Dramaturgy and Brecht's Political Theory in Die Mutter : The Mother

Lect. Shaima Nima Mohammad

Tourist Sciences Faculty

Department of Hotel Management

University of Karbala

Abstract

The current study deals with dramaturgy in Bertolt Brecht's political play Die Mutter The Mother as it shows his political theory which is clearly reflected throughout the whole play. The introduction prepares the study to the meaning of dramaturgy and the discussion of its strategies as well . It also discusses its relation to performance theory. The use of dramaturgy in political theatre and its effect come next to show how the dramaturgical structure can theoretically and practically be applied to political drama including serious drama and tragedy. Then , the study tackles the dramaturgy of Brecht's Die Mutter The Mother . The analysis of the play joins three levels : structure , narrative , and reason and emotion. Finally , the research paper ends with the conclusion which sums up the results as far as the subject is concerned.

Key Words : dramaturgy , performance , political theatre , structure , narrative , reason , emotion.

Introduction

It is clear that the titles of 'playwright ' and 'drama' take their root from the two words 'play' and 'drama' . Theatre is derived from the Greek word theatron or 'place for viewing' . This root meaning of the word theatre does not seem problematic at all. A clear adoption for the word 'theatre' appears as it is used by English language in order to give the meaning of 'audience view' while the performers perform their roles. The analysis or interpretation of a play text is also an activity that is occupied not with seeing performances only , but with seeing words on page as well. Reading , rather than seeing and experiencing a multidimensional form of communication becomes the dominant mode of reception . The most important challenge is the text which is isolated from performance. The job of the director , dramaturg , performer and so on is to interpret it from a practical point of view and to creatively enquire how the play text will be realised on a multitude of practical levels. The analysis of text away from performance probably should be limited and to take a broad view of the task . The view states that "one can argue that all dramatic works are , in some senses , open compositions".1 If a performance realizes the text in three-dimensional form , including all the nuances of direction, acting and design that support the writing , the task of the reader must therefore be a search for performance potential . This search relies on an understanding of theatre's immediacy as a performance language and its relationship to written text. Reading and analyzing text for performance is a creative process that can be honed and practiced.

In the last twenty years , performance theory and performance studies have emerged as a field arguably derived from theatre studies. The role of the audience has also been studied as it is potentially useful , particularly with some of the work that requires an audience to become actively engaged with performance. As for dramaturgy , its practice originates in the work of the theorist and playwright Gotthold Lessing in the mid eighteenth century when he has the attempt to employ a working model for a new German national theatre in Hamburg.2 Dramaturgy can be described by structure and composition of any play. As a term , dramaturgy describes an activity, that works on engaging composition with the dramatic work itself. In addition to structure , there are specific strategies should be applied to drama composition. The combination of structure and composition would of course affect theatre as a whole including audience. Shaping the dramaturgical work , the word 'dramaturgy' implies a connection with the real practice of the work structure. It is combined with an analytical process. Dramaturgy for Peter Reder , gives incidents and action temporal shape ; a process that presents a structure of activation for encoding and decoding meaning. He also stresses that dramaturgy is visualizing and embodying both structure and performance. Dramaturgy technically "emancipates and releases itself from an idea to paper through placing the idea into time and space , then giving it a body".3 Considering the information designation which is "not just temporal but also physical" , Tim Etchells emphasizes the inner dynamics along with the ontological tension inside elements which give complexity to performance. As it is suggested by Reder , dramaturgical work is "an art –form , not a science , far from being formulaic"4 .

To clarify the need for a dynamic and fluid conception of what composition means in the context of performance is more important than attempting to fix the meaning of a work only. Dramaturgy thus "tends to imply an observation of the play in production , the entire context of the performance event, the structuring of the artwork in all its elements : words , images , sound and so on."5 The process also requires the awareness of the fact "that theatre is live and therefore always in process ; it is always open to disruption through both performance and rehearsal."6 The tension between the fixity of concept and the fluidity of performance is illuminated by the reference to the ways in which the word dramaturgy has been used in other contexts.

