the Yes-sayer
| Data | |
|---|---|
| Original title: | the Yes-sayer |
| Genus: | School opera / didactic play |
| Original language: | German |
| Author: | Bertolt Brecht , Elisabeth Hauptmann |
| Literary source: | Komparu Zenchiku: Tanikô; Arthur Waley : Tanikô - The Valley-Hurling |
| Music: | Kurt Weill |
| Publishing year: | 1930 |
| Premiere: | June 23, 1930 |
| Place of premiere: | Central Institute for Education and Teaching, Berlin |
| people | |
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Kurt Weill , Elisabeth Hauptmann and Bertolt Brecht developed the “school opera” Der Jasager for the event “New Music Berlin” in 1930 on the basis of a Japanese no -theater play from the 15th century. The central theme of the piece is the question of whether a person has to agree to sacrifice himself for a community.
content
The “ didactic piece ” tells a simple story in 10 musical blocks: despite some concerns from his teacher, a boy takes part in an expedition to the “great doctors” on the other side of the mountains to get medicine and advice for his sick mother. On the way the boy becomes ill and can neither go on nor be carried. With his “consent”, the boy is thrown into the valley according to the “great custom” and thus into his death. The boy's consent to his execution was and is interpreted in extremely different ways: as a sign of religious conviction, as a sacrifice for a community, as cadaver obedience to senseless norms and authorities, as a samurai tradition, but also as an invitation to the public to consent contradict. In a second version, after a series of discussions with students and workers, Brecht put a “naysayer” at the side of the yes-man.
As a “school opera”, the “yes-man” had goals in the sense of reform pedagogy : Making music and playing together should combine community experiences and musical training. In fact, the play was and continues to be staged by lay people in schools and universities. This function is supported by the simplicity of the stage and the form, which is linked to the Nō theater. The piece is related to a musical avant-garde movement. The composers Paul Hindemith , Kurt Weill and later Hanns Eisler shared with Bertolt Brecht the conviction that the traditional opera and concert business only produced meaningless representation events for rich citizens. In collaboration with educators, they wanted to counter this with the new and experimental form of the “didactic piece”. The separation of musicians, singers and audience should be lifted. Laypeople should work on the pieces, the audience should think along and judge in the style of epic theater , in some cases they were included in the singing of the choir. In close cooperation with the new media of film and radio, the aim was to reach an audience that was de facto excluded from the traditional cultural scene.
Emergence
The text is based on the 15th century Nō theater play Tanikō, which is attributed to the Japanese author Komparu Zenchiku . Elisabeth Hauptmann recalls that in 1928 or 29 she developed an interest in traditional Japanese Nō pieces.
She stated in an interview in 1972 that she liked the simplicity of the fable because of her limited theater experience. For Brecht, the Nō was particularly interesting because of its extreme stylization. As in epic theater, the Japanese performer works with carefully considered, simple gestures. The No-Theater does without realistic, realistic representation, there are artistic elements, music and dance interludes. The choir takes on narrative tasks and connects the parts of the plot. The intelligibility of the word and the action takes precedence over the music. The simple stage dispenses with backdrops.
Elisabeth Hauptmann translated nine texts from Arthur Waley's adaptation “The No-Plays of Japan”, which an acquaintance brought her from London. Kurt Weill showed interest in the material and won Bertolt Brecht to work on the text. From the translation of "Taniko or The Throw in the Valley" the didactic play "The Yes Man" became. Although the piece consists largely of Elisabeth Hauptmann's translation, she was not mentioned as a co-author at the time, and to this day Bertolt Brecht is mostly the only author who appears. In a 1972 interview, Hauptmann stated that Brecht's main contributions were the idea of the boy's consent to his execution and the changed ending. Elisabeth Hauptmann attributes the non-nomination to the time pressure before the Berliner Festwochen. She forgot to give her name for the publication in the series "Attempts".
Tanikô - Feudal ethics of willingness to make sacrifices
Nō is a Japanese form of theater from the 14th century. The original of Arthur Waley's already shortened Nō play "Tanikô", which Elisabeth Hauptmann had translated, is in a tradition of feudal theater. Only samurai were allowed to appear or watch in this classic form. The samurai ideology included a specific interpretation of Buddhism that viewed earthly life as transitory and death as meaningless. One of the feudal values was the willingness to die for the Lord.
