Saint Joan of the slaughterhouses

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Data
Title: Saint Joan of the slaughterhouses
Genus: Epic theater
Original language: German
Author: Bertolt Brecht
Publishing year: 1931
Premiere: April 30, 1959
Place of premiere: German theater in Hamburg-St. George
people
  • Johanna Dark, Lieutenant of the Black Straw Hats
  • Mauler, meat king
  • Slift, a broker
  • Cridle
  • Graham
  • Lennox
  • Gloomb
  • 1. Worker
  • 2. Workers
  • Labor leader
  • rancher
  • Mrs. Luckerniddle
  • Workers
  • Lad
  • rancher
  • Paulus Snyder, Major of the Black Straw Hats
  • Little speculators
  • Martha, soldier in the black straw hats
  • 1. Newsboy
  • 2. Newsboy
  • Buyers
  • straw hat
Alfred Braun 1928, director of the radio play version
The Salvation Army marches in Berlin in 1931
Slaughterhouses in Chicago 1947
Lovis Corinth : "In the slaughterhouse", 1893

The holy Johanna der Schlachthöfe , or Saint Johanna for short , is an epic play by Bertolt Brecht and his co-authors Elisabeth Hauptmann and Emil Burri . It tells the story of Johanna Dark, who wants to bring the locked-out workers in Chicago's slaughterhouses closer to faith in God. In view of the misery, she tries to persuade the leading entrepreneur in the meat industry , Mauler, to reopen the meat factories, but gets deeper and deeper into the maelstrom of economic machinations of the meat bosses. Finally, in protest, she goes to the workers who persist in the snow on the disused meat yards and witnesses attempts by the workers to defend themselves against the bosses by means of a general strike . When they confide in her an important message, she withholds it for fear of causing violent confrontation. As a result, the strike fails. In the end, the dying Johanna realizes that her hopes in God and negotiations with the capitalists have failed and that she has only harmed the workers she wanted to help.

The piece takes up various themes. With Johanna's failure, Brecht demonstrates the futility of social compromises in times of crisis and the negative impact of religious organizations that only serve the rich and powerful. Furthermore, it shows the typical course of crises of capital from a Marxist point of view, which result in monopoly formation and further disadvantages for the workers.

History of origin

The result is the drama 1929 / 30 during the Great Depression . The setting is the Union Stock Yards , the slaughterhouses of Chicago . With the drama, Brecht takes up various preparatory work and suggestions from the extensive literature on Joan of Arc and the Salvation Army. In particular, parallels to the work of George Bernard Shaw can be seen . His drama Major Barbara (premiered in 1905) is also about the disillusionment of a member of the Salvation Army. In his play Die heilige Johanna (premiered in 1923) Shaw (like Brecht) “grounds” the Johanna figure idealized by Schiller.

Preparatory work by Brecht and Elisabeth Hauptmann

Since 1927, Brecht and Elisabeth Hauptmann have dealt intensively with the Salvation Army . They wanted to know how the organization came about, how it was structured, how it worked. To do this, they attended meetings of the Salvation Army and they evaluated publications of the Salvation Army. The book "Figures" by Paul Wiegler , which contains both criticism of the Salvation Army's financial conduct and a chapter on Joan of Arc , offered concrete links .

Brecht's fragments of the drama Jae Fleischhacker in Chicago and The Bread Shop already contain essential Johanna motifs. So it says in the "bread shop" of the Salvation Army:

“Show the uselessness of religion. Not attack on the Salvation Army! The Salvation Army is only interested in itself to improve, it is not about people. Want financiers, rich winners, not unemployed. Girl kicked out for caring too much about people. (...) The power of religion. "
“Salvation Army: its function: it brings everyone into the swamp. With their idealism. "

Brecht began work on St. Johanna in 1929 . The piece was completed in 1930 with the collaboration of Hermann Borchardt , Elisabeth Hauptmann and Emil Burri . Makeovers followed in 1932 and 1937. Brecht has operated in the time-intensive literature studies, correlations from the capital of Karl Marx were processed for the piece.

