Today: Many American women work in nearly every occupation previously considered only appropriate for men. It is rare to see productions of Brecht in London today. Good Person doesn’t merely declare that a moral life is incompatible with capitalism; it lets us observe this tenet from a variety of angles, and asks us to consider its accuracy, cause, meaning, value. Brecht uses these moments to directly inject his philosophical ideas into the text, as well as reveal more about the characters who speak them. Eventually, they lose their store because the loan put them in the position of not being able to pay their taxes. As Germany invaded country after country in Europe, many more fled. He tells the carpenter, Lin To, that he will only pay 20 silver dollars for his shelving and fixtures instead of the 100 that Lin To demands. Goodness itself gets Shen Teh nowhere fast. Acquiring intimacy with the audience through soliloquies, and given downright sentimental speeches about love and motherhood (which are soon punctured by various ironic devices) Shen Teh demands more “Aristotelian” pity than does Shui Ta; he never addresses the audience, and remains emotionally at arm’s length because of our double awareness of him as an effective figure in the parable, and as Shen Teh’s creation. Une erreur est survenue. Because of this focus, the play does not seem to be intended to be a reflection of the actual social, cultural and political life in China at that time, although the play Up until then, we wait for Shui Ta, knowing just when he’ll appear to bail Shen Teh out; after, we wait for Shen Teh, hoping (though knowing better) that she’ll come back and set things right. Everyone wants something more. Instead of continuing on this path, however, he studied science and medicine at university to avoid the draft. Like most social activists who believe in theater as an instrument of change, feminists have both claimed and rejected Bertolt Brecht, joining in the critical tug-of-war that has characterized his reception in America since the Theatre Union introduced him to this country with its ill-conceived (and disastrous) production of The Mother in 1935. The contradiction has already been set forth: Shen Teh can’t do good unless Shui Ta does well. Shui Ta’s actions ensure Shen Teh and her baby will survive, though Shen Teh might not be around as often as she would like. Classement des meilleures ventes d'Amazon : Comment les évaluations sont-elles calculées ? Like the freeloaders, we undergo a change. Lyon, James K. Bertolt Brecht in America, Princeton University Press, 1980. Merci d’essayer à nouveau. This male alter ego is essentially the opposite of Shen Teh. In scene five, Shu Fu asks the audience what they think about his way of trying to get Shen Teh to fall in love with him. Shu Fu is by no means a nice person. Far from arguing that goodness has its merits, Brecht shows how much it negatively affects people’s lives. At the most literal level, the singer presents a character in transition, changing her function from portraying Shen Teh to portraying Shui Ta. Throughout The Good Woman of Szechwan, Brecht emphasizes the impossibility of being good if one is to survive in a corrupt world and, in the final scene, this is what Shen Te tries to tell the gods, who turn a deaf ear. Mrs. Mi Tzu is the owner of the building which houses Shen Teh’s tobacco shop. Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style. cast. To insist that Shen Teh represents a misogynistic stereotype is also to overlook that the play is a parable. Impossible d'ajouter l'article à votre liste. Romantic love and sex, however, can only neatly be divided in theory. Clive Barnes of The New York Times believed “The Good Woman of Setzuan is a parable about the impossibility of human purity. It also led to better educational opportunities for women, including more co-educational colleges. Shui Ta asks for the 200 silver dollars back, but Sun refuses. The Good Person of Szechwan was first produced professionally in New York City in late 1956, shortly after Brecht’s death. Will we, like the freeloaders, have a laugh over Shui Ta’s cold treatment of others? Those most affected by the war with Japan, from eastern and central China, were forced to retreat westward. The text assigns the song to the character Shen Teh, but, as Brecht has written, “When an actor sings, [s]he undergoes a change of function.” This is doubly true here. They want food, money, shelter, and constant service. Once again, it is clear that Yang Sun acts as a prostitute, not a lover. Their quest has led them to this city, the capital of Szechwan. The songs have been purposely placed where they are to drive home to the audience an important moral or political issue that the play writer wants the audience to think about at that moment in time. The Good Person, is a play written in the early 1940s by German playwright, Bertolt Brecht. They take advantage of Shen Teh’s generosity, though they also try to protect her. Achetez neuf ou d'occasion The gods are not sympathetic, and wish her luck as they return to heaven. In any case, the doubles wind up noticeably complex when the play contextualizes them with authentic realism, … Refer to each style’s convention regarding the best way to format page numbers and retrieval dates. Shui Ta never comes and the couple