The Tanikô piece is based on an older legend that comes from the Shugendō religious movement . Their followers, "Shugenja" or "Yamabushi" ( 山 伏 , "hidden in the mountains"), were known for religious rituals in the mountains. The translator Johannes Sembritzki states that the term Tanikô denotes a human sacrifice (Tanikô ≈ “subject someone to the custom of throwing a valley”). The English adaptation of Waley from 1921 omitted the religious background and ended his text with the death of the boy and the assignment of guilt to the perpetrators. The religious and symbolic meaning of the disease and the motivation for death remained in the dark. According to Johannes Sembritzki, the original journey through the mountains is a ritual pilgrimage under strict asceticism and with ritual rules. The killing of the boy is justified by the symbolic meaning of the disease, which is interpreted as a divine sign:
“They decide to follow the 'Great Law': 'If a pilgrim falls ill on the way, it is a divine indication of his uncleanness. He thereby endangers his fellow pilgrims and the success of the pilgrimage. To save themselves they have to kill him. '"
However, the original does not end with the death of the boy. After the pilgrims have performed the ritual with great suffering and convinced by the choir of the insignificance of earthly life, the grieving master also wants to undergo the ritual of the valley throw. His companions then implore the mythical founder En no Gyōja and the demons to call the boy back to life, which is what happens. The master turns out to be the reincarnation of En no Gyōja.
Editing of the text for the yes-man
About 90% of the text of the Brecht play consists of Elisabeth Hauptmann's translation. Nevertheless, a tendency is evident from Brecht's few changes. First of all, religious motifs still contained in Arthur Waley's rework are removed, the pilgrimage becomes a “research trip” to the “great doctors” and the boy doesn't want to pray for his mother either, but rather to seek better medication and medical advice. A new motif is inserted: the boy's “consent” to his execution. With this, Brecht takes up a motif from Baden's didactic piece on consent (1929). If “consent” still means acceptance of the laws of nature and society, this is about the willingness to die for a principle or a group. Kurt Weill interprets in the sense of willingness to make sacrifices that the boy is confronted with the task "to take all the consequences for a community or for an idea that he has joined".
At the beginning of the piece, the choir takes on the task of putting the question of consent at the center of interest. According to the score, this opening chorus should be repeated between the acts and at the end.
“ The Great Choir
Most important to learn is agreement.
Many say yes, and yet there is no agreement.
Many are not asked, and many
agree with what is wrong. Therefore:
It is important to learn to agree. "
The teacher introduces himself and reports on his travel plans through the mountains to the 'great teachers'. He learns about his mother's illness. Mother and teacher are against the boy traveling with the teacher. Despite all the warnings, the boy insists on his will to obtain medication and advice for the sick mother from the "great doctors" through the dangerous journey. At the end of the first act, the teacher and the mother relate the son's decision to the subject of consent again.
“ The teacher, the mother
Oh, what a deep understanding!
Many agree with wrong things, but he
does not agree with the illness, but
that the illness be cured. "
At the beginning of the second act, the choir sums up the events of the trip: They left quickly and the boy becomes ill. At first the teacher tries to interpret the disease as fatigue, but his companions stubbornly adhere to the diagnosis:
" The three students among each other
(...) We express it with horror, but there has been a great custom here since ancient times: those who cannot go further are thrown down into the valley."
The ritual also prescribes that the sick person must be asked whether one should turn back because of him. The sick person's answer is also prescribed: “You should not turn back.” This is how the three students carry out the deed. The big choir reports:
“Then the friends took the jar
And lamented the sad ways of the world
And its bitter law
And threw the boy down. Foot to foot they stood huddled
on the edge of the abyss
And threw him down with closed eyes
None more guilty than his neighbor
And threw clods of earth
And flat stones
after them. "
Performance and impact
"Der Jasager" was originally created as a commissioned composition for the well-known Baden-Baden music festival, which had been relocated to Berlin in 1930 after a scandal over Brechts and Hindemith's "Lehrstück" lost the support of the city. In 1930 school music productions were at the center of interest.
“In addition to the older sales areas (concert, theater), two new ones have mainly been added: the workers' choir movement and schools. It is a worthwhile task for us to create larger works for these new areas. "
Because the festival management rejected the piece Die Maß , a co-production between Brecht and Hanns Eisler , which had also been registered , Weill also withdrew his contribution. Weill and Brecht wanted to carry out their performances "outside of bourgeois institutions". Weill had big goals in mind. On the one hand, the school opera should also force professional singers to “simplify and natural singing”. The new Weill operas were to continue to serve as models for a new style of composition:
“An opera can initially be training for the composer or for a generation of composers. Especially at this time, when it is a matter of putting the genre 'opera' on a new basis and redefining the limits of this genre, it is an important task to create original forms of this genre. [...] In this sense one could also [...] describe the Threepenny Opera as a school opera. "
On June 23, 1930, the premiere of "Jasager" took place at an event of the Berlin Central Institute for Education and Teaching in the auditorium and was broadcast directly on the radio. The performance was performed by students from the State Academy for Church and School Music. Under the direction of Heinrich Martens, students from various Berlin schools took on the singing roles, and a senior prime minister conducted. Brecht and Weill took part in the rehearsals that began in May. The equipment was spartan: a two-part stage with inscribed boards that named the respective location, no separate stage lighting. This also tied in with the Nō tradition, which worked with a stage without a backdrop. In contrast to the Nō, costumes were not used.
