Brechts Theatre:

An Overview of Epic Theatre in

The Threepenny Opera,
The Good Woman of Setzuan,
and Man Equals Man
Joshua Lellis
Lellis -
Bertolt Brecht is perhaps the most important figure in twentieth-centur theatre
other than !tanislavs"i# Brecht revolutioni$ed a variet of theatrical aspects: te%t, design,
acting, directing, dramaturg and theor# The &est wa to e%amine Brechts influence on
modern theatre is to stud his plas and note how his views on theatre, and, more
importantl, on the world as a whole, manifest themselves through his wor"# Brecht
wanted a revolutionar theatre'a theatre that would appeal to an audiences intellect
rather than pander to an audiences emotions# (e wanted an audience to thin" a&out the
human condition and situation rather than to have an emotional catharsis#
Brecht was &orn in Augs&urg, )erman, on *e&ruar +,, +-.- /0illett, p# +12#
Brechts earl plas, such as Baal, were e%pressionistic e%periments which were episodic
in structure and dealt mostl with mood and te%ture rather than plot# (e wor"ed closel
with Erwin 3iscator, the original mastermind &ehind 4epic theatre5, which is a term now
firml associated with Brecht# The epic theatre involved the use of pro6ections, film
segments, and placards which told the stor of the pla /0illett, +,.2# Throughout his
life, Brecht fleshed out and e%panded on these scenic ideas and acting techni7ues# Brecht
approached realistic dramatic theatre forms as o&solete and considered the epic theatre to
&e the theatre of the future# 0hereas the traditional dramatic theatre focuses on
characters psches, e%periences, and conflicts with plots that &uild toward inevita&le
emotional clima%es, the epic theatre is narrative, has fle%i&le characters whose actions
var depending on their circumstances, and promotes rational and intellectual thought
over feeling# /Brecht on Theatre, p# 812# Brecht argued that the 4)esamt"unstwer" /or
9integrated wor" of art25 /812 was a horrendous idea since it is 4intended to produce
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hpnosis5 /8-2# The creation of a !tanislavs"ian 4slice of life5 onstage would &e the
antithesis of Brechts goals#
;n +.8., Brecht fled <a$i )erman the night after the =eichstag fire and went
into e%ile in !candinavia# ;n +.>+ Brecht tre""ed across =ussia and settled in Los
Angeles# (e was 7uestioned & the (ouse ?ommittee of @namerican Activities in +.>1,
and returned to Berlin, where he set up the Berliner Ensem&le, the group that would &ring
international fame to his theories#
;t is integral to the e%amination of Brechts development as a plawright to loo"
at a cross-section of Brechts wor": Man Equals Man /+.:A2, which is more
e%pressionistic than his later wor"s, The Threepenny Opera /+.:-2 which focuses on the
corruptness of capitalist societ and &rought his initial fame, and The Good Woman of
Setzuan /+.>,2, which is an e%cellent e%ample of his more comple%, later wor"#
Man Equals Man is one of Brechts earl wor"s# The pla is set in ;ndia after the
first 0orld 0ar, though Bueen Cictoria is mentioned during the pla as &eing the
monarch on the throne# /Brechts historical anachronisms are intentional and elemental to
the epic theatre concept of alienation#2 *our British soldiers ro& an ;ndian temple# One
of them, Jeraiah, is left &ehind during the escape# Afraid of getting caught, the three
soldiers threaten an ;rish porter, )al )a, and force him to pose as Jeraiah# The give
)al Jeraiahs papers and )al is graduall reconstituted into the perfect soldier: he
loses his own identit, delivers his own eulog, and turns awa Jeraiah toward the end of
the pla with his own papers# The pla clima%es with )als solo destruction of a
fortress, which indicates his attaining the status of the perfect soldier# (e transforms
from a simple man, or for Brechts purposes an Everman, into the ideal soldier#
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The Threepenny Opera is the wor" that &rought Brecht his initial fame# ;n circa
+.,, London, a small-time croo", Dr# 3eachum, who runs a &usiness outfitting &eggars,
is outraged that his daughter has married the criminal Dacheath, or Dac" the Enife#
3eachum, eager for revenge, attempts to get Dacheath arrested, &ut Dac" flees#
Dacheath is in cahoots with Tiger Brown, the police chief, who has destroed
Dacheaths criminal record# Drs# 3eachum, however, is determined to have Dacheath
arrested# Dacheath flees to a &rothel, where he is &etraed and arrested# (e is then
