The novel’s first playing in a theatre goes back to the date of 1933. Brecht once came to theatre like going into a village near to a town around Brussels main city and shocked by metropolitan inconcistencies. Of course, it was in particular way nothing but a slummin of the buildings and around it before the Second World War he was still seeing it like a country who has to be tamed in the proper sense when he was saying ‘You are making a problem a negro Macbeth, how childish it is!’ And the proud in this voice still resounds in the main stream of honourful Marxism.
But to not to forget when the screening began, he was all along against the figurative department of the play. The play was going on like a TV series like today known to the all and the limitations of the format was known to the Brecht even in the back in 1933. But to say it properly, the main problem was the Syndica who were in the productioning of the work was mainly interested in the income of the workers salaries. This kind of vacuuming of the money which actually of course belong to the prolateriat in this kind of screening of the work was becoming more adaptable to the causes of the middle and not even social democratic upper classes. To say the word, bourgeoise interests and causes.
Like that the play was going on and when the people are actually behaved like animals, it is becomes they’ve been educated to have become one. In this way of adaptating a work, you have to be more careful when you are about to if it is proper or not. But to not to forget Brecht, when he was in the scene when the Mother was in her sickening bed was awakened by the Party, the chorus was always not along and the people was actually went to there to awaken the Mother! That kind of an illusturatory touch, even if today’s Marxists not in any way acceptably by us. But in another way, it makes of an another remininces.
When he was talking about his second producer and assistant, now I don’t remember the name he once mentions him in the lines ‘he is too much has a Kantian sensousness’. This kind of a way is the key word to today’s educational courses. It does not awakes the people, it makes them sleep more resounding: the sound of a humour actually sounds in another way. What does he say, the great German Theaterist ‘If you cannot laugh in a play, that is a play to be laughed at.’ Hail to the Lord!