The Yes Man became a huge hit in the school music movement. On December 7, 1930 the opera was performed again with the same participants in the Kroll Opera . The information on performance figures diverges. The Universal Edition reported 200 productions in schools by October 1932. According to Brecht's Complete Edition, the play had been staged 60 times by 1932.
The reviews were full of contradictions. Walter Dirks and Siegfried Günther interpreted the willingness to make sacrifices as a religious statement. Metaphysical and religious motifs are expressed in the opera. Frank Warschauer, on the other hand, saw the play in the Weltbühne as a defense of cadaver obedience and senseless authority.
To this day, it is controversial how the statement on the core issue of consent is to be interpreted. In the new Brecht handbook, Klaus-Dieter Krabiel advocates the thesis that the key message of the yes-man is the necessity of sacrifice for community.
“A social community can only exist in the long term if, in the event of a conflict, the individual members are willing to make sacrifices to the whole, if the overall interest is given priority over the particular interests: This is a highly uncomfortable, also dangerous (since it is abusable), but hardly dismissible idea based on the didactic piece. "
The strange ritual that the potential victim is asked to consent to his execution, but according to the convention must answer in the affirmative in any case, Krabiel refers to Friedrich Engels , who interpreted "freedom" as "insight into necessity" following Hegel . Krabiel emphasizes that the rejection of the personal sacrifice for the “claims” of the community does not change anything: “It only shows the antisociality of those who withdraw from them.” Krabiel rejects blame on the perpetrators with three arguments: First, they only would Represented “principles of the community that are decisive for their continued existence”, secondly, they are not persons in the sense of realistic theater and thirdly, they carried out the act “with horror”. Klaus-Dieter Krabiel, however, sees his conception of the text's intention only incompletely in the yes-man. The parable does not motivate the boy's victim sufficiently, the community is not endangered and there is also no hurry.
“In an extremely pointed model case, agreement with the justified claims of the community was to be demonstrated and learned, but the inevitability of sacrifice for the community did not make sense. This gave the impression that blind allegiances were required (...) "
Krabiel's consent to the primacy of the community over the individual up to its destruction is not without controversy. Helmuth Kiesel enjoys provocation and relates Krabiel's view from the new Brecht handbook to the thinking of Ernst Jünger , who wrote in 1932 in his work Der Arbeiter. Rulership and form in relation to the “worker”, the great tasks of the future required that “freedom and obedience‹… ›be identical” and that a large number of human sacrifices be made “with the consent of even those who suffer”. In contrast to the latest Brecht research, the Berlin students who saw the first performances rejected the expectation of agreeing to their own annihilation, which motivated Brecht for the second version, in which the naysayer successfully contradicts the judgment.
From the point of view of Sabine Kebir , the boy's senseless and brutal sacrifice, legitimized only by an old custom, “should lead to contradiction among fellow players and the audience and trigger the awareness '…' that old customs cannot simply be adopted, that it is useful can be to establish a new custom. ”Kebir describes this demand on the audience, who should understand something that the characters on stage cannot understand, as the“ courage effect ”.
Brecht himself was unsure what effect the play would have on the audience. The piece was performed at the Karl Marx School (Berlin-Neukölln) in November 1930 and discussed by the students. On December 9th, Brecht received the minutes of the discussion from the teacher. On the basis of this feedback and the reviews, Brecht developed the counterpart, the “naysayer”, in order to convey the intention more clearly to the students, and also developed the first version further. Brecht had excerpts from the students' suggestions published in volume 4 of the experiments together with the modified piece. Sabine Kebir sees her interpretation confirmed that Brecht wanted to encourage the audience to protest against the boy's death.