freed & an e%-lover, recaptured again, and a&out to &e hung when the Bueen pardons
him# Dacheath is forgiven of his assaults, murders, and ro&&eries, given a no&le position,
and allotted ten thousand pounds per annum & the government#
;n The Good Woman of Setzuan, three gods have descended to earth in order to
6ustif their e%istence & finding one good person# The spend the night at a poor
prostitutes home, !hen Te, and give her mone the ne%t morning# 0ith her new wealth,
she &us a to&acco shop, and, almost instantl, discovers that people want mone from
her# !he is constantl &om&arded with re7uests for mone and food, and since she is a
good person she is una&le to turn people awa# !he creates an alter-ego, her cousin, !hui
Ta, in order to run the shop as a &usinessman# !hui Ta is a cruel individual and she finds
that she has to &e him more and more in order to survive# !hen Te is pregnant & Fang
!un, her lover, though she has accepted mone from another man, !hu *u, and has set up
a to&acco factor# Fang !un is appointed as manager of the factor, and !hui Ta appears
more and more to aid !hen Te until she no longer appears# Fang !un accuses !hui Ta of
murdering !hen Te and !hui Ta is put on trial# The three gods, wear from tring to find
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other good people, return to act as 6udges# The cannot reconcile that !hen Te has to act
cruell in order to survive, and the pla ends with !hen Te screaming out in vain for help#
Brecht is ver concerned in these three plas a&out the human condition# Brechts
characters are painted with wide &rushstro"es, intended to &e recogni$a&le to an audience
instantaneousl# At the same time, however, Brechts characters are distinct and are not
necessaril stoc" characters# Brecht is interested in how individuals implement their
&eliefs# (e loves to compare what the sa with what the do# Emotions are not as
important as ideolog and action# Brecht does not care what drives Dacheath to crime
and womani$ing# Brecht is fascinated with Dacheath the character as the archetpe
capitalist and how Dacheath is a&le to e%ploit people without fear of punishment for the
in6ustice, or in the plas terms, perform murder and theft without an conscience#
Brechts interest las in Dacheaths position as a hero and how societ rewards what
should &e condemned# An infamous murderer a&out to &e e%ecuted, he is pardoned &
the arrival of a mounted messenger who states:
B=O0<: GOn the occasion of her ?oronation, our )racious Bueen commands
that one ?aptain Dacheath shall at once &e released# /All cheer#2 At the same
time he is raised to the permanent ran"s of the no&ilit# /Cheers#2 The castle at
Darmarel and a pension of ten thousand pounds a ear are his as long as he shall
liveG
DA?(EAT(: A rescueH A rescueH ; was sure of it# 0here the need is greatest,
there will )ods help &e nearest#
/The Threepenny Opera, Act Three, !cene Three, p# .I2
;f this &ehavior is rewarded, or even glorified, Brecht seems to as", what does this sa
a&out our societJ ;t turns everthing tops-turv if evil is rewarded# ;n Brechts
characteri$ation of Dacheath as the ultimate capitalist, Dac" considers his desire and will
to &e 4good5 instead of depraved# (e is the pinnacle e%pression of selfishness that
manifests itself through the capitalist sstem#
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!hen Te is in a similar situation: she is revered as a wonderful e%ample for all to
follow, &ut at the same time she must &e ruthless in order to survive# 3eople ta"e
advantage of her generosit'an entire famil of eight moves into her shop almost
immediatel after she &us it# As the *irst )od sas, 4no one can &e good for long if
goodness is not in demand#5 /Good Woman of Setzuan, +a, p#:82# !he needs an alter-ego
of ruthlessness in order to survive# Brecht is interested in the dualit of the character and
of the dialectic that is created: 4(ow can one &e good when societ forces one to &e
&adJ5 (e writes in the plas epilogue:
?ould one change peopleJ ?an the world &e changedJ
0ould new gods do the tric"J 0ill atheismJ
Doral rearmamentJ DaterialismJ
;t is for ou to find a wa m friends,
To help good men arrive at happ ends#
You write the happ ending to the plaH
There must, there must, theres got to &e a waH
/Good Woman of Setzuan, epilogue, p# ++82
The 7uestion Brecht &rings up throughout his wor" and the 7uestion which he wants the
audience to as" themselves is: 4(ow do ou reconcile our ideolog with the need for
7uotidian actionJ5 Brecht encourages the audience to e%amine themselves and their