Erving Goffman , for instance , uses the word to analyze people's social roles which result communicative behaviours in society where they can influentially interact with the world around and the audience too. The process joins the encounters with others which is considered to be scripts including words , gestures , and actions. It seems that scripts tackle the individual and social communications depending on structural patterns making the social order recognizable and referenced. These elements are socially and individually experienced as unique contextual events.7

Dramaturgy needs not only apply to dialogue and interpersonal relationship , but it can also apply to relationships with the world of the more-human world and objects. Architects relate dramaturgy to a building system where it is possible to apply the intended uses that are completed by events. For Bernard Tschumi , who is an architect , architecture can be "seen as the combination of spaces , events and movements … our experience becomes the experience of events organized and strategized through architecture."8 So , Tschumi's definition suggests a dynamic relation exists between the conceptual ideal space and lived space. He describes art of architecture as a practice that is dramaturgical by its own where one sets structure for provoking and enabling live happenings. Nick Kaye comments , "Tschumi provides for an architecture, or set of architectural relations always in performance."9 Hence , both Tschumi and theatre dramaturge have the same idea of performance architecture and architecture performance. To analyze Performance and dramaturgy requires an interchangeable process by which the first one implies an idea of unraveling the various strands of a product , while the second is very related to composition. Dramaturgy can be put as "someone who keeps the whole in mind"10.

Dramaturgy has changed as theatre and performance have changed through history. The history of theatre and drama has witnessed the definition of theatre by the play and dramaturgy has been defined according to play structure. Indeed play texts are often the most complete records of performances. However , one should remain aware of the limitations of the discussions of literary texts , words cannot be relied on for describing and predicting the dramaturgy of a theatre event. As Patrice Pavis assures , "the Performance must be considered as an independent occurrence, which cannot be explained as a realization of authorial or directorial intention. The dramaturgy of the play text is therefore something rather different from the dramaturgy of the play in performance which is always situated in space and time."11 Dramaturgies change with the world change , accordingly , the differences between the world that people inhabit and that of the performance.

Political Theatre 1.Dramaturgy and

Before delving into the political theatre , one must consider the term 'politics' . Politics can be recognized as "the important inescapable , and difficult attempt to determine relations of power in a given space"12. Related to performance , politics is not static , but a dynamic social process which means that "power or powerlessness is nothing in itself and only ever meaningful in terms of the distribution of power across social relations , among different groups or classes or interests that make up , however momentarily , a social body"13. Politics depends on the types of the power relations it supports. In terms of distribution of power , politics can be seen as authoritarian or democratic. While in the term of the economic system , it can be recognized as socialist , capitalist , communist , and feudalist. Once politics prioritizes the rights of the individuals , it can be seen as liberal and collective as it defines the rights of the group. It can also be thought as reactionary or progressive depending on whether it seeks to challenge or uphold the values of the existing social order.

As far as theatre of politics is concerned , a political play is a play which tackles political issues. It "presents or constructs a political issue or comments on what is already perceived as political issue".14 It manifests not only a simple content to discuss any political matter , but also a question the intention of which is political . A political play is used to "reshape the world along particular lines of development"15. The dramaturgs' job is initially to tune in and familiarize themselves with the director's ideas. Dramaturgy in political drama usually designs the shape of tragedy plays which discuss political regimes and powers , such as , Shakespeare's dramas : Julius Caesar , Hamlet , and Cleopatra.

The dramaturgical structures of serious drama also comes to be associated with the political play and the ideas that are related to the political characters themselves. The political character can be investigated through serious drama for it is the drama which people consider to be serious.

Post-war British political plays are divided into two modes : the reflectionist mode which "asserts that the main function of art and indeed theatre is to hold up a mirror to nature and to reflect reality as accurately as possible"16. The second mode is the interventionist which "asserts that , even if it were possible to reflect reality accurately , the task is futile , since it is the task of the artist and playwright to interpret reality and to challenge our perception of it"17. It has been seen that the interventionists are influenced by Brecht and the reflectionists are influentially interested in Ibsen's drama. As serious drama is not a specific form of drama , it validates particular forms of drama , such as , Ibsen's and Brecht's drama. This drama deals with the two modes on realistic basics.