“This goal, which was already intended in the first version, but is intended as brain work by fellow players / audience, is now supplied as a text specification. There is no question that the dialectic and collective conceived in the yes and no sayers did not want to allow the former to be killed by the second and thus opposed both the fascist and the Stalinist understanding of the collective. "
Helmuth Kiesel considers the interpretation “that Brecht and Weill‹… ›, as well as Eisler in the case of the measure , wanted to initiate reflection and provoke resistance with these almost ritualistic pieces”, is wrong. Despite the criticism of the text, the yes-man went relatively smoothly, but this was due to the narcotic effect of the music. Brecht, Weill and Eisler were not concerned with “teaching resistance, but with consent. ‹…› The plays are primarily about consenting to the liquidation of a person by his friends, relatives or comrades and only incidentally about consenting to the course of the world and the course of history. "
The older Brecht manual indicates that the term “consent” already includes “non-consent” in the first version. The teacher and mother refer to the fact that the boy does not agree with the mother's illness as “deep agreement”. Here too, following Peter Szondi, the criticism is directed against the construction of the community in the first version. There was a lack of common interests, the justification by an old custom is not convincing. In the second version, Brecht corrects these errors. The community is now on an important relief operation, the boy's illness now endangers the entire operation.
Brecht himself reflected on the relationship between the individual and society in a typescript that was created around 1930: collectives were already formed in the animal world. Man is also “inconceivable without human society”, even individual thinking is linked to society through language.
“A collective is only viable from the moment and for as long as the individual lives of the individuals united in it do not matter.
??? (Question mark in the text)
People are worthless to society.
Human help is not common.
Nevertheless, help is given to them, and although the death of the individual is purely biologically uninteresting for society, dying should be taught "
The commentary of the complete edition suggests an interpretation of this quotation as a literary attempt. The three question marks questioned the absolute primacy of the collective over the individual. Nevertheless, the didactic pieces were and are interpreted precisely in this sense.
"The party may, if necessary, demand the sacrifice of life - so the content of the didactic pieces could be summarized based on Carl Schmitt ; ‹…› Only in the “ measure ” is the incognito of the collective revealed: It is the collective, constituted solely according to the stipulations of the repressive state, which is embodied in the party in terms of content, formally in the chorus (“control choir”). (It was no coincidence that Adorno referred to this piece from 1930 in his lectures from the 1960s in order to highlight the murderous potential of a Marxist morality that is wholeheartedly dedicated to the repressive collective, i.e. the "objective interest". "
From this perspective, behind Brecht's talk of 'teaching to die', the doctrine of “willingness to sacrifice and self-sacrifice” is hidden. “Consent” would then be “rationalization of the victim” and “its execution within the person chosen to be sacrificed”. Michael Ley and Leander Kaiser see here an unconscious connection to the woman sacrifice of the bourgeois tragedy. Just as in Emilia Galotti the daughter wants to sacrifice herself to save virtue and family honor, with Brecht it is a pupil and young comrade. The communist party had evolved from the figure of the father.
"The collective that is conjured up literally consists in the subject being crossed out and itself crossed out."
W. Anthony Sheppard shows various contradictions as indications of the ambivalence of the yes-man's statement. First, in the second version, the figure of the naysayer is introduced, which calls into question blind obedience. The doctrine of the naysayer could also be interpreted in a communist way as conveying a critical attitude towards bourgeois traditions. Sheppard sees further evidence of the ambivalence of the message in the reception: some pro-fascist reactions were positive, while some leftists had condemned the piece.
Helmuth Kiesel points to a further interpretation of “consent” in Brecht, for example in the “Badener Lehrstück vom Einsichtnis”, in the “ Keuner Stories ” or in “ Galilei ”: The phase of oppression can be reached through apparent consent to violence and power survive and then pursue his goals. In the time of “ totalitarianism ” there was great interest in “ casuistic stories” , “which deal with situations in which the actions necessary for survival become problematic because it collides with elementary ethical norms.” Kiesel cites the problem from the board as a classic example des Karneades : What will the stronger do when, after a shipwreck, a weaker one has seized the only saving board? In the conflict between survival and justice, the ancient author recommends killing the weaker because otherwise one would be just but a fool .
The difference between ancient history and Brecht's didactic pieces is that Brecht does not sacrifice morality to self-preservation, but to the will to (political) success.
"But Brecht goes well beyond Carneades by demanding consent from those who are to be sacrificed in such a life-threatening situation."