societ and to modif what the find wrong#
;f Dacheath and !hen Te are well-fleshed out characters, then )al )a is the
other e%treme# Man Equals Man is ultimatel a&out sociali$ation and how societ,
represented & the soldiers, manipulates an individual to act how the want him or her to
act# Brecht writes in an interlude:
(err Bertolt Brecht maintains man e7uals man
'A view that has &een around since time &egan#
But then (err Brecht points out how far one can
Danoeuvre and manipulate that man#
Tonight ou are going to see a man reassem&led li"e a car
A
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Leaving all his individual components 6ust as the are#
/Man Equals Man, ;nterlude, p#8-2
@ltimatel people are falli&le in Brechts view of the world# 3eople are easil swaed to
&elieve:
JE!!E: The world is dreadful# Den cannot &e relied on#
3OLLF: The vilest and wea"est thing alive is man#
JE!!E: GThis man whom we too" under our wingGis li"e a lea" oil can# Fes
and no are the same to him, he sas one thing toda and another tomorrow#
/Man Equals Man, +,, p# A>2
The ne%t important theme which runs through all of Brechts wor" is the evil of
capitalism# ?apitalism is viewed negativel & Brecht as degrading the human condition
and human nature# ?apitalism is the cause of in6ustice, povert, and the differences
&etween the classes# This proposition is especiall interesting when one loo"s at
Threepenny Opera, and specificall 3eachums character# 3eachum ma"es his living &
outfitting &eggars, allotting them a specific area of London in which to &eg, and then
ta"ing 4fift percent of the wee"l ta"ings# ;ncluding outfit, sevent per cent5 /The
Threepenny Opera, Act One, !cene One, p# -2# 3eachum is the most despica&le of
capitalists, e%ploiting the poorest of the poor for his gain# 3eachum uses the standard
goodness of people to pre on their smpathies:
3EA?(@D: These are the five &asic tpes of miser &est adapted to touching the
human heart# The sight of them induces that unnatural state of mind in which a
man is actuall willing to give mone awa#
Outfit A: Cictim of the 3rogress of Dodern Traffic# The ?heerful ?rippleG
Outfit B: Cictim of the Art of 0ar# The Trou&lesome TwitcherG
Outfit ?: Cictim of the ;ndustrial Boom# The 3itia&le Blind, or the (igh !chool
of the Art of BeggingG
Outfit E: Foung man whos seen &etter das, prefera&l one who 4never thought
he would come down to this#5
/The Threepenny Opera, Act One, !cene One, p# +,2
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3eachum e%ploits &oth his wor"ers and his fellow citi$ens smpath, all in the interest of
profit# 3eachum states that he figured out 4how to e%tract a few pence from our Kthe
&eggarsL povertG: that the rich of the earth indeed create miser, &ut the cannot &ear
to see it#5 /The Threepenny Opera, Act Three, !cene One, p# 1:2# 3eachum is vividl
aware of the plight of the poor, and he e%presses 7uite &eautifull, as a mouthpiece of
Brecht:
3EA?(@D: GFouve forgotten the monstrous num&er of the poor# ;f the were
to stand there in front of the A&&e, it wouldnt &e a ver cheerful sight# The
dont loo" ver niceG Fou sa the police will ma"e short wor" of us poor
people# But ou dont &elieve it ourself# 0hat will it loo" li"e if si% hundred
poor cripples have to &e "noc"ed down with our truncheons &ecause of the
?oronationJ ;t will loo" &ad# Enough to ma"e one sic"#
/The Threepenny Opera, Act Three, !cene One, p# 1A2
Brecht follows through with this &it of dramatic iron, since 3eachum is using the
&eggars for his own financial gain# Brechts point, however, is made: if the rich and the
&ourgeoisie were e%posed to the poor, the would &e motivated to act# ;f people are
"nowledgea&le, the would utili$e the information# This notion is what drives Brechts
theatre: that people can &e changed and that theatre can &e didactic#
There are two devices in Brechts structure of his plas that are of the utmost
importance in understanding his drama: the use of the narrative placards and the use of
songs# Of the three plas, narrative placards are onl used in The Threepenny Opera#
The placards are displaed at the &eginning of a scene in order to tell the audience e%actl
what is going to happen in that scene# ;n doing this, the audience loses the tension and
e%citement of discovering what will happen ne%t in the pla# *or e%ample, in Act Two,
!cene Two, of The Threepenny Opera, the following narrative is shown: 4T(E
?O=O<AT;O< BELL! (ACE <OT FET =@<) O@T A<M DA?E;E T(E E<;*E ;!