do not marry. The next morning, Shen Teh tells the gods that she cannot make a living though she tries to be good. https://www.encyclopedia.com/arts/educational-magazines/good-person-szechwan, "The Good Person of Szechwan She is in love with him, but he is mostly using her. Brecht has been described as the great poet whose plays no longer work, the dramatic genius whose theatrical theory doesn’t fit, the artist whose politics hardly matter, the idealist who decayed into an opportunistic creep. Enjoyed the whole story. Shui Ta agrees until Sun reveals that he intends to leave Shen Teh behind with nothing to live on when he goes to his job. Shen Te responds by saying that she cannot pay Mrs. Mi Tzu’s price, but Yang Sun answers, “If she has me to stroke her knees she’ll come down.” Once again, Yang Sun shows his willingness to act as a prostitute. SOURCES Après avoir consulté un produit, regardez ici pour revenir simplement sur les pages qui vous intéressent. Veuillez réessayer. Sun reveals that he cannot find a job, while Shen Teh reveals she has worked as a prostitute. By 1943, some Depression-era legislation was challenged by Congress. As it stands, the money forces Shen Teh to be consciously, if not detrimentally, good. Congress outlawed strikes in industries vital to the war effort. 2, pp. or reset password. Wang hides, fearing their wrath. The most important monologues in The Good Person of Szechwan are found at the very beginning and end of the play. Both his upbringing and his experience in the military profoundly affected Brecht and his writing. Research Brecht’s idea of epic theater, perhaps through his book. Vos articles vus récemment et vos recommandations en vedette. The production has fine touches of wit....”, A 1994 adaptation by well-known playwright/ director Tony Kushner was set at the California-Mexico border, with characters retaining Chinese names and with a score by Los Lobos. Shui Ta’s tobacco factory is thriving. But what Kerr—and presumably the production—missed is the way these opposite levels of credibility are used within Brecht’s parable form, and how they are balanced with inverse proportions of empathic acting. More recently, as feminist theater (and to a large degree, feminism itself) has moved into the academy, Brecht has been subjected to psychoanalytic, poststructuralist, and deconstructionist readings. In this essay, Petruso responds to the ending, which invites the audience/reader to interpret to the play. Because Shui Ta does not arrive with the money, the wedding does not take place. Most feminist readings of the play call for a materialist feminist assessment, but pay no attention to the most significant materialist fact: that the play is meant to be performed, in epic style, on a stage before an audience. And how can we maintain that Shui Ta is hard and self-serving because he is male when we are repeatedly reminded that he is Shen Teh? Brecht collaborated with composer Kurt Weill on several musical plays, including one of his best known works, 1928’s The Three Penny Opera. You’re not going to cash it just because you might have to marry him? He continued to write poetry and adapt other playwrights’ work for his theater, however. Its function is not to reveal that Shui Ta is Shen Teh’s invention, but to show how that invention is assembled, how the contradiction described in the song—that goodness can come about only if militarily enforced—both demands and defeats the use of the disguise, how dramatic character (and, by extension, social character) is artificially manufactured, how our sympathies and antipathies can be evoked and manipulated. He began writing plays as early as 1918 (Baal) and joined communist organizations in 1919. Mrs. Shin seems nice after she learns and keeps the secret that Shen Teh and Shui Ta are the same person. Still, if such theaters—or their critics—overlooked certain complexities of epic theater in claiming Brecht, they were right to find an affinity between the V-effekt and the great “aha” mechanism of their own work, consciousness-raising. They nearly drive her into bankruptcy. Upon discovering that Yang Sun does not love her, Shen Te, again desperate for money and still disguised as Shui Ta, turns once more to selling herself, this time to Mr. Shu Fu, the barber who has cruelly injured Shen Te’s friend Wong. The elderly couple, who gave Shen Teh her first home when she moved to the city, imposes greatly upon her. Playing against this inverted romance, this scene also introduces the idea of the wealthy barber, Shu Fu, as a husband for Shen Teh. When they are alone, Shen Teh takes off the masks and clothing that makes her Shui Ta. But, of course, we can’t hold on to this hope uncritically. But Brecht’s challenges to social arrangements come through epic process, not through traditional dramatic show-and-tell. Now part of the world’s dramatic canon, Brecht’s works reflect the dark side of society while shedding light on human … Yang Sun is unemployed and dressed in rags, but to Shen Te that doesn’t matter; he is “a brave and cleaver man.” Shortly after this meeting, Shen Te begins staying with him all night. Shen Teh promises to give them the money back, but cannot retrieve it from Yang Sun. Yang Sun does not care if she loses her business in the process, and Shen Teh is so in love with him that she almost gives