The Good Person of Szechuan Essay

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In the following essay, Solomon reinterprets Brecht's play, giving emphasis to the qualities of epic theater, and pointing out the value of the work for feminist arguments.

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. 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. Feminist critics, going further, have pointed out a series of seeming contradictions to prove or discount Brecht's usefulness: Most of his major plays feature female protagonists; he portrayed women stereotypically. He assumed (though hardly...

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This section contains 7,795 words
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