The London Merchant , as an example , shows the serious presentation of material that is exclusively mercantile and bourgeois. The title of the play introduces the audience to a disastrous deviation from an ideal which seems to be "commercial cleanliness [that] is next to godliness"18 . The political implications of the play , though it is set in the Elizabethan era, reflect England current hostilities against Spain. The play also criticizes Walpole's foreign policies. This criticism is intended by Lillo to affirm and gratify the belief in the importance of trade. The merchant's conversation with his daughter touches the increasing identity of interest and advantage .Maria lacks the desired ambition to rise socially by getting married to one of the noble lords. As a tragedy The London Merchant is justified in the way that "the more extensively useful the moral of any tragedy is , the more excellent that piece must be of its kind."19 It is assumed that the play is a success for its avowed purpose which is headed "to the circumstances of the generality of mankind."20 The middle class of society give their approval to this play since it discusses their life issues. The play turns the focus from nobles and kings to the tribulations of a humble apprentice. The dramaturgy of the play sets a plot tells the story of George Barnwell , an apprentice , who is seduced by a London prostitute , Sarah Millwood. She makes Barnwell give her an access to the wealthy and successful merchant Throrowgood's money , Barnwell's boss. The apprentice steals the money for his mistress , but , later on Barnwell blames himself for this betrayal . Thus , he breaks up with her , however , she again manages to restore the relationship with her victim. He believes her lies and helps her by stealing money again. She controls him and involves him in the his uncle's murder. Finally , Barnwell is sentenced to death and Millwood blames society for becoming an evil , yet she shows no regret for what she has done. Morality in the theatre is an important issue and the moral behavior is required by the tragic and serious characters.

2. Brecht's Political Theory in the Dramaturgy of Die Mutter

Bertolt Brecht defines political theatre by both form and content emphasizing the new structures in theatre which need to deal with reality of modern socio-economic systems. The transformation in Brecht's theatre strengthens the relation of spectators to the action on stage so that change can identify the way and material of their thinking . Cultivating the audience critical attitude is based on Brecht's theatre destruction of the illusory fourth wall which isolates them from the performance of the play. Epic theatre requires its dramaturgy , its performance , and its actors to preserve the political awareness in addition to the critical quality of this theatre. Characters should be presented on stage to make the audience think and rethink instead of overwhelming themselves in their parts.

In his play Die Mutter : The Mother , which is written in 1931 in collaboration with Elisabeth Hauptmann and other writers , Brecht shows his scheme through the transmutation of Pelagea Wlassowa who is an apolitical Russian widow , into a revolutionary character with effective and dynamic functions. In the first scene, this widow has her own depression for Pawel's , her son , salary has been stopped where she stands helpless to find solution for the crisis . In Scene Two , Pawel and his fellows prepare strike leaflets against the political systems. The mother feels doubt and suspense about this political action , therefore, she reacts with hostility towards her son's colleagues. However , Pelagea decides to take care of this burden for ensuring her son's protection . In scene Three , Wlassowa skillfully escapes the leaflets into the factory watching the arrest of police which instigates her curiosity. Scene Four presents her as she is debating the revolutionaries , she defeats her suspicion when she understands their real goal. The mother accedes the strikers' May Day demonstration in scene Five. When Smilgin , one of the revolutionary workers, wears the flag , the police kills him. Pelagea's political activity is contradicted by her political outlook which is thus settled in the revolutionary commitment of the strike. Wlassowa consequently becomes an independent revolutionary participant in the strike , in the meantime , her son is in prison. In the sixth scene , she lives with the bourgeois teacher Nikolai Wessowtschikow , the bourgeois teacher and Pawel's friend Iwan's brother when she has been expelled from her house. She socializes her new neighbors and convinces them to adopt Communism . She and Nikolai volunteer to teach them writing and reading skills so that they can later on write their own leaflets. The mother's new political activity continues and she visits her son in the prison asking him about the peasants of the countryside who can support and the strike in their area. In scene eight , she herself delivers the propaganda to them and persuades the butcher to join the strike. In the last scenes , the mother witnesses the last joyful encounter with her son and she goes on fulfilling the strike till she is informed of her son's death. Regardless her sorrow , Wlassowa goes on practicing the political struggle against rent prices and superstitions. Wlassowa's struggle also includes the First World War. Finally , she battles her illness , in the meantime , she is rewarded by leading one of the demonstrations in the Revolution of 1917.

