Empathy in Brechts The Good Person of Szechwan and Mother Courage and

Little Empathy in Brechts The goodish Person of Szechwan and Mother Courage and Her ChildrenBrecht is very successful in creating a form of drama where empathy plays small(a) part. In The Good Person of Szechwan it would face that every action and word is an attempt to alienate us and layover any identification wholeness may chance to make. The indiscernible drug abuse of names for characters exaggerating the oriental sound of them is immediately noticeable i.e. Wang, Shin Sun, Shen Te, Shu Ta, etc. in that respect is also the use of language and intonation in relation to others disclosure personality and social position, which comes in the form of oriental bows. Many of these gestures argon already to be found in Asian theatre. Brecht calls it the social gestus. Songs also kick downstairs the plot, but it is not the frame of bursting into song which one finds in musicals. The music itself sounds sometimes out of tune and there is an offbeat that one would find problematic to tap ones foot to so one cannot become involved or relate to the music, although songs from The Threepenny Opera became very popular. The moon macrocosm likened to green cheese as a slur on societys belief in a child of get-go birth will inherit the earth and The Song of the Eighth Elephant when there be really only seven anticipates the underhand actions of Sun who represents a topic of people in society who destroy others welfare for their own individual interest. All these songs are successful in alienating the audience and view a similar message the impossibility of a society being saved by an individual. Brecht strives to create a drama in which empathy plays little part by drawing ones attention away from any kind of identification one might make, particularly with... ... our own society and one wishes to challenge it. One is actually allowed to come to ones own conclusions freely and critically particularly through the eyes of the overwhelmed Shen Te who has to inve nt a unkind cousin for herself who can save the business by applying the cruel laws of the market. except I find myself slightly swayed by sub-themes which do hint a little at identification and emotion. Works Cited Brecht, Bertolt. Mother Courage and Her Children. Worthen 727-751. Brecht, Bertolt. poised Plays. London Methuen, 1970.Benjamin, Walter. Conversations with Brecht. Understanding Brecht. Trans. Anna Bostock. London New Left Books, 1973. 105-121.Brecht, Bertolt. Brecht on Theatre. Ed. and trans. buns Willett. New York Hill and Wang, 1992. Worthen, W.B. ed. The Harcourt Brace Anthology of Drama. 3rd ed. Toronto Harcourt, 1993.