Kiesel does not consider this step to be specific to communist movements, but to "common property of the mobilization movements of the first half of the 20th century." Brecht only "grasped this motive in a particularly radical way" in the "measure"
Adolescence problems as a structural principle
Günter Thimm sees adolescence problems as a central structural principle of the yes-man. The contrast between family and culture is symbolized by the two rooms on the stage. Thimm meticulously describes the boy's slow change from the security of the room with his mother to the other room, which symbolizes the farewell to the family. On the one hand, the culture appears promising (the city on the other side of the mountains; the great doctors; hope for a cure), on the other hand, the way there is dangerous. From this point of view, the teacher appears in the role of the father, who is the third person, i.e. H. through triangulation in the sense of psychoanalysis enables the boy to gain distance from his mother.
Brecht creates the boy's inner conflict through the pair of opposites “standing” and “sitting”.
“ The three students.
Are you sick of climbing?
The boy
no.
You see, I am standing.
Wouldn't I sit down
if I was sick?
Break. The boy sits down . "
Thimm interprets sitting down as a regression that shows the desire to return to the family. Thimm also systematizes the contrast between the attractions of the family and those of 'culture'. The mother's illness and the dangers of the journey contrast with the initially unspecific desire to leave the family. In a similar sense, Friedrich Dieckmann asks the boy: “‹… ›does he really want to help her? If the aid expedition of the teacher and the students were successful, the mother would be helped anyway. The boy does not set out for his mother's sake - he wants to help himself, from his mother; he wants to emancipate himself through the journey towards utopia. "
Thimm interprets the boy's death as an adolescent fantasy. Neither the farewell to the mother nor the arrival in the 'culture' succeed completely. However, the gap appears threatening. Thimm sees this structure of the yes-man as typical of Brecht's work. The typical family situation (absence of the father; desire to break out of the motherly dominated family) is shown in the “ Mother Courage ”, the “ Guns of Mrs. Carrar ” or the “ Mother ” , as in “Yes Man ”. In addition, a “pick-up” appears regularly, which - as in a fairy tale - enables the farewell to the mother, for example the recruiter in Mother Courage or here the teacher. In the space between family and the dreamed goal, the adolescent often finds a group of about the same age, represented in the yes-man by the three students. Thimm sees a typical initiation ritual in crossing the mountain pass .
Kurt Weill's composition
The composition of "Jasager" was the last joint project by Brecht and Weill in Germany. 1933 met the two already on the run again in France and developed the song play "The Seven Deadly Sins" in the "brash snappy yet aware sentimental Threepenny Opera - and Mahagonny style" The musical quality of school opera "yes man" is different rated. Jost Hermand is of the opinion that the "much more brittle music" that corresponded to the didactic character did not fit Weill's style. The complexity of Weill's music is "bent into a simple demonstrative gesture".
W. Anthony Sheppard asks whether Kurt Weill's composition supports or undermines the piece's message about the preference of the collective over the individual and the demand for sacrifice. In the choir's first appearance, Sheppard sees the clear musical support of the brutal doctrine of "consent".
"The fugal character of this number imparts an air of solemnity, as do the rigid, plodding quarter notes of the vocal line. These musical traits have led Gottfried Wagner to discuss this chorus in terms of Weill's musical propaganda.
The fugue character of the first choir appearance conveys a touch of solemnity, like the rigid, heavy quarter notes of the singing voice. These musical characteristics led Gottfried Wagner to discuss this choir in relation to Weill's musical propaganda. "
Sheppard is of the opinion that, contrary to Brecht's idea that the music should be in contrast to the text in the sense of the alienation effect , Weill emphasizes the message of the piece in “Yes”. Susanne Fischer Quinn also interprets Weill's composition as confirmation of the boy's consent to his execution. Just the two, completely unchanged repetitions of the opening chorus “It is important to learn, above all, is agreement” at an exposed point emphasize the power of this idea. The agreement is also documented in the composition itself. Melody fragments from the orchestral prelude are recorded by different voices, in the opening choir the melody is passed on from one voice to another in a canon-like manner according to a “similar principle . By imitating the melodic and rhythmic material, an agreement is also created musically. ”In order to avoid the impression of the banality of the agreement, Weill avoid pure unison parts despite the grouping of soprano and tenor or alto and bass in the choir . After the choir, the orchestra resumes the starting melody. The death of the boy (“Listen well, listen!”) Is not accompanied by transfiguring music, but by a simple figure introduced by the piano, repeated several times.
“In the piano part only a recurring one-bar and unanimous figure is repeated, which is able to express the tragedy and difficulty of the scene in a single interval through the second tension DE . Accompaniment and voice alternate like recitative ; The focus is therefore always clearly separated on either the singing or the piano part, only whole notes held in the piano accompany the singer sporadically and suggestively. "
Up to the teacher’s question: “Do you demand that one should turn back because of you?” The composition retains the character described. The importance of the decision-making question is emphasized by a brief fortissimo from the orchestra, which is repeated in the teacher's second decision-making question: “So do you want it to happen to you as everyone else does?” When the boy answers, the orchestra's accompaniment pauses. When the decision has been made, "almost march-like accompaniment" begins, expressing "the inevitable fact" that the community continues to progress in order to fulfill the task assigned to it. "The three-part, low-pitched singing of the students is intended to ease the grief of the Students express at the boy's execution.