Literary sources

Brecht was inspired by the novel The Jungle by Upton Sinclair . This describes the inhumane conditions in the slaughterhouses in Chicago. The person of St. Johanna shows many parallels to the historical-mystical figure Joan of Arc , called "Johanna Dark" by Brecht. Why Brecht renamed the person originally named Lillian Holliday is not entirely clear. However, he was aware of the arrangements of the Jeanne d'Arc material by Friedrich Schiller ( The Maiden of Orleans ) and George Bernard Shaw ( The Saint Joan ), to which the title is supposed to allude.

premiere

Radio Berlin first broadcast Die Heiligen Johanna der Schlachthöfe on April 11, 1932 in an abbreviated radio play version with Alfred Braun as director. Johanna spoke by Carola Neher , Mauler was embodied by Fritz Kortner , Frau Luckerniddle by Helene Weigel and Slift and Graham by Peter Lorre . According to Jan Knopf, "the economic processes ... remained completely opaque due to the cuts."

Brecht's attempts to initiate a performance in Berlin or Vienna failed at the beginning of 1933 due to the political situation. A planned staging of the Hessian State Theater in Darmstadt under the artistic director Hartung was prevented by fierce conservative and National Socialist resistance. The city council threatened to cancel the theater subsidies and the play was canceled.

It was not until April 30, 1959, three years after Brecht's death, that the drama was premiered at the Deutsches Schauspielhaus in Hamburg . Gustaf Gründgens staged »Saint Johanna« after the contemporary critic Christoph Funke, "by caricaturing the form of the great classical tragedy down to the details of the arrangement and the props". This intention was supported by "the economical, unusually dynamic, illusion-destroying stage design" by Caspar Nehers . Brecht's daughter Hanne Hiob played Johanna Dark, Hermann Schomberg the meat king Pierpont Mauler. Other actors were Joseph Offenbach , Robert Meyn , Werner Hinz , Richard Münch , Benno Gellenbeck , Lotte Brackebusch and Arno Bergler . Siegfried Franz created the music . Critic Christoph Funke reports of stormy "applause that swelled into a hurricane". Jan Knopf points out that the topics of unemployment and crisis "in the age of full employment ... as a distant hint from the old days" and that the religious topic and the quality of "shaping people and conflicts" have come to the fore.

action

Pierpont Mauler, Chicago's meat king, sells his share of the joint business to his partner (Cridle), allegedly out of weariness with the killing of animals, but actually because his New York stock exchange friends advised him to take this step in an insider tip . Cridle links the purchase with the condition that her biggest competitor (Lennox) goes bankrupt beforehand, which also happens soon. The “black straw hats”, a parody of Brecht on the Salvation Army, under the command of Lieutenant Johanna Dark, can no longer deal with the increasing misery of the unemployed due to the economic crisis (there is too much meat on the market for which there are no buyers) stop with soup, music and nice words. Therefore Johanna Mauler asks for help for the poor.

Mauler wants to prove to Johanna that the workers are “bad” and that they themselves are responsible for their hopeless situation. But Johanna also recognizes the reason for the so-called “badness” (i.e. the immoral behavior of the workers) at Mauler's slaughterhouse: their poverty. She moves into the cattle exchange with her “black straw hats” to take care of human conditions. Apparently it succeeds, but in reality Mauler has "saved" the market by contractually undertaking to buy meat on a large scale in the near future. In doing so, however, he is following a new insider tip from his stock exchange friends. Shortly afterwards he buys up all the beef he can get hold of.

Johanna throws meat producers who are supposed to donate money to the black straw hats out of their houses. As a result, the Salvation Army loses its material basis. Johanna is released without notice and turns to Mauler in her need, who promises to help her.

Johanna realizes too late that Mauler's renewed monopoly position, this time as the owner of the cattle, will very quickly increase the hardship due to the cutthroat competition against Mauler's competitors and the ruin of the system he is causing. Now she offers the communists her full support. But when a general strike is called, she betrays her allies because she believes the misleading media reports and still has scruples about the violence requested in a letter she is supposed to forward.

The strike was put down through Johanna's fault, and the system can just be stabilized again: two thirds of the workers receive two thirds of their old wages, the other workers remain unemployed; the meat market is strengthened by reducing the supply of beef; the banks and the state support this “reform”. Exhausted, Johanna collapses. To prevent her experiences and views from spreading, the meat traders decide to canonize her as a martyr of charity. Their exclamations, which now call for a violent change in society and contain Brecht's teaching, are immediately drowned in a jumble of eulogies, singing and music.

