Word: brecht
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...AMERICAN premiere of Bertolt Brecht's The Days of the Commune is tonight at Sanders, in Cambridge-our own feeble rival to Paris as the setting of the street-barricade species of political activism. One hundred years have passed since the Paris Commune was crushed; the event, a coarse bloom of indigenous French socialism, has been the horror of the bourgeoisie because of its bloodshed and its affronts to property and the delight of the Marxists for reasons roughly similar. Marxists do not relish violence per se, but there is no denying that French history furnishes the most spectacular...
...easily deflected in any endeavor or by any obstacle, mastered German in a summer in order to translate Days of the Commune, the only major play in the Brechtian canon unknown to English-speaking audiences. The Germans, fastidious in matters literary, rank this particular play as one of Brecht's three or four best. Brecht himself they mention in the same breath with Shakespeare and Goethe. One word about Lehrman: music comes just as easily as instant linguistic virtuosity to this Dunster House dynamo. Having studied piano seven years under Elie Siegmeister, Lehrman has for the past few years been...
Blitzstein, who taught at the Downtown School in New York during the thirties with none other than Elie Siegmeister and Hans Eisler as colleagues, inspired Lehrman to take a new look at Brecht's 1948 didactic play about the Paris Commune-or, more precisely, Blitzstein with an interpretational gloss thrown on his work by Leonard Bernstein. Bernstein in 1940 presented a production at Sanders of Blitzstein's The Cradle Will Rock. Bernstein adopted a "cantata form, from the piano." Lehrman, himself the director of a 1969 Cradle Will Rock production, explained in a 1970 essay about Blitzstein. This is "exactly...
...adapting Days of the Commune in "Cantata" form, Lehrman included the four songs by Hans Eisler which Brecht originally wrote into the texture of his play. But hoping to make Brecht's uncompromising moral preachments more palatable to American audiences, whose effete musical diet dates from the Ziegfeld Follies, not Wagner, Lehrman has inserted six more songs by Eisler and the Communist anthem "Internationale" to make Commune more fully music-drama ( Theater mit Musik ). He justifies the increased emphasis on music not solely as a concession to American sensibility, but as the "use of a Wagnerian technique to make...
...author is a fourth-year graduate student in English. Last spring he defended twenty people before the Committee on Rights and Responsibilities and attended many other hearings as an observer. He is presently writing his doctoral thesis on the theme of justice and its absurd procedures in Shakespeare, Brecht, Camus and Kafka...