Krabiel attributes the success of the yes-man mainly to Weill's composition. In doing so, he follows his older classification of the didactic pieces as a vocal musical genre in contrast to dramatic literature. In addition, he emphasizes Weill's contribution to the text. He sees the special musical quality of the yes-man in the "rhythmic fixation of the text that strives for optimal comprehensibility" and the easily singable form that laypeople can master.
Susanne Fischer Quinn sees the musical engagement of Weill and Hindemith in the music for the didactic pieces as a "stroke of luck":
“The school opera, as Weill called the yes man, and the didactic play are works that can hardly be surpassed in terms of clarity and urgency. Both represent evidence of a stroke of luck that is unthinkable today: as two of the best-known and most talented composers of their time, Paul Hindemith and Kurt Weill strived for the 'democratization' of music and consciously wrote music that could be performed by musical amateurs and students, or transformed how in the didactic play, the audience in contributors. "
But it also points to the potential for conflict between Brecht and Weill, because Brecht managed to always be in the foreground, even in musically influenced works. Now and then Weill emphasized his part in the work: “Brecht is a genius; but I am solely responsible for the music in our joint works. ”What Weill and Brecht shared were the abandonment of the bourgeois music instinct and an interest in the new mass media of film and radio, which reached a different audience than the opera business. Weill had been making contributions to the radio since 1924 and, like Brecht, was concerned with radio theories. A consequence of this that was significant for educational theater were compositions that laypeople and young people could also play.
“The fact that the content (the community) corresponds so perfectly with the form (the education for community through making music together) may have been one of the greatest stimuli for Brecht and Weill to start working on the piece. Many years later in the USA, Weill asserted that the Yes Man was the most important work of his career. "
The teaching pieces embody new possibilities to experience community in a musical project. For this purpose, Weill's composition was kept relatively simple overall, with few modulations and a simple 3/4 or 4/4 meter . The didactic piece dispenses with improvisation, the rehearsals rather create community through discipline.
Following the premiere and discussions with another production, Brecht developed the text of the piece further. Since Weill was no longer able to create the composition for these changes due to a variety of stresses, many musical productions stick to the first version, while the second version is often discussed in literary studies.
Text output
- Elisabeth Hauptmann (translation): Taniko or throwing into the valley, in: The headlight, Städtische Bühnen Essen, season 1929/30, H. 6/7
- Elisabeth Hauptmann (translation): Taniko or Litter into the Valley, radio version for Radio Berlin, broadcast on June 23, 1930.
- First print in the magazine “Die Musikpflege” 1930/31, issue 1, pp. 53–58.
- Pre-print from the 4th booklet “Experiments”, Berlin (Gustav Kiepenheuer) 1930.
- Bertolt Brecht: Large commented on Berlin and Frankfurt editions. Volume 3, Pieces 3, pp. 47–58, Frankfurt am Main 1988 (cited as GBA)
- Bertolt Brecht (author), Peter Szondi (editor), Elisabeth Hauptmann (translator): The yes man and the no man: templates, versions, materials, Frankfurt am Main (edition suhrkamp) 1999, ISBN 3-518-10171-4 .
- Kurt Weill: Der Jasager - school opera in 2 acts - piano reduction. Schott Music 2003, ISBN 979-0-00801667-7 .
- Kurt Weill: Der Jasager: Piano reduction (English). Universal Edition 2003, ISBN 979-0-00806207-0 .
Sound recordings
- Kurt Weill (composer); Bertolt Brecht (Author) - Die Jasager, audio CD, Music Alliance Membrane GmbH
- Kurt Weill (composer); Bertolt Brecht (Author) - Die Jasager, audio CD, Polydor CD 839 727-2, also on Line Music CD 5.00991 and Membrane Music 232579 with Joseph Protschka, Lys Bert, Willibald Vohla, Siegfried Kohler
- Kurt Weill (composer); Bertolt Brecht (Author) - Die Jasager, audio CD, Capriccio CD, CD 60 020-1, Fredonia Chamber Singers, Chamber Choir of the University of Dortmund, Orchestra Campus Cantat 90, Willi Gundlach
- Kurt Weill (composer); Bertolt Brecht (Author) - Die Jasager, audio CD, FONO CD, FCD 97 734, choir and orchestra of the Alexander-von-Humboldt-Gymnasium Konstanz, Peter Bauer
Secondary literature
- Heinz Geuen: From Zeitoper to Broadway Opera. Kurt Weill and the idea of musical theater. Sonus. Writings on Music, Volume 1, Edition Argus 1997, ISBN 3-931264-02-5 .