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AL=EAMF ADO<) (;! 0(O=E! AT 0A33;<)# T(E );=L! BET=AF (;D#5
/The Threepenny Opera, Act Two, !cene Two, p# >.2# Brecht &elieves that 4thin"ing
about the flow of the pla is more important than thin"ing from !th!n the flow of the
pla5 /The Threepenny Opera, <otes, p# ..2#
The other important element in the structure of Brechts plas are songs, which
are used throughout the plas generall in one of two was: to drive the action forward or
to stop the action completel# @suall the purpose of the song is the latter, though
sometimes the song can &e relevant to the pla# An e%ample of the song &eing relevant is
in Good Woman of Setzuan, when !hen Te sings the !ong of Mefenselessness, e%pressing
her conflicting nature &etween wanting to &e good and help people and the need to use
people to survive:
Oh, wh dont the gods do the &uing and selling
;n6ustice for&idding, starvation dispelling
)ive &read to each cit and 6o to each dwellingJ
Oh, wh dont the gods do the &uing and sellingJ
She puts on S"#$ TA%s mas& and s!n's !n h!s (o!ce#
Fou can onl help one of our luc"less &rothers
B trampling down a do$en others#
/The Good Woman of Setzuan, >a, p# I82
;t is also an interesting indictment of the religious communities of the world# =eligion
comes into the same conflict that !hen Te comes into when capitalism is &rought into the
picture# The desire to help people is there, &ut it is difficult to follow through on that
will# Brecht also &rings up the notion that one can 4onl help one of our luc"less
&rothers N B trampling down a do$en others5 /The Good Woman of Setzuan, >a, p# I82,
the idea that capitalism is &uilt on top of average wor"ers# The individual at the top must
have hurt some people in order to attain a position from which she ma help others# ;t is
a comple% issue, even the po!nt of the pla, summed up in a concise si%-line verse#
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The Threepenny Opera also has relevant and irrelevant songs# *or e%ample, the
!econd Threepenn-*inale is e%tremel relevant to the action of the pla# Both Dacheath
and 3eachum prosper on the misfortune of others, which is revealed in )inn Jenns
singing, 40hat does a man live &J B resolutel N ;ll-treating, &eating, cheating, eating
some other &lo"eH N A man can onl live & a&solutel N *orgetting hes a man li"e other
fol"H5 /The Threepenny Opera, Act Two, !cene Three, p# A1-A-2# The !econd *inale is a
harsh and moving song which succinctl sums up the central argument of that pla#
(owever, irrelevant songs also e%ist in the two plas, mainl in order to pull the
audience awa from the action# ;f an audience &egins to empathi$e too much with the
characters, then it is more li"el that the audience mem&ers will not &e spurred on to
political action# Therefore, Brecht put some 7uite meaningless songs into his plas in
order to have the audience do a dou&le-ta"e of sorts# An e%cellent e%ample would &e the
!ong of the Eighth Elephant, in The Good Woman of Setzuan# ;t is a song which is sung
& the wor"ers at the to&acco factor, 6ust as the action of the pla is &eing driven closer
and closer to a clima%# ;t disrupts the action of the pla# Brecht &elieved that an actor
has 4a change of function5 /The Threepenny Opera, <otes, p# +,A2 when he or she &egins
to sing onstage# (e deems that there is nothing 4more detesta&le than when an actor
gives the impression of not having noticed that he has left the ground of plain speech and
is alread singing#5 /The Threepenny Opera, <otes, p# +,A2#
Brecht also disrupted the action of his plas & having them occur in an episodic
manner# The Good Woman of Setzuan, Man Equals Man, and The Threepenny Opera all
ta"e place over a relativel long period of time'though not as long as other Brecht plas
which span the scope of ears# (is plas are episodic over long periods of time in order
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to not allow an audience to empathi$e with a character# ;f an audience mem&er was
watching a show, the would thin" a&out the characters situation over the period of time,
rather than the pscholog &ehind the characters action#
The language in Brecht plas is important to how the plas affect an audience# ;n
the three plas, language is stli$ed to fit the time and place, to fit the magical arena of
the theatre in which the episodes are ta"ing place# Brecht set a great deal of his plas in
time periods different than his own /a techni7ue "nown as historification2, in order to
