At the core of Bertolt Brecht’s theatrical philosophy is his engagement with Marxism, a socio-political ideology that critiques capitalism and its inherent inequalities. Brecht, an outspoken advocate of Marxist thought, perceived theatre not merely as a form of entertainment but as a vital tool for awakening political consciousness and inciting social change. Marxist theory, with its emphasis on class struggle and the exploitation of the proletariat by the bourgeoisie, provided Brecht with the intellectual foundation for what would become Epic Theatre.
Brecht’s Interpretation of Marxism in Theatre
Marxism critiques the capitalist system, arguing that it perpetuates a cycle of oppression and exploitation, where the ruling class (the bourgeoisie) maintains power and wealth at the expense of the working class (the proletariat). Brecht saw this class divide as a driving force behind many systemic issues and believed that Epic Theatre could serve as a platform to expose these inequities. His plays, therefore, are not merely stories of individual human experiences but are deeply rooted in socio-economic realities, challenging audiences to confront the systems of power that shape the human condition.
Capitalism as a Dehumanising Force
For Brecht, capitalism was a dehumanising force, reducing individuals to commodities and distorting human relationships. He rejected the psychological realism and naturalism prevalent in the theatre of his time, which he believed often served to obscure the broader economic forces that governed human lives. Instead, through Epic Theatre, he focused on depicting characters as products of their material circumstances, shaped and constrained by the capitalist system. Rather than portraying personal emotions or individual tragedies, Brecht sought to lay bare the mechanisms of economic control, encouraging audiences to reflect critically on the structures that influenced human behaviour.
Mother Courage and Marxism
One of Brecht’s most powerful explorations of Marxist theory is found in his work Mother Courage and Her Children (1939). Set during the Thirty Years’ War, the play follows the titular character, a shrewd businesswoman who profits from the conflict by selling goods to soldiers. Mother Courage is emblematic of Brecht’s Marxist approach—she is both a profiteer and a victim of the very war that sustains her business. This dual role underlines the contradictions inherent in capitalist systems, where individuals are often complicit in their own exploitation.
The Irony of Mother Courage’s Profiteering
Mother Courage’s relentless pursuit of profit at the expense of her own family highlights Brecht’s critique of capitalist values. Her inability to see beyond the immediate material gain blinds her to the devastating consequences of her actions, particularly the loss of her children, who are gradually sacrificed to the war. Brecht uses this character to expose the brutal realities of capitalism, where economic systems prioritise profit over human welfare. Mother Courage’s fate is a cautionary tale about the dangers of aligning oneself with an exploitative system, yet Brecht refuses to offer her as a tragic hero. Instead, she is a complex figure, a product of her circumstances, both complicit in and a victim of the capitalist system.
The Alienation Effect and Marxist Technique in Epic Theatre
Central to Brecht’s theatrical method is the Verfremdungseffekt, or alienation effect, a technique designed to disrupt the emotional engagement of the audience and prompt critical reflection. This approach is explicitly Marxist, as it seeks to draw attention away from individual characters and their personal struggles, focusing instead on the socio-economic forces at play. Brecht believed that traditional theatre, with its emphasis on emotional catharsis, distracted audiences from the realities of oppression and exploitation. The alienation effect counteracted this by creating a sense of distance, ensuring that audiences remained intellectually engaged rather than emotionally absorbed.
Breaking the Fourth Wall and Alienation in Mother Courage
In Mother Courage and Her Children, Brecht employed a range of techniques to achieve this alienation effect. By breaking the fourth wall, using placards to introduce scenes, and incorporating songs that comment on the action, he constantly reminded the audience that they were watching a constructed piece of theatre. This distancing effect prevented audiences from becoming too emotionally invested in the characters’ personal fates, instead encouraging them to critically examine the broader systems of power at work. Brecht’s goal was not to evoke sympathy for Mother Courage, but to provoke the audience into questioning the systems of war and capitalism that led to her tragic situation.
Material Conditions and Human Behaviour
Brecht’s engagement with Marxism is perhaps most evident in his portrayal of human behaviour as being shaped by material conditions. Drawing on Marxist theory, which argues that economic factors determine human consciousness, Brecht crafted characters whose actions are driven not by individual desires or psychological complexity but by the socio-economic structures in which they are embedded. In Brecht’s plays, the material world of economics, class struggle, and political power precede individual psychology, a hallmark of Epic Theatre.
The Good Person of Szechwan and Capitalist Contradictions
In The Good Person of Szechwan (1941), Brecht explores the moral contradictions imposed by capitalism through the character of Shen Te. A kind-hearted woman, Shen Te is faced with the impossible task of remaining good while trying to survive in a society governed by capitalist principles. To protect herself and her business, she creates a ruthless alter ego, Shui Ta, embodying the harsh reality that capitalism forces individuals to compromise their ethics in the name of survival.
Alienation and Moral Conflict
In The Good Person of Szechwan, Brecht employs alienation techniques such as interspersing songs and using direct narration to highlight the socio-economic pressures that force Shen Te into her moral dilemma. The audience is not invited to empathise with Shen Te’s plight on a personal level, but rather to question the structures that make it impossible for her to remain both good and economically viable. The play thus becomes a critique of the capitalist system, which Brecht presents as inherently contradictory and morally corrupting.
The Threepenny Opera: Bourgeois Hypocrisy
In The Threepenny Opera (1928), Brecht offers a biting satire of bourgeois morality and the capitalist values that underpin it. The central character, Macheath, is a criminal who thrives in a society where wealth and power are the ultimate measures of success. Through the character of Macheath and the corrupt world in which he operates, Brecht exposes the moral hypocrisy of a capitalist system that rewards exploitation and corruption while masquerading as a system of justice and fairness.
Songs as Marxist Commentary
Brecht’s use of song in The Threepenny Opera is a powerful vehicle for his Marxist critique. Songs such as “Mack the Knife” and “What Keeps Mankind Alive” provide scathing commentary on the greed and corruption inherent in capitalism. By incorporating songs in this way, Brecht disrupts the narrative flow and prevents emotional immersion, ensuring that the audience remains aware of the play’s political message. Far from mere entertainment, the music becomes a didactic tool, reinforcing Brecht’s Marxist themes and encouraging critical reflection.
Brecht’s Marxist Impact On Epic Theatre
Brecht’s integration of Marxism into his theatrical work transformed the role of theatre. His rejection of traditional forms of naturalism, his employment of the alienation effect, and his focus on exposing the economic and political structures that shape human behaviour all reflect his belief that Epic Theatre should be an instrument of social change. Brecht’s plays, through their innovative form and content, challenge audiences to confront the systemic nature of exploitation and inspire them to take action against the injustices of capitalism.
In Brecht’s view, theatre was not a passive experience but an active engagement with the world. Through his work in Epic Theatre, he sought to cultivate a politically conscious audience that would not only recognise the oppressive forces at play but also be motivated to change them.