Interpretations

Figures and figure constellation

Johanna

Carola Neher as Johanna (1930)

With Johanna, Brecht introduces the type of “virtuous girl” into his drama, who, in confrontation with the harshness of the world, fails to directly improve conditions through moral action. "On Johanna and her successors -  Kattrin , the daughter of her mother Courage , Shen Te and finally Grusche  - Brecht tries out the meaning and effect of charity and charity in an inhospitable - rarely capitalist - world."

In dealing with the brutal world of the slaughterhouses, Johanna goes through a three-stage learning process that leads her from the naive hope in God and morality to Christian reform hopes to the belief in the necessity of violent resistance by workers against exploitation. Brecht numbered Johanna's experiences in the world of impoverished meat workers as three "courses into the depths."

As the leader of a group of the “black straw hats”, who embody the Salvation Army in the play, she first distributes soup and her treatise “The battle cry” in front of the slaughterhouses. Speeches and songs are directed against violence, despite military rhetoric:

"Johanna: We are the soldiers of the dear God. Because of our hats we are also called the black straw hats. We march with drums and flags wherever there is unrest and threats of violence, to remember God, whom they have all forgotten, and to bring their souls back to him. "

The workers react coolly to Johanna's sermon, they see the cause of their misery not in the distance from God, but in the competition between the manufacturers Mauler and Lennox. Johanna decides to get to the bottom of the matter and, after talking to Mauler, goes on the second "step into the depths". On behalf of Maulers, the broker Slift is supposed to show her the wickedness of the poor so that her pity will pass away. But Johanna does not react to the examples of human depravity as expected. She recognizes that "poverty is the cause of the poor morale of the workers".

"Johanna: ... Not the badness of the poor
Did you show me but
The poverty of the poor. "

Johanna begins to see through the market manipulation of the meat bosses and makes demands: The capitalists should enable the poor to lead a moral life through social prices and wages. Johanna's "theological social doctrine seeks to unite morality and economy and to bring the Gospel to bear in a version and language adapted to capitalism". At the meat exchange, she formulates her demand in the language of business:

"Johanna: Just consider service to others as service to customers! Then you will immediately understand the New Testament and how modern it is, even today. Service! What does service mean other than charity? ... If you raise your moral purchasing power, then you will also have morals. "

She does not yet notice how much she is accommodating Mauler with these suggestions and how little they are of use to the workers. “In this phase Johanna and Mauler are working on the establishment of the same system and nevertheless embody opposites: She tries capitalism for religion, Mauler tries to instrumentalize religion for capitalism; this interweaving of interests explains part of the affinity between Mauler and Johanna. "

Only when Johanna realizes that all interventions are of no use and that the workers are still locked out in the snow in front of the factories for days does she take her “third step into the depths”. She goes to the slaughterhouses to share the misery of those locked out. This walk begins with a dream vision in which Johanna sees herself as the leader of a mass demonstration in the streets of Chicago: "With a warlike step, her forehead bloody / And words call out a warlike sound". But the dream does not become a reality. The distrust of the communists ("Johanna: Aren't they people who encourage crimes?") And her fear of violence prevent Johanna from passing on a decisive letter for the workers' leaders, even though she has now seen through the situation. She compares the "system" with a "swing":

“Is a swing with two ends that are separated from each other
Hang out, and the above
Sit upstairs only because they sit downstairs ”.

Johanna's embezzlement of the letter leads to the failure of the strike. Worker leaders are arrested, there is shooting. In the end, the situation in the meat industry stabilizes while workers have to accept wage cuts and layoffs. In the final scene, the meat bosses functionalized the black straw hats and religion for themselves. To demonstrate their humanity, they want to declare the dying Johanna a saint.

“Slift: She should be our holy Joan of the slaughterhouses. We want to raise her as saints and not deny her respect. (...)
Mauler: Missing in our midst too
Not the childlike pure soul
Sound out in our choir too
Her wonderfully loud voice
You condemn everything bad
And she speaks for us all. "

Johanna does not respond to the homage, she regrets her failure as a messenger and the missed opportunity to change the world. She realizes how useful her moral and religious sermons have been to those in power and the importance of changing the world.

"Johanna: For example, I didn't do anything.
Because nothing is counted as good, and it looks like it always does
Really helps, and nothing is more honorable than what
This world finally changes: it needs it.
As if called, I came to the oppressors. "

In doing so, Johanna turns away from religion and morality and affirms the violent change in the extreme contrasts between "below and above".