The selective adaptation of Brecht inthe play dramaturgy shows the pre-revolutionary Russia's real situation and the Weimar Republic concentrating on serious topical issues , such as , wage cuts , strikes , and police brutality. The play addresses significant political issues and summons revolution as the only available solution for problems of Germany's socio-economic system. The setting serves the indirect political criticism of Germany. Brecht transforms the Russian revolutionary experience as a warning for the possibility of having revolution against the German political regime.

Traditionally ,The dramaturg chooses the plays for a theatre's production , giving adaptation and reshaping these plays ; sometimes to advise the actors and the director about the historical considerations as well . All of these things are done by Brecht instantly. He magnifies the role of the dramaturg in the collective of the theatrical company. It has been confirmed that Brecht is a playwright , dramaturg , and director:

Brecht eliminated the succession of tasks that had developed .Through occupational specialization in bourgeois theatre. First , through his own person. He was a playwright , dramaturg , and director. Sometimes also a composer and stage designer. The stage designers , composers , and the dramaturgs worked together from the outset on the scenic realization of the story.21

As a dramaturg , Brecht's experience has three phases : in 1923 , Brecht plays a more-or-less conventional role in Munich , then he joins Piscator's collective dramaturgical structure in Berlin in 1927 , then finally he himself sponsors a group of dramaturgy training in East Germany from 1949 to the end of his life. He is , on the other hand , democratic , adaptable , famous , dominant , and politically favored leader whose productions have been shaped as far as his own inclinations and theory are concerned. Interplay with the action in its dramatic setting shows the effect of the play. The stylized opening monologue by Wlassowa tells strong epic elements , for example , it has a replacement for the exposition of traditional dramatic forms through using dialogue , and it also directly introduces the name , age , social position , and plight of the heroin . A strong dramatic dimension can be attainable as well : the character's narration includes her own plight by the first person speaker , within the dramatic setting of her home . As for the audience , she deals with them as being her collective. The monologue , for Brecht , should suite the dramatic action of the dramaturgy that he follows in the play.

Brecht's textual changes in Die Mutter shift the political focus from Nizhni-Novogord in 1902 to Berlin in 1932 , so that the play engages closely with the German Left revolutionary discourse . The play's opening scene has been introduced and dominated by the link between wage cuts and the subsistence crisis: "The Mother: … I cannot put any more fat in it , not half a spoonful. For only last week one kopeck per hour was cut from his wages, and nothing I do can make up for it….Mascha argues that only revolution can solve domestic hardship: Mascha : You must overturn the whole state. From top to bottom Until you have your soup." (The Mother , pp. 263-267).

One finds that hunger is caused by politics which is something observed even by the police inspector as he calls "the almost empty dripping-pot political". (The Mother , p. 268).The subject is treated by Brecht skillfully in order to be "corresponded closely to the coverage in the KPD newspaper Die Rote Fahne (The Red Flag) , which reported regularly on falling wages and rising prices , emphasizing their impact on domestic life in articles aimed at women , whom the KPD was particularly keen to recruit."22