help distance an audience from their own historical circumstances# The Threepenny
Opera is set in turn-of-the-centur London, Man Equals Man in +.:,s ;ndia, and Good
Woman of Setzuan in an imaginar cit in ?hina sometime in the earl twentieth centur#
The language is stli$ed to the particular time and place# *or instance, in Man Equals
Man, the language is stilted toward a proper, stiff colonial speech which adds to the
comedic effect of the show:
0;*E: G And then there are those soldiers who are the worst people in the world
and who are said to &e swarming at the station li"e &ees# The are sure to &e
hanging around in num&ers at the mar"et place and ou must &e than"ful if the
dont &rea" in and murder people# 0hats more the are dangerous for a man on
his own &ecause the alwas go around in foursG
)ALF )AF: The would not want to harm a simple porter from the har&our#
0;*E: One can never tell#
)ALF )AF: Then put the water on for the fish, for ; am &eginning to get an
appetite and ; guess ; shall &e &ac" in ten minutes#
/Man Equals Man, +, p# 82
B not having the language tr to emulate real speech, Brecht prevents the audience from
empathi$ing with the characters# Brecht avoids tring to chronicle life and speech in a
manner that would &e consistent with realistic plawrights# )als response is aw"ward
and forced, and it forces an actor performing this section to ma"e certain decisions a&out
the character# ;t lends itself toward a general, almost cartoon-li"e interpretation#
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Brechts characters can spea" &eautifull and poeticall, and et at the same time
stilted# *or e%ample, in The Good Woman of Setzuan, the gods and 0ong, the water
seller, interact in elevated formal dialogue:
0O<): G !hes in great trou&le from following the rule a&out loving th
neigh&or# 3erhaps shes too good for this worldH
*;=!T )OM: <onsenseH Fou are eaten up & lice and dou&tsH
0O<): *orgive me, illustrious one, ; onl meant ou might interveneG
*;=!T )OM: The gods help those that help themselves#
0O<): 0hat if we can%t help ourselves, illustrious onesJ
Sl!'ht pause#
!E?O<M )OM: Tr, anwaH !uffering enno&lesH
/The Good Woman of Setzuan, Aa, p# 1>2
There is a lrical flow at wor" in the script that is not natural in everda dialogue# A
conversation &etween gods and humans must &e heightened in some fashion in order for
it to &e accepted & the audience# 0ong must call the gods 4illustrious ones5 to indicate
their elevated status onstage# The language allows them to &e viewed as higher powers
worth of &eing the final 6udges of how one should live#
The language in The Threepenny Opera uses a stilted gangster-es7ue voca&ular,
though it is sometimes elegant and 7uite lrical# The language is used to 4displa the
usefulness of &ourgeois virtues and the intimate connection &etween emotion and
croo"edness5 /The Threepenny Opera, <otes, p# +,>2# The language is an attempt to
show the corruptness of the ruling class: & having gangsters tal" in an aristocratic
manner, Brecht puts the image onstage of the corrupt capitalist# ;n his 4<otes to The
Threepenny Opera5, Brecht clearl las out that there are three levels of speech at wor"
in his pla: 4plain speech, heightened speech, and singing5 /The Threepenny Opera,
<otes, p# +,A2# These three levels manifest themselves in the language and the word
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choice for songs, in the elegiac interludes &etween Tiger Brown and Dacheath, and in the
plain, straightforward speech of characters such as 3eachum#
Brechts development as a plawright and a theatrical theorist is clearl illustrated
in these three plas# Brechts wor" develops from simple to comple% and from vague to
specific# Man Equals Man contains some earl e%periments with the epic theatre form#
*or e%ample, the speech that &rea"s up the action &efore )al )a is transformed into the
soldier foreshadows the interludes which disrupt The Good Woman of Setzuan# Though
relativel simplistic in structure, Man Equals Man is an attempt to understand human
nature and to change societ through the plas a&surd comed# The Threepenny Opera
is Brechts first full thought through attempt at epic theatre and contains all of the
elements which would &e the signature of his later wor": songs, placards, interludes, and
an episodic nature# ;t, li"e Man Equals Man, sets up a ridiculous situation and as"s the
audience how this situation can &e tolerated, i#e# how can one accept a world in which