"Johanna: About whoever says below that there is a God
And nobody is visible
And can be invisible and still help them
You should hit it with your head on the pavement
Until he died.

(...)

And also those who tell them that they can rise up in spirit
And get stuck in the mud, you should hit them with your heads too
Hit the plaster. Rather
Only violence helps where there is violence and
Only people help where people are. "

Jan Knopf sees in the different interpretations of the Johanna figure a basic conflict between literary scholars of the GDR and the Federal Republic after the Second World War. "The western interpretation put the main character at the center of their portrayal and sees everything happening largely from their perspective." For example, Rolf Michaelis interpreted the drama as a conflict "between a small poor child and a big rich man" in which Johanna through the Refraining from violence fails. From Michaelis' point of view, the slaughterhouses are "symbols of a human race that is tearing itself apart in the struggle for life". Benno von Wiese had expressly opposed the “hammered Brechtian program” and saw the quality of the piece in the “goodness doomed to tragic failure”.

In contrast, in the GDR, the programmatic statements of the play were placed in the foreground and Johanna was interpreted as a representative of the petty bourgeoisie, which like Brecht himself hesitantly turn to the revolutionary proletariat. Ernst Schumacher criticized the representation of the proletariat:

“The class-conscious workers in the play are schematic components of a collective. It is significant that Brecht has the theory that organization and violence are indispensable for the proletariat presented by the workers as a chorus, but is not able to shape it in the same concreteness as the maneuvers and machinations of the capitalists. If Mauler is a 'negative hero', the 'positive hero' is missing on the part of the workers. "

Only the more recent Brecht research had “rejected the overemphasis on the main character as a 'character' in Western research, on the other hand also the one-sidedness of the economic interpretation and the emphasis on the bourgeois 'negative' heroes by researchers from the GDR and therefore de-individualized the Johanna figure (...) ”Johanna now appears as an“ artificial figure ”, shaped“ by her belonging to the petty bourgeois middle class between the bourgeoisie and the proletariat ”.

Mauler

In Mauler, the antagonist of the main character Johanna, Jan Knopf recognizes the “new hero of the myth of America, whose center is Wall Street”. He compares Mauler with ancient founding figures like Aeneas , whose divine mandate with Mauler corresponds to the directives from the economic center of the USA. As evidence, Knopf cites the representation of the stock market speculation in the Johanna in the form of the ancient messenger report , which also opens up "at crucial points in the hexameter of the ancient epic ". The classic language of blank verse and hexameter is not just a "parody of tradition", but at the same time "trimming of real interests and real processes of the new era ... which is captured with them not rationally but irrationally".

“Immovable about us
Are the laws of the economy, unknown,
Recurring in terrible cycles
Disasters of nature! "

Tom Kindt, Hans-Harald Müller and Frank Thomsen see in their investigation into the figure of the Mauler different intentions Brecht realized: as "allegorical figure" it embodies " the capitalism par excellence, the nature of the goods' is." Furthermore, Brecht shows Mauler the ideological use of religion and ethics, both of which are functionalized for economic purposes. Mauler cleverly used Johanna and the straw hats for his own purposes. On the other hand, “Mauler is also the divided bourgeois individual whose pity is a real weakness”. His interest in religion also goes beyond the immediate economic benefit. Mauler is both a genius and a villain, who masters the keyboard of capitalism, but disregards it at the right moment. As with other early figures by Brecht, “Mauler's actions are determined by a natural, boundless egoism”.

Some authors see a reference to Goethe's Faust in the ambiguity of the Mauler figure . Brecht had the first edition from 1932 the slogan: “The thirteenth attempt: 'Saint Joan of the slaughterhouses', should show the current stage of development of the Faustian man”. The two souls that Faust felt in his chest on the Easter walk are with Mauler - according to Günter Hartung in his studies on Brecht - "already standardized and seized by the rationalization ... which is why they support and complement one another, despite their disconnectedness. Every 'idealistic' impulse - not being able to stand the slaughter any longer, being disgusted by the stock market, helping the unemployed by hiring them again for a lower wage, etc. - always benefits real business at the same time. "

The "Johanna" as a lesson in Marxist crisis analysis

Brecht's “Johanna” was definitely problematic for the GDR : the workers remain part of an anonymous mass, the socialist heroes and the revolutionary perspective are missing. In this respect, GDR author Käthe Rülicke-Weiler saved the play by interpreting it as an illustration of the Marxist crisis theory.