Brecht has expanded argument of Gorky for industrial action in two key regards. In the eighth scene , he contains the peasants' strikes , which are more potential to attract the urban spectators than the description that is introduced by Gorky about the obstacles of winning the battle against peasants. Die Rote Fahne's reports, In 1930, tell facts about similar strikes have happened the countryside and about the troubles that farm workers may have faced. Brecht has also substituted , in Scene Three , Karpow , who is a reformist , for the factory director of Gorky in confronting revolutionaries. This enables Brecht to use , such another major concern of the KPD as the fight depiction against reformism ; which is a chief adversary for the reformist Social Democratic Party SPD. Paul Brand , a communist reviewer , recognizes that Karpow represents the regularly derogated SPD Trade Unionist Fritz Tarnow by KPD. Pawel states : "So capitalism is sick , and you are the doctor." (The Mother , p. 275). This speech has a reference to another speech at the SPD conference in June 1931 , where Tarnow claimed that the SPD stood at capitalism's sickbed: "We are condemned both to be the doctor , who has a serious desire to heal , and none the less to feel that we are heirs who would prefer to take possession of the entire legacy of the capitalist system today rather than tomorrow."23 The KPD has been outraged by this statement because it renounces the view that the proletariat is the bourgeoisie's gravedigger and the adherence to revolution. Thus , Brecht's changes compact fully with the policy of Party. It is obvious that Brecht , later on and unlike the KPD, has viewed reformists differently. Brecht characterizes Karpow as being honorable and source of change instead of being opportunistic and irredeemably selfish. In the version that has been performed at the premiere , specifically, Scene Three ; Karpow's arrest comes for his refusal to betray Wlassowa and delivers her to the factory police (The Mother , p.277). He , therefore , decides to join the revolutionaries' demonstration , and then is killed by the police . It is a solution which portrays one of major enemies against the Communists as a revolutionary martyr.

2.1 Die Mutter: Dramaturgy through Structure

Dramaturgy shapes the activation of dramatic structure for decoding and encoding meanings. Hence , the dramatic structure that Brecht presents in Die Mutter or The Mother builds its elements through a series of complex dramatic and epic techniques. The existence of each scene relies on the next ; in Scene One and Scene Two , the songs , for instance , break the action stream and provide an obvious political commentary. Scenes One to Five take the preparations for the demonstration of the reported events , and then Scenes Six to Eight propose the depiction of the immediate aftermath , as Wlassowa settles in another place , gives visits to Pawel in prison , and gives leaflets to the revolutionary workers on his behalf. The action develops in Sprungen after Scene Eight , meanwhile , Brecht creates vital episodes taken from Wlassowa's biography , such as , the short reunion with her son , the outbreak of war , and the revolution uprising. A similar chronological shift happens towards montage where the action of Scenes One to Four occurs within twenty four hours , while over a longer period of weeks or months is what the action in Scenes Five to Eight needs , at the same time , gaps in time can be founded in the later scenes which extend even to several years.

Furthermore, the dramatic cohesion of the play can be grasped through the historical chronology and the narrative learning . This is used as a link for the individual episodes in a communicative way. Wlassowa's appearance in almost all of the scenes increases such cohesion alongside with the structural parallels in these episodes. The episode as Wlassowa is seen watching how leaflets are printed by Pawel in Scene Two is reversed in Scene Nine , and the ultimate demonstration parallels the demonstration in Scene Five. (The Mother , pp. 266-267 , 305-306 , 323-324 , 281-284).

2.2 Die Mutter: Dramaturgy through Narrative

As a part of dramaturgy ,the effect of narrative technique in Die Mutter can be achieved by functioning a reliable interplay to the dramatic action. Strong epic elements are obvious in Wlassowa's stylized opening monologue. There is a replacement for the exposition of traditional dramatic incidents through dialogue ; a presentation for the heroin's name , age , social position , and plight directly. Within the dramatic setting of Wlassowa's home , the character tells her own plight using the first person pronoun , and gives her narrative to the audience by asking : "What can I , Pelagea Wlassowa , 42 years old , the widow of a worker and mother of a worker , do?" (The Mother , p. 263). The combination of these epic and dramatic elements refers to the fact that the influence of monologue depends on the political beliefs of spectators and the approach that is adopted by the actress.

