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Book Title: The Good Woman of Setzuan|
The author of the book: Bertolt Brecht
Date of issue: January 1st 1966
ISBN 13: 9780394171098
Format files: PDF
The size of the: 856 KB
Edition: Grove Press
Read full description of the books The Good Woman of Setzuan: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
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
Read information about the authorBertolt Brecht (born Eugen 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.
Bertolt Brecht (1898-1956), nació en Augsburgo. El enorme éxito de La ópera de tres peniques en 1928, y su activismo político le convirtieron en un personaje polémico y famoso. En 1933, en EEUU, escribió Terror y miseria del Tercer Reich (1938), Madre Coraje (1939
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