From their point of view, the play proceeds in four phases, which correspond to Marx's theory of crisis in capital . She quotes an excerpt from Volume 1 of "Capital":

“The life of industry is transformed into a sequence of periods of medium liveliness, prosperity, overproduction, crisis and stagnation. The uncertainty and discontinuity to which the machine operation subjects the employment and thus the life situation of the worker become normal with this change of period of the industrial cycle. "

- Karl Marx : Das Kapital , Volume 1, p. 476

Rülicke-Weiler finds these phases in "Johanna" and structures them as follows:

“Scene 1–4: End of prosperity
Scene 5–8: Overproduction
Scene 9 (1-10): crisis
Scene 10–12: stagnation.
In the final apotheosis (scene 13) the industrial cycle is restored: it will "normally" pass over to medium liveliness. "

Each of these phases is initiated by a letter from influential New York friends to Fleischkönig Mauler, who is always ahead of his environment thanks to this inside information . Rülicke-Weiler differentiates between “base” and “superstructure”. In the play the actual "development of capitalism" can be found in the letters, which Mauler translates into a suitable "ideology". Mauler's pity for the slaughtered cattle is the ideological pretext for pulling his money out of the meat business. In reality, his actions are economically motivated by the "end of prosperity".

Various authors criticize Rülicke-Weiler's reduction of the piece to the economic "core". Hans Peter Herrmann points out that the economic events in the play are rather chaotic from the viewer's point of view. Jan Knopf questions the strict logic as constructed by Rülicke-Weiler by referring to Mauler's success at the end of the piece, which is completely surprising after this stringency. From his point of view, the "letter that Mauler received at the end when he appeared to be broke ... has a lot from the messenger of the Threepenny Opera ."

Brecht and Schiller

At first it seems that the plot of the play has nothing to do with the historical Joan of Arc or with Schiller's “Maiden of Orléans”. On closer inspection, however, this impression turns out to be wrong:

In the very first scene, Brecht parodies Schiller by imitating the speech gesture he used in the conversation between Mauler and Cridle: the figures speak strikingly “stilted” by using “exquisite” linguistic means such as blank verse and a pathetic style peppered with rhetorical figures use. With this, Brecht wants to expose the "beautiful speakers" as "beautiful speakers", because the audience learns the truth in the form of the message (in prose, ie in "clear text") from the people from Wall Street to Mauler, which Mauler reads out in a monologue . The criticism, according to which nice speech is suspected of being used for "nice talk" with apologetic intent, should also hit Schiller. In Brecht's eyes, the idealistic utterances of Schiller's Johanna are suspected of being ideological .

Ultimately, Brecht's Johanna Dark is not unlike Schiller's Johanna at the beginning: full of idealism, she wants to lead people to what she considers “God's will”. However, Brecht's Johanna is pacifist (she abhors violence), while Schiller's Johanna calls for a kind of "holy war".

On the one hand, Brecht's Johanna approaches Schiller's Johanna, but on the other hand she also moves away from her: On the one hand, Brecht's Johanna also realizes that the situation cannot be resolved without violence, but on the other hand she has lost her illusions about religion: like her on her own body experienced, this ultimately only serves to manipulate people and dissuade them from the fight by putting people off to a “just world after death”. The final scene in Brecht's play parodies Johanna's apotheosis in Schiller's “romantic tragedy”.

Theoretically, Brecht distinguishes himself from Schiller in his work “Is the epic theater a 'moral institution'?” And refers explicitly to his work “What can a good standing stage actually do? ( The Schaubühne viewed as a moral institution ) ” . Schiller lived at a time when the bourgeoisie could still make demands full of idealism. A hundred years later, however, the bourgeois were in a position not to be demanding, but to be confronted with demands, and that was anything but enjoyable. Theater should no longer be a moral institution, as Schiller meant, but a central institution for changing society and thus people.

The epic theater

“Saint Joan of the Slaughterhouses” is also an implementation of Brecht's conception of the epic theater .