Brecht challenges contemporary dramatic convention by his narrative techniques in the demonstration scenes. Using past tense , Wlassowa's revolution fellows report direct incidents to the audience. This technique heightens the importance of demonstration in the spectators' awareness because Pawel announces Karpow as though to a historical tribunal , recording his service to the movement , his social class , and the exact time of his martyrdom , which appropriately occurs on the Saviour's Boulevard: "Pawel 15 years in the movement , worker ,revolutionary , on 1 May 1900, at 11 o'clock in the morning on the corner of the Saviour's Boulevard , at the decisive moment." (The Mother , p. 283) .

Shifting to the present tense , Brecht signals a flashback start , a well-known cinematic technique:"( Karpow ) Now I stand here , behind me there are already many thousands , but in front of us stand the armed forces once more. Should we surrender the flag?" (The Mother , p. 283).

The actor who plays Karpow's role reports his presence throughout the past-tense , while the flashback reveals this character's death during the event. Karpow uses the present tense during the flashback , whilst , his comrades mix the present-tense direct speech with past-tense narration , in an attempt to alternate between the second and third persons: "Anton. Don't surrender it , (Karpow) ! Negotiations don't work , we told him , and the Mother told him…" (The Mother , p. 283). The combination of the report with the flashback leads this part of the scene to operate on two levels of dramatic space and time on stage.

2.3 Die Mutter: Dramaturgy through Emotion and Reason

Emotion is used in Die Mutter for agitational purposes. The spectator's anger is aroused by the search of house in Scene Two and death of Karpow in Scene Five ; as it has been reported by Kurt Kersten in the left wing : "It makes your blood boil " 24. Moreover , after workers' refusal to the leaflets of Wlassowa at the street corner , Brecht recalls sympathy of his audience to emphasize their positive respond to Wlassowa's arguments , unlike the workers who clearly do the opposite. The selective use of emotion by Brecht's use of selective emotion has been eliminated from the sentimentality of Gorky's novel sentimentality and the Stark-Weisenborn adaptation of Gorky's admirers' disappointment . As Gorky's character Wlassowa abandons herself to incomprehension , Brecht's Wlassowa asks detective questions and rejects the nonsense of the revolutionaries. On the other hand , the Stark –Weisenborn version shows Wlassowa's inaccurate language which reflects her lack of confidence: "Mother (softly) Marja says , tomorrow I am to sell … food … in the factory yard at lunchtime. Tomorrow in the factory yard I could … also … (breathless silence) deliver the leaflets … well … perhaps … I mean … ' Stark and Weisenborn," (The Mother , p. 70) .

As far as reason is concerned , Die Mutter also reinforces the power of reason to enlighten the revolution and attracts the workers' attention to the necessity of revolution. In fact , the whole play utters reasonable motivations for the importance of revolting against the political system.

Conclusion

Brecht's dramaturgy is subject to the spectator's consciousness and his capacity to cope with the composition and performance of Die Mutter. The spectator , here , is led to self identification and to let himself be swept into the mother's speculation for the workers' strike. As a great work , Brecht's play is considered to be a radical criticism to the evil political regime. The performance of the play proves to the audience the strong profound criticism and the creation of that kind of theatre without alienation which , in Brecht's political theory , is pointless. The playwright's revolutionary political theory indicates the coincidence of his thought with the great progressive themes of radical change. He discusses the fact that common people suffer from the silence of the majority towards the political corruption. Brecht emphasizes changing the world through art , in general , and theatre , in particular , which both should intervene in history. For him , people must not merely adopt an art of expression but rather an art of explanation ; that theatre has to participate in history by revealing its movement. Society should also allows the invention of art which will be responsible for its own deliverance and acceptance. Brecht's ideas are naturally raised as provocative problems and resistances at the same time in an argumentative country like Germany.

