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

Little Empathy in Brechts The Good mortal of Szechwan and Mother Courage and Her ChildrenBrecht is very successful in creating a tune of drama where empathy plays gnomish firearm. In The Good Person of Szechwan it would seem that either action and word is an attempt to alienate us and halt any appellation one may chance to make. The indiscernible use of name for characters exaggerating the oriental sound of them is immediately noticeable i.e. Wang, Shin Sun, Shen Te, Shu Ta, etc. There is likewise the use of language and intonation in relation to others revealing nature and social position, which comes in the form of oriental bows. Many of these gestures are already to be found in Asian theatre. Brecht calls it the social gestus. Songs also interrupt the plot, exactly it is not the kind of bursting into song which one finds in musicals. The music itself sounds sometimes give away of tune and there is an offbeat that one would find difficult to tippytoe ones foot to so one cannot become involved or plug in to the music, although songs from The Threepenny Opera became very popular. The moon being likened to green cheese as a slur on societys belief in a child of low ancestry will inherit the earth and The Song of the Eighth Elephant when there are very only seven anticipates the underhand actions of Sun who represents a number of populate in society who destroy others welfare for their own individual interest. each(prenominal) these songs are successful in alienating the audience and have a similar message the impossibility of a society being rescue 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, curiously with... ... our own society and one wishes to quarrel 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 invent a ruthless fir st cousin for herself who can save the business by applying the cruel laws of the market. But 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. Collected Plays. capital of the United Kingdom Methuen, 1970.Benjamin, Walter. Conversations with Brecht. Understanding Brecht. Trans. Anna Bostock. London hot Left Books, 1973. 105-121.Brecht, Bertolt. Brecht on Theatre. Ed. and trans. John Willett. New York Hill and Wang, 1992. Worthen, W.B. ed. The Harcourt Brace Anthology of Drama. 3rd ed. Toronto Harcourt, 1993.