- Jan Knopf: Brecht manual, theater. Metzler, Stuttgart 1986, unabridged special edition, ISBN 3-476-00587-9 .
- Klaus-Dieter Krabiel : The Yes / The No. In: Jan Knopf: Brecht manual. Volume 1: Pieces. New edition. Metzler, Stuttgart 2001, ISBN 3-476-01829-6 , pp. 242-253.
- Klaus-Dieter Krabiel: Brecht's teaching pieces. Creation and development of a game type. Stuttgart 1993, ISBN 3-476-00956-4 .
- Klaus-Dieter Krabiel: The lesson. Brecht's theory of a political-aesthetic education. Frankfurt am Main 1995, ISBN 3-86099-250-3 .
- Jürgen Schebera: Theater of the future? Brecht / Weill's The Yes Man - Brecht / Eisler's The Measure. A comparative study. In: Music and Society. 34, H. 3, pp. 138-145 (1984).
- Jürgen Schebera: Kurt Weill. Rowohlt, Reinbek near Hamburg 2000, ISBN 3-499-50453-7 .
- Rainer Steinweg: didactic play and epic theater. Brecht's theory and theater pedagogical practice. Frankfurt am Main 1995.
- Rainer Steinweg: The lesson. Brecht's theory of a political-aesthetic education. Metzler, Stuttgart 1976, ISBN 3-476-00352-3 .
- Günter Thimm: The chaos was not used up: An adolescent conflict as a structural principle of Brecht's plays. Königshausen & Neumann, 2002, ISBN 3-8260-2424-9 .
Web links
- Kurt Weill Foundation for Music , explanations with music examples
Individual evidence
- ↑ a b Klaus-Dieter Krabiel: Der Jasager / Der Neinsager, p. 245.
- ↑ cf. for example the conceptual remarks by Brecht in GBA Volume 21, p. 396ff.
- ↑ cf. Sabine Kebir: I did not ask for my share, p. 149.
- ↑ cf. Klaus-Dieter Krabiel: The Yes / The No, p. 242.
- ↑ Sabine Kebir: I did not ask for my share , p. 150ff.
- ↑ cf. Klaus-Dieter Krabiel: The yes / no, p. 243.
- ↑ quoted from: Klaus-Dieter Krabiel: Der Jasager / Der Neinsager, p. 243.
- ↑ cf. Klaus-Dieter Krabiel: The yes / no, p. 244.
- ↑ cf. GBA, Volume 3, p. 421.
- ↑ GBA, Volume 3, p. 49.
- ↑ a b GBA, Volume 3, p. 50.
- ↑ cf. GBA, Volume 3, pp. 421f.
- ↑ Kurt Weill: About my school opera 'Der Jasager'. quoted from: GBA, Volume 3, p. 422.
- ↑ cf. Klaus-Dieter Krabiel: The Yes / The No, p. 245.
- ↑ GBA, Volume 3, p. 54.
- ↑ GBA, Volume 3, p. 423.
- ↑ Susanne Fischer Quinn: From the use of utility music - Bertolt Brecht's collaboration with Paul Hindemith and Kurt Weill in the Lehrstück and Jasager, Mercer University, 2007, Athens, Georgia, p. 41.
- ↑ Susanne Fischer Quinn: On the use of utility music - Bertolt Brecht's collaboration with Paul Hindemith and Kurt Weill in the Lehrstück and Jasager, Mercer University, 2007, Athens, Georgia, p. 44.
- ↑ Jürgen Schebera: Kurt Weill, p. 74.
- ↑ cf. Klaus-Dieter Krabiel: The yes / no, p. 248.
- ↑ a b c cf. GBA, Volume 3, p. 424.
- ↑ Rhein-Mainische Volkszeitung of December 30, 1930.
- ^ Die Musik, Stuttgart and Berlin 1930/31, Issue 7
- ↑ Die Weltbühne Berlin 1930, No. 28; quoted from: GBA, Volume 3, p. 424.
- ↑ Klaus-Dieter Krabiel: Der Jasager / Der Neinsager, p. 246; Reference: Friedrich Engels : Anti-Dühring [1]
- ↑ a b Klaus-Dieter Krabiel: Der Jasager / Der Neinsager, p. 246.