Characterization plays a decisive role in the combination of dramaturgy and performance in Brecht's political theory as far as his play , Die Mutter , is concerned. Wlassowa , the mother , rejects her son's perspectives for having revolutionary strikes wage system. However , the mother follows the stream of strikes in order to save her son who is lately imprisoned , and finally she finds herself a leader for a great revolution. The characterization of the play embodies a Russian political experience which is taken by Brecht as a motivating copy for the need of the same revolution must be adopted in Germany. His manipulation of characters and events leaves the authority , for the audience, to be practiced.

Brecht applies his dramaturgy as it interweaves the narrative , structure , reason , and sentimentality of Die Mutter. The dramatic structure activates the dramaturgy of the play for encoding and decoding meaningful messages. Narrative , as a part of dramaturgy , shapes an interaction with the dramatic action of the play. As for reason and sentimentality , Die Mutter invites the audience's sympathy through the reasonable presentation of the ideas on stage , and to provoke the process of thinking and rethinking by them. Attention must be drawn towards the necessity of raising the revolution.

End Notes

1Cathy Turner and Synne K. Behrndt (eds.) , Dramaturgy and Performance. Basingstoke : Palgrave Macmillan , 2008 , p.35 .

2Mary Luckhurst . Dramaturgy : A Revolution in Theatre .Cambridge : Cambridge University Press, 2006 , p. 24.

3Cathy Turner and Synne Behrndt. Dramaturgy and performance: Theatre and Performance Practices .Macmillan International Higher Education , 2016 , p.4.

4Ibid.

5Ibid. , p.5.

6Ibid.

7Greg Smith. Erving Goffman : Key Sociologists .Routledge ,2006 , p.44.

8Bernard Tschumi. Architecture and Disjunction .MIT Press , 1996 , p.181.

9Nick Kaye , Site-Specific Art: Performance , Place and Documentation . Routledge , 2013 , p. 52.

10 Magda Romanska , Routledge Companions: The Routledge Companion to Dramaturgy . Routledge , 2014 , p. 173.

11Patrice Pavis. Analyzing Performance : Theatre , Dance and Film , translated by David Williams . Ann Arbor : University of Michigan Press , 2003 , pp. 21-23.

12Joe Kelleher. Theatre and Politics .Macmillan International Higher Education , 2009 , p.2.

13Sarah Grochala. The Contemporary Political Play : Rethinking Dramaturgical Structure .Bloomsbury Publishing , 2017 , p.4.

14A. Kritzer . Political Theatre in Post-Thatcher Britain: New Writing , 1995-2005 .Springer ,2008 , p.10.

15Chistoph Kruger. The Plays of Harold Pinter: From Absurdism to Political Drama? Tectum Wissenschaftsverlag , 2011 , p.35.

16Michael Patterson. Strategies of Political Theatre: Post-War British Playwrights .Cambridge University Press , 2003 , p.15.

17Stratos E. Constantinidis , ed. . Text and Presentation , 2004 .McFarland , 2009 ,p.211.

18Anne McKinney , ed. . Real Business Plans and Marketing Tools: Including Samples to Use in Starting , Growing , Marketing , and Selling Your Business .PREP Publishing , 2003 , p.49.

19Gail Kathleen Hart. Tragedy in Paradise: Family and Gender Politics in German Bourgeois Tragedy , 1750-1850 .Camden House , 1996 ,p.26.

20Marcus Nevitt and Tanya Pollard , ed. . Reader in Tragedy : An Anthology of Classical Criticism to Contemporary Theory .Bloomsbury Publishing , 2019 , p.107.

21Manfred Wekwerth. Brecht? Berichte , Erfahrungen , Polemik. Munich: Hanser , 1976 , p.148.

22'Was Sollen Wir Essen?' , RF , 15 Aug. 1929 ; anon. , 'Teuerung Teuerung!' , RF, 24 Nov. 1929.

23 Sozialdemokratische Partei Deutschlands , Protokoll uber die Verhandlungen des Parteitages .Berlin: J.H. W. Dietz Nachfolger , 1931 , p. 45.

24Kurt Kersten . ' Die Mutter ' . Die Welt am Abend , 18 Jan. 1932.

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