Although the piece lacks the “switching” from dramatic mode (playing on stage) to epic mode (explicit explanations and comments by actors who address the audience directly), other aspects are fully implemented. So there is in the play

  • Appeals and speeches that are not only addressed to the characters on the stage, but also to the audience (especially Johanna's closing remarks)
  • Alienation effects (especially the "formal" language in contrast to the banal issues at stake)
  • choreographic elements in the crowd scenes with a speaking technique reminiscent of the use of instruments in music in the crowd scenes
  • the “educational” approach typical of Brecht: the viewer is “picked up where he is”, namely with a moralizing attitude (“the world is bad because man is bad”); Together with the protagonist, he should complete a learning process and recognize as a “learning goal” that, conversely, “people are bad because society makes it impossible for them to be good”, that is, society needs to be changed.

For this purpose “the natural should be made conspicuous”. In concrete terms, that means: religion in general and the veneration of saints in particular should, according to Brecht, be recognized as instruments to divert attention from the real problems of people and their solutions in this world. According to him, capitalism should be recognized and fought as a source of misery and oppression.

Brecht and religion

In her closing speech, Johanna Dark says:

“About whoever says below that there is a God
And nobody is visible
And can be invisible and still help them
You should hit it with your head on the pavement
Until he died. "

In his “Notes on 'The Holy Johanna of the Slaughterhouses'”, Bertolt Brecht attaches importance to the statement that Johanna “in no way speaks about God, but rather about talking about God. [...] The belief that is recommended here has no consequences as far as the environment is concerned, and Johanna calls it a social crime to recommend it. "The" existence of God "," belief "are not even discussed in the play, so Brecht.

Performances (selection)

Text output

  • Saint Joan of the slaughterhouses. Drama, in: Attempts , Book 5 (= Attempts , Volume 13), Gustav Kiepenheuer, Berlin 1932, pp. 362–455; Appendix: Final scene to Saint Joan of the slaughterhouses. Drama, Felix Bloch Erben, Berlin 1931 ( hectographed stage manuscript, pp. 96–101).
  • Saint Joan of the slaughterhouses . In: Bertolt Brecht: Large annotated Berlin and Frankfurt edition . Volume 3, Pieces 3, pp. 127–234, based on the text of the 1932 edition.
  • The holy Johanna der Schlachthöfe , 25th edition, Edition Suhrkamp 113, Frankfurt am Main 1995, ISBN 3-518-10113-7 .
  • Saint Joan of the slaughterhouses, text and comments by Anya Feddersen. Suhrkamp, ​​Frankfurt am Main 2005, ISBN 3-518-18857-7 (= Suhrkamp BasisBibliothek , Volume 57).

literature

  • Friedbert Stühler: Female figures under the sign of humanity. JW von Goethe: Iphigenie on Tauris and B. Brecht: "The holy Johanna of the slaughterhouses". Joachim Beyer, Hollfeld 1997 ISBN 3888055164 E-Book ibid. 2012 ISBN 9783869581132
  • Peter Beyersdorf: Bert Brecht: The holy Johanna of the slaughterhouses & the yes-man - the naysayer . Notes and Investigations. Series of analyzes and reflections. Joachim Beyer, Hollfeld 1975; 3rd edition 1997 ISBN 3921202183
  • Georg Danzer (Ed.): Poetry is an act of revolt . Königshausen & Neumann , Würzburg 1996, ISBN 3-8260-1140-6
  • Christoph Funke: To the Brechts Theater. Reviews, reports, descriptions from three decades . Henschelverlag for Art and Society, Berlin 1990, ISBN 3-362-00403-2 .
  • Günter Hartung: The poet Bertolt Brecht: twelve studies . Leipziger Universitäts-Verlag, Leipzig 2004
  • Hans Peter Herrmann: Reality and Ideology. Brecht's “Saint Joan of the Slaughterhouses” as a lesson in bourgeois practice in the class struggle . In: Brechtdiskussion . Kronberg im Taunus 1974
  • Tom Kindt, Hans-Harald Müller, Frank Thomsen: Ungeheuer Brecht. A biography of his work. Vandenhoeck & Ruprecht , Göttingen 2006, ISBN 3-525-20846-4
  • Jan Knopf: Brecht's "Saint Johanna" . Suhrkamp, ​​Frankfurt 1986
  • Jan Knopf: Brecht manual. Theatre. JB Metzler , Stuttgart 1986, special edition ISBN 3-476-00587-9 , pp. 105ff.
  • Henning Rischbieter : Bertolt Brecht. Dates, time and work. Early pieces, operas, didactic pieces, anti-fascist pieces. Volume 1. Friedrich Verlag , Velber 1966 a. ö., Deutscher Taschenbuchverlag dtv, series: Dramatiker des Welttheater, 13. Munich 1974 a. ö., last through. Edition 1982 1st ISBN 3423068132 . ISBN 3423068140
  • Käthe Rülicke-Weiler: The dramaturgy of Brecht. Theater as a means of change . Henschel Art and Society, Berlin 1966, ISBN 3-920303-59-8
  • Karl-Heinz Schoeps: Bertolt Brecht and Bernhard Shaw . Bonn 1974
  • Gudrun Schulz: The Schiller edits Bertolt Brecht . Tübingen 1972
  • Ernst Schumacher: Bertolt Brecht's Dramatic Attempts 1918-1933 . Berlin 1955
  • Manfred Voigts: Brecht's theater concepts. Origin and development until 1931 . Munich 1977
  • Monika Wyss: Brecht under criticism . Munich 1973
  • Brecht – Johanna: And it changed color ... In: Der Spiegel . No. 20 , 1959, pp. 61 ff . ( online ).

