it. There are some real gems in the work, but it is so meandering and unfocused. But there are some gems.
Interestingly, Brecht ignores Bosola, one of the most intriguing characters in a play full of characters that never really come to life for me. It’s his odd reluctance/conscience that stand out in the work. Brecht turns him into a one-dimensional figure.
This is for Brecht completists only. (02/17)
https://www.goodreads.com/review/show...
The Caucasian Chalk Circle ***** - You can find my review here:
https://www.goodreads.com/review/show...
The Duchess of Malfi ** -- Brecht (and a bevy of others) takes on Webster’s sprawling tragedy. This is a play that seems ripe for someone to do a good rewrite of it. There are some real gems in the work, but it is so meandering and unfocused. But there are some gems.
Interestingly, Brecht ignores Bosola, one of the most intriguing characters in a play full of characters that never really come to life for me. It’s his odd reluctance/conscience that stand out in the work. Brecht turns him into a one-dimensional figure.
This is for Brecht completists only. (02/17)
May 31, 2025
Besides The Duchess of Malfi, which I skipped after a few scenes out of no interest in Brecht's adaptation, the seventh collection of plays continues to reward the dedicated reader with the semi-successful Visions and Schweyk before concluding with the excellent Caucasian Chalk Circle, whose themes of goodness within an imperfect world champion the best aspects of his other great works teeming with the imperfections of humanity. I cannot say the former two plays have much lasting power on the page, but their representation of Nazi Germany is interesting nonetheless, especially with the comedy in Schweyk.
August 23, 2007
اغلب اثار برتولد برشت به فارسی برگردانده شده؛ "سقراط مجروح" کیکاووس جهانداری / "در انبوه شهرها" عبدالرحمن صدریه / "استثناء و قاعده" محمود اعتماد زاده(م. به آذین) / "ان که گفت آری و آن که گفت نه" مصطفی رحیمی / زندگانی گالیله (گالیله ئو گالیله ئی) عبدالرحیم احمدی / "ترس و نکبت رایش سوم" شریف لنکرانی / "ننه دلاور و فرزندان او" مصطفی رحیمی / "آدم، آدم است" دو ترجمه از شریف لنکرانی و امین موید / "بچه فیل" و استنطاق لوکولوس" شریف لنکرانی / "زن نیک سچوان" دو ترجمه از فریده ی لاشایی و مهدی زمانیان / "دایره گچی قفقازی" دو ترجمه از حمید سمندریان و امین موید / "چهره های سیمون ماشار" دو ترجمه از عبدالرحمن صدریه و شریف لنکرانی / "داستان های آقای کوینر" سعید ایمانی / "داستان یک پولی"(اپرای یک پولی) هوشنگ پیرنظر / "تفنگ های ننه کارار" دو ترجمه از فریدون ایل بیگی و شریف لنکرانی / "ارباب پونتیلا و نوکرش مه آتی" سه ترجمه از عبدالرحمن صدریه، فریده ی لاشایی و رضا کرم رضایی / "درباره ی تیاتر" منیزه کامیاب و حسن بایرامی / "هیولا" همایون نوراحمر / "مادر" منیژه کامیاب و حسن بایرامی / "کله گردها و کله تیزها" بهروز مشیری / "بعل" خشایار قائم مقامی / "پیرزنی که پیر نمی نمود" کامران فانی / "گفتگوی فراریان" خشایار قائم مقامی / "اقداماتی علیه زور" ناصر صفایی / "حیوان محبوب آقای کوینر" / ناصر صفایی / "اگر کوسه ماهی ها آدم بودند" بهروز تاجور / "شوایک در جنگ جهانی دوم" دو ترجمه؛ حمید علوی، فرامرز بهزاد / "عظمت و انحطاط شهر ماهاگونی" مهدی اسفندیارفرد / "قطعه آموزشی" مینو ملک خانی / "اندیشه های متی" عبدالله کوثری / "محاکمه ی ژاندارک در روان" عبدالله کوثری / "صلیب گچی" سیاوش بیدارفکر / "قیمت آهن چنده" رضا کرم رضایی / "کریولانوس" مهدی تقوی / "اپرای سه پولی" علی اکبر خداپرست / "ژان مقدس کشتارگاه" دو ترجمه از جواد شمس و ابوالحسن ونده ور / "صعود مقاومت پذیر ارتورو اویی" افرویدون / "زندگی تیاتری من" فریدون ناظری / "روزهای کمون" کاووسی (فریده لاشایی) /"درباره تیاتر" فرامرز بهزاد / و بسیاری دیگر از آثار نوشتاری و مجموعه ی اشعار برشت
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