people are treated as properties or commoditiesJ *or instance, )al )a is &ro"en down
and 4reassem&led li"e a car5 /Man Equals Man, ;nterlude, p# 8-2# 0hile Man Equals
Man focuses on the sociali$ation of one particular individual, The Threepenny Opera
e%amines the elevation of the criminalNcapitalist to the status of no&ilit# The 7uestion is
much more interestingl fought out, &oth for plawright and for the audience, in The
Good Woman of Setzuan, which is Brecht at the height of his wor"# (e as"s the ultimate
7uestion in that pla of 4(ow does one &e good in a world in which one has to &e &ad in
order to surviveJ5 <o answer can reall &e given to that 7uestion, and the audience is left
to decide for themselves how to strive forward#
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Brecht developed over the ears from someone who approached a particular
depiction of the world simplisticall and vaguel, such as in Man Equals Man, where an
individual is 6ust as corrupti&le as anone else, or an individual can &e manipulated or
molded as much as anone else, to someone who provided far more specific situations
and a much more comple% view of the world, as seen in The Good Woman of Setzuan, in
which a good-natured individual ma strive for wholesomeness, &ut at the same time
contradict their ideolog through their action# Brecht la&ored over the 7uestion in the
show and does not come to an definitive stance as to how to act# (e su&tl shows his
own dilemma, perhaps his own thought process, through a scene with 0ong and the
gods:
T(;=M )OM: G K0Lhat do ou suggest, m dear 0ongJ
0O<): Da&e a little rela%ation of the rules, Benevolent One, in view of the
&ad times#
T(;=M )OM: As for instanceJ
0O<): 0ell, um, good-will, for instance, might do instead of loveJ
T(;=M )OM: ;m afraid that would create new pro&lems#
0O<): Or, instead of 6ustice, good sportsmanshipJ
T(;=M )OM: That would onl mean more wor"#
0O<): ;nstead of honor, outward proprietJ
T(;=M )OM: !till more wor"H <o, noH The rules will have to standG
/The Good Woman of Setzuan, 1a, p# -I--A2
@ltimatel, the intelligent plawright Brecht does not succum& to the lure of
&eing a moral theoristO he comes to no ultimate conclusion on how to act in the world#
(e sees the in6ustice and the corruption of the capitalist sstem, &ut there is no real
alternative to that sstem, nor an wa to opt out of the sstem# At the end of The Good
Woman of Setzuan, he states his pro&lem in the epilogue, 40ould new gods do the tric"J
0ill atheismJ N Doral rearmamentJ DaterialismJ5 /The Good Woman of Setzuan,
epilogue, p# ++82# Brecht as a plawright cannot ta"e a stand saing, 4This is the correct
+>
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wa to live5, &ecause he is aware of the comple%it of the 7uestion# <o slogan or
aphorism will unloc" the "e to a 4good life5# ;t is a philosophical 7uestion that is
complicated & new situations and difficulties at ever step in the process: !hen Te gets
mone, she must &e evil to &e goodO )al )a wishes to help the soldiers, he loses his
personalitO Dacheath is morall reprehensi&le, he is made into an idol# There can &e no
7uic" and eas solution# Brecht understands the imperatives, traditions, and the
contradictions of societ, and it is in e%amining those contradictions that ma"es the plas
so interesting#
;n the end, the audience is left with the same 7uestion that Brecht started with:
4(ow do ou &e good in a &ad worldJ (ow does societ force people to fit into a
defined moldJ 0h do we promote gangsters as heroesJ5 The epic theatre provides an
audience with an e%perience the cannot achieve in realistic, !tanislavs"ian theatre# The
epic audience is forced to thin" a&out these 7uestions and 6ustifia&l soO the are
e%cellent 7uestions to &e as"ed, even if an answer ma not e%ist#
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Bi&liograph
Brecht, Bertolt# Brecht on Theatre) The *e(elopment of an Aesthet!c# Edited and Trans#
& 0illett, John# (ill and 0ang: <ew For", +.11#
Brecht, Bertolt# Man Equals Man and the Elephant Calf# Trans# & Brecht, Bertolt and
<ellhaus, )erhard# Arcade: <ew For", :,,,#
Brecht, Bertolt# The Threepenny Opera# Trans# & Bentle, Eric and Cese, Mesmond#
)rove 3ress: <ew For", +.A,#
Brecht, Bertolt# To +lays by Bertolt Brecht) The Good Woman of Setzuan and the
Caucas!an Chal& C!rcle# Trans# & Bentle, Eric# Deridian: <ew For", +.-8#
0illett, John# The Theatre of Bertolt Brecht# Detheun: London, +.--#
+A