Individual evidence

  1. ↑ Jan Knopf speaks of the “product of a well-rehearsed work collective” and describes the collaboration between the three, in which Brecht's work essentially consisted of “editing and expanding texts”. Advice would Hermann Borchardt , Walter Benjamin and Bernhard Reich participated. Jan Knopf: Brecht-Handbuch , Theater, p. 107
  2. ↑ "dark" means "dark" in English
  3. ↑ Major Barbara in the English language Wikipedia
  4. ↑ cf. Jan Knopf: Brecht-Handbuch , p. 105f.
  5. ^ Paul Wiegler: Figures , Leipzig 1916
  6. ↑ cf. Jan Knopf: Brecht Handbook , p. 106
  7. ↑ In: Bertolt Brecht: Große commented Berliner and Frankfurter edition , Volume 10.1, Pieces 10, pp. 271-318, based on various typescripts; see. Notes in Vol. 10.2, p. 1070
  8. Jump up ↑ In: Bertolt Brecht: Large commented on Berlin and Frankfurt editions , Volume 10.1, Pieces 10, pp. 565–659
  9. ↑ In: Bertolt Brecht: Große commented Berliner and Frankfurter edition , Volume 10.1, Pieces 10, p. 591, lines 26–35
  10. ↑ In: Bertolt Brecht: Große commented on Berlin and Frankfurt editions , Volume 10.1, Pieces 10, p. 592, lines 13-14
  11. ^ Ana Kugli, Michael Opitz (ed.): Brecht Lexikon . Stuttgart and Weimar 2006, p. 83
  12. ↑ a b c d e Jan Knopf: Brecht-Handbuch , Theater, p. 113
  13. ↑ after Jan Knopf, Brecht wrote the role for her; Jan Knopf: Brecht-Handbuch , Theater, p. 113
  14. ↑ a b Jan Knopf: Brecht-Handbuch , Theater, p. 114
  15. ↑ a b Christoph Funke: Zum Theater Brechts , p. 102
  16. ↑ Christoph Funke: On the Brechts Theater , p. 103
  17. ↑ a b Tom Kindt, Hans-Harald Müller, Frank Thomsen: Ungeheuer Brecht . A biography of his work. P. 154
  18. ↑ cf. Bertolt Brecht: Large commented on Berlin and Frankfurt editions . Volume 3, Pieces 3, p. 132
  19. ↑ 1st course into the depths; see. Bertolt Brecht: Large commented on Berlin and Frankfurt editions . Volume 3, Pieces 3, p. 134
  20. ^ Bertolt Brecht: Large commented on Berlin and Frankfurt edition . Volume 3, Pieces 3, p. 134
  21. ^ Bertolt Brecht: Large commented on Berlin and Frankfurt edition . Volume 3, Pieces 3, p. 148
  22. ↑ Tom Kindt, Hans-Harald Müller, Frank Thomsen: Ungeheuer Brecht . A biography of his work. P. 155
  23. ^ Bertolt Brecht: Large commented on Berlin and Frankfurt edition . Volume 3, Pieces 3, p. 154
  24. ↑ Tom Kindt, Hans-Harald Müller, Frank Thomsen: Ungeheuer Brecht . A biography of his work. P. 156
  25. ^ Bertolt Brecht: Large commented on Berlin and Frankfurt edition . Volume 3, Pieces 3, p. 161
  26. ↑ Tom Kindt, Hans-Harald Müller, Frank Thomsen: Ungeheuer Brecht . A biography of his work. P. 157
  27. ^ Bertolt Brecht: Large commented on Berlin and Frankfurt edition . Volume 3, Pieces 3, p. 185
  28. ^ Bertolt Brecht: Large commented on Berlin and Frankfurt edition . Volume 3, Pieces 3, p. 186
  29. ^ Bertolt Brecht: Large commented on Berlin and Frankfurt edition . Volume 3, Pieces 3, p. 189
  30. ^ Bertolt Brecht: Large commented on Berlin and Frankfurt edition . Volume 3, Pieces 3, p. 197
  31. ^ Bertolt Brecht: Large commented on Berlin and Frankfurt edition . Volume 3, Pieces 3, p. 220
  32. ^ Bertolt Brecht: Large commented on Berlin and Frankfurt edition . Volume 3, Pieces 3, p. 222
  33. ^ Bertolt Brecht: Large commented on Berlin and Frankfurt edition . Volume 3, Pieces 3, p. 223
  34. ^ Bertolt Brecht: Large commented on Berlin and Frankfurt edition . Volume 3, Pieces 3, p. 224
  35. ↑ a b In: Stuttgarter Zeitung , May 29, 1961; quoted from: Jan Knopf: Brecht-Handbuch , Theater, p. 113
  36. ^ A b Benno von Wiese: The playwright Bertolt Brecht . In: ders., Between Utopia and Reality. Studies on German literature, Düsseldorf 1963, quoted from: Jan Knopf: Brecht-Handbuch , Theater, p. 113
  37. ^ Ernst Schumacher: Bertolt Brecht's dramatic attempts 1918–1933, p. 480, quoted from: Jan Knopf: Brecht-Handbuch , Theater, p. 113
  38. ↑ Jan Knopf: Brecht-Handbuch , Theater, p. 113
  39. ↑ Hans Peter Herrmann: Reality and Ideology. Brecht's 'Heilige Johanna der Schlachthöfe' as a lesson in bourgeois practice in the class struggle, in: Brechtdiskussion. Kronberg iT 1974, p. 64, quoted from: Jan Knopf: Brecht-Handbuch , Theater, p. 113
  40. ↑ a b c Jan Knopf: Brecht-Handbuch , Theater, p. 110
  41. ↑ Jan Knopf: Brecht-Handbuch , Theater, p. 111
  42. ↑ quoted from: Jan Knopf: Brechts Heilige Johanna, p. 43
  43. ↑ a b c Tom Kindt, Hans-Harald Müller, Frank Thomsen: Ungeheuer Brecht . A biography of his work. P. 150
  44. ↑ Tom Kindt, Hans-Harald Müller, Frank Thomsen: Ungeheuer Brecht . A biography of his work. P. 144
  45. ^ Bertolt Brecht: Large commented on Berlin and Frankfurt edition . Volume 3, Pieces 3, p. 128
  46. ^ Günter Hartung: The poet Bertolt Brecht: twelve studies , p. 77
  47. ↑ cf. about Tom Kindt, Hans-Harald Müller, Frank Thomsen: Ungeheuer Brecht . A biography of his work. P. 141
  48. ↑ Käthe Rülicke-Weiler: The dramaturgy of Brecht, theater as a means of change . Berlin (GDR) 1966
  49. ↑ MEW online ; Käthe Rülicke-Weiler: The dramaturgy of Brecht, theater as a means of change . P. 138
  50. ↑ Käthe Rülicke-Weiler: The dramaturgy of Brecht, theater as a means of change . P. 138f.
  51. ↑ a b Käthe Rülicke-Weiler: The dramaturgy of Brecht, theater as a means of change . P. 139
  52. ↑ Hans Peter Herrmann: Reality and Ideology, Brecht's "Holy Johanna of the slaughterhouses" as a lesson in bourgeois practice in the class struggle . P. 78
  53. ↑ Paul Hühnerfeld: From rich Bert Brecht . In: Die Zeit , No. 17/1958
  54. ^ In: Bertolt Brecht: Collected works in 20 volumes Suhrkamp. Frankfurt / Main 1967. Volume 17