the shop up for him. good. Shen Teh reveals that she is pregnant, and worries about her child’s future. forces. The couple is supportive of Shen Teh, and when they learn, she does not have enough money to pay her rent, they lend her the funds. Primarily it is a song of justification, much like Macheath’s summing-up anthem at the end of The Threepenny Opera. After the gods leave, they tell Wang to report Shen Teh’s progress to them. However, Shui Ta does do As already noted, the V-effekt depends on first establishing the familiar to make it strange; similarly, Brecht throws events into critical relief after drawing us into them. Brecht’s notes on Good Person are often sketchy, but in the movement from a European to a Chinese setting, from the story of a prostitute disguising herself as a man “in order to help her sisters,” to one who “dresses as a man in order to pose as [a cigar store’s] proprietor while continuing to practice as a prostitute,” to the nuanced structure he finally settled on, one can trace Brecht’s movement toward his dialectical theater. Even before the outbreak of the war in 1939, many people (including Brecht and his family) with political views not in agreement with Hitler’s views had become political refugees, fleeing the country to avoid persecution and/or death. The shift in identity brings a shift in expectations. By Bertolt Brecht. SOURCES Mi Tzu is one of the only characters to stand up for Shui Ta in court at the end of the play. They decide to intervene. Many of them do not care that their demands are causing the business to fail; they are only concerned with their short-term gain. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. Hewes argued, “there is much in it [his translation] that is awkward.... And lines that might have been funny in the original lose their humor....” Many scholars have commented on the inherent humor in Good Person. In addition to a novelization of The Three Penny Opera, Brecht composed numerous plays that were critical of the Nazi regime and the world’s political situation. The gods charge Wang with looking after Shen Teh and informing them of her progress. Yet there is not one instance of goodness rewarded in Good Person. The first thing I did was give away my zither. Performance times. They give her money which she uses to start a tobacco shop. Shen Teh’s problems begin in the Prologue when she gives up an appointment with a client so that the gods have a place to stay for the night. All this invoking, dismissing, extolling, and reviling has often missed the deepest feminist implications of Brecht’s epic theater. anti-Brechtian point to score by saying that Shen Teh (or Brecht’s other characters) inspires a wide range of feelings in us. Shui Ta decides to confess, but only if the courtroom is emptied of everyone but the gods. Later, Mrs. Yang believes that Shui Ta saves her son when he hires Yang Sun to work in the factory. Today: Tobacco companies are sued for false advertising as it has been revealed in court that they have known for many years that cigarettes cause cancer. In both, as Brecht said of epic theater, “What is ‘natural’ [has] the force of what is startling.” Such devices as putting a pregnant man desperate for an abortion at the center of a drama, as Myrna Lamb did in What Have You Done for Me Lately?, or telling the story of the Oresteia from the point of view of the women involved in the myth, as the Women’s Experimental Theater did, certainly provoked a reassessment of the old way of looking at things. Il analyse également les commentaires pour vérifier leur fiabilité. After having the policeman state this view, however, Brecht immediately undercuts it as the policeman presents his solution to Shen Te’s need for money: “How is she to get hold of this rent?. (Later, she betrays Wang more directly.). This act of goodness ends up hurting them deeply. “The Good Person Of Szechwan” … But, of course, Shui Ta does come, in scene seven. Fuegi, John. Japan was successful in taking over several parts of the country, forcing the ruling Nationalist government to set up in different cities. China had been at war with Japan since 1937, after Japan conquered Manchuria in 1932. After the gods give money to Shen Te, she is able to open a tobacco shop, but her former practice of a less “respectable” profession haunts her when her landlady, Mrs. Mi Tzu, learns about her past and demands that she pay the rent six months in advance, thus punishing Shen Te for selling sex. The song comes nearly halfway through the play, several scenes after we’ve seen Shen Teh disguised as her shrewd cousin. Un problème s'est produit lors du chargement de ce menu pour le moment. This production, at New York City’s Phoenix Theatre, featured a controversial translation by Eric Bentley, who also directed the production. Then, copy and paste the text into your bibliography or works cited list. When knocking is heard again, at the top of the next scene, it announces the quick-fix to the rapidly multiplying relatives: “a young gentleman,” as the stage directions say, Shui Ta. Even a prostitute’s customer, however, is likely to be paying, not only for sex, but also for some emotional intimacy and companionship, in other words, at least the illusion of love. desires marriage into flourishing tobacco shop?” Shen Te’s accepts the policeman’s “respectable” solution, but it is clear to the audience that she is once again selling herself in order to survive. As she takes on his appearance, she takes on his attitude. These moments also underscore the themes of the play and give Brecht a forum to put forth his political, philosophical, and social ideas. or. Shin is not fond of Shui Ta, and seems to like Shen Teh more after meeting him. Wang tells them that Shen Teh is in love with Sun, and has remained good. In his play The Good Woman of Szechwan, Brecht turns this ideal on its head. At the end of the play, Shen Teh is left to ponder whether being a successful business owner can succeed at being good as well. The book was in good condition and was easy to unbox. Brecht Yet the inherent contradiction of the song—combined with the complex seeing demanded by the costume change—indicates that Shen Teh’s effort is doomed to fail. Obviously, romantic partners who have sexual relationships are assumed to be in love. It’s impossible to characterize all of these assessments with a few broad strokes, but it’s fair to say generally, I think, that the more Brecht has been scrutinized through these postmodern lenses, the more epic theater practice has gone out of focus. She is the one who originally asks Shen Teh for the 200 silver dollars so that he can obtain his pilot job. Though he built this woodwork for the previous owner, Lin To claims Shen Teh owes him 100 silver dollars for the work. Mrs. Yang assures him that she has sent for Shui Ta. When Shen Teh, a prostitute, is rewarded a small fortune from the gods for her kind deeds, she quickly finds that with her newfound wealth come challenges. By scene eight, when Shui Ta has almost exclusively taken the place of Shen Teh, the carpet dealer and his wife have been repaid by the hard-nosed alter ego. Shen Teh is worried that she will lose her shop. Mrs. Yang champions Shui Ta to the very end of the play. The police come and arrest Shui Ta. When the gods depart, they tell her to continue to be good, and to use the Shui Ta identity only once a month. Yang Sun eventually goes to work for Shui Ta to pay back the 200 silver dollars he owes Shen Teh, and thrives under the ruthless businessman. Indeed, as Shui Ta, Shen Teh serves as her own pimp, becoming, as Brecht’s working notes put it, “both goods and salesperson.”. No act of kindness on Shen Teh’s part has an ulterior motive or is regretted after the fact. The play begins with a monologue by Wong, the water seller. "The Good Person of Szechwan Brecht famous parable, showing that in aggressive and unjust societies good can only survive by means of evil, was written in 1939-41, while Brecht was in flight from the Nazis in Scandinavia. Wang, an impoverished water seller, tries to find lodging for three prominent gods, who have come to Earth to find good people. He turns away with a soft laugh.” This is the only occasion when Shen Teh’s character so boldly peeps through the Shui Ta disguise, where we see Shen Teh acknowledge her performance by momentarily forgetting it. In other words, revealing the process by which she takes steps in Shui Ta’s manner and sings in his voice, the actor calls attention to the analogy between her activity and Shen Teh’s. He was the son of a Catholic father, Friedrich Brecht, who worked as a salesman for a paper factory, and a Protestant mother, Sofie. Shen Teh asserts: “My cousin cannot be where I am.” Why is this line here? Mrs. Yang is the mother of Yang Sun. All present tell the gods about how good Shen Teh is. He is waiting for the three gods to arrive so that he is the first to meet them in the city. At first the freeloaders dismiss him: “But that was a joke.” But almost at once they come to grant him the authority of his imposing presence. The Good Woman of Setzuan essays are academic essays for citation. Throughout his career, he surrounded himself with trusted female collaborators; he owes his career to brilliant women he treated as members of a harem—and screwed professionally as well. At the end of the play, he does seem to have some feelings for Shen Teh. When Wang’s hand is broken by Shu Fu, the barber, Shen Teh is the only one to stand up for him, even though she would perjure herself. The Good Person of Szechwan The Moscow Pushkin Drama Theatre By Bertolt Brecht Translated into Russian by Egor Peregudov Directed by Yury Butusov Barbican Theatre Julia Pascal . He is not above kicking out those who have taken advantage of Shen Teh’s generosity. Drawing on the lessons of the Lehrstucke, and on increasingly sophisticated—and theatrically tested—epic theory, Brecht briefly picks up the 1934 sketch of Die Ware Liebe in Denmark in 1930, pokes at it again in Sweden, and then turns fuller attention to the play once he’s settled in Finland. . But Shui Ta’s character, the familiar ruthless businessman, is completely believable (because it is so familiar). Braunagel, Don. Désolé, un problème s'est produit lors de l'enregistrement de vos préférences en matière de cookies. In it, the goals come to earth in search of enough good people to justify their existence. Yangs also seem to be in love the Berliner Ensemble, which invites the audience/reader to interpret often! The war in China created a desperate refugee situation in China, were forced retreat... 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