- ↑ Ernst Jünger: The worker. Rule and form. S. 155 and 274, quoted from: Helmuth Kiesel: Thinking on life and death: literary reflections on an ethical-political problem constellation in the time of totalitarianism (Brecht, Jünger, Bergengruen). In: Lutz Hagestedt (Ed.): Ernst Jünger. Politics - Myth - Art. Gruyter, 2004, ISBN 3-11-018093-6 , p. 183.
- ↑ a b cf. Helmuth Kiesel: Thinking about life and death. 2004, p. 183.
- ↑ Sabine Kebir: I did not ask for my share , p. 152.
- ↑ GBA Volume 24, p. 484.
- ↑ GBA Volume 24, p. 92ff.
- ↑ Helmuth Kiesel: Thinking on life and death. 2004, p. 183.
- ^ Jan Knopf: Brecht-Handbuch, Theater, Stuttgart (Metzler) 1986, p. 90.
- ↑ GBA, Volume 3, p. 51.
- ↑ GBA, Volume 3, p. 91.
- ↑ GBA, Volume 21, p. 401.
- ↑ GBA, Volume 21, p. 755.
- ↑ Michael Ley, Leander Kaiser: From Romanticism to Aesthetic Religion. P. 93.
- ↑ Michael Ley, Leander Kaiser: From Romanticism to Aesthetic Religion. P. 93.
- ↑ cf. Michael Ley, Leander Kaiser: From Romanticism to Aesthetic Religion. P. 93f.
- ^ W. Anthony Sheppard: Revealing Masks: Exotic Influences and Ritualized Performance in Modernist Music Theater. California Studies in 20th Century Music. University of California Press, 2001, ISBN 978-0-520-22302-8 , p. 94. (English)
- ^ W. Anthony Sheppard: Revealing Masks, p. 95.
- ↑ cf. Helmuth Kiesel: Thinking about life and death. 2004, p. 183f.
- ↑ Helmuth Kiesel: Thinking on life and death. 2004, p. 189.
- ↑ Helmuth Kiesel: Thinking on life and death. 2004, p. 190.
- ↑ Helmuth Kiesel: Thinking on life and death. 2004, p. 190.
- ↑ cf. Günter Thimm: The chaos was not used up: An adolescent conflict as a structural principle of Brecht's plays. Königshausen & Neumann, 2002, ISBN 3-8260-2424-9 , p. 14.
- ↑ cf. Günter Thimm: The chaos was not used up: An adolescent conflict as a structural principle of Brecht's plays. 2002, p. 18.
- ^ Friedrich Dieckmann: Aid against the aging time. Leipzig / Weimar 1990, p. 153, quoted from Günter Thimm: The chaos was not used up: an adolescent conflict as a structural principle of Brecht's plays. 2002, p. 17.
- ↑ Friedrich Dieckmann: Tools against the aging time, p. 21.
- ↑ Günter Thimm: The chaos was not used up: An adolescent conflict as a structural principle of Brecht's plays. 2002, p. 22.
- ↑ First performance: June 7, 1933 in Paris ( Théâtre des Champs-Élysées ); Jost Hermand: The dead are not silent. Brecht essays. Peter Lang, 2010, ISBN 978-3-631-60002-3 , p. 36.
- ↑ Jost Hermand: The dead are not silent. P. 36.
- ↑ Jost Hermand: The dead are not silent. P. 36.
- ^ W. Anthony Sheppard: Revealing Masks, p. 91.
- ^ W. Anthony Sheppard: Revealing Masks, p. 93.
- ↑ cf. Susanne Fischer Quinn: From the use of utility music, p. 50f.
- ↑ Susanne Fischer Quinn: From the use of utility music, p. 51.
- ↑ a b GBA, Volume 3, p. 54.
- ↑ Klaus-Dieter Krabiel: Der Yesager / Der Neinsager, p. 247.
- ↑ Susanne Fischer Quinn: From the use of utility music, p. 53.
- ↑ cf. Klaus-Dieter Krabiel, Brecht's teaching pieces, p. 3f.
- ↑ Klaus-Dieter Krabiel: Der Yesager / Der Neinsager, p. 247.
- ↑ Kurt Weill 1934, quoted from: Jürgen Schebera: Kurt Weill. Reinbek near Hamburg (Rowohlt) 2000, p. 75.
- ↑ cf. for example Joy H. Calico, Brecht at the Opera. Berkeley: University of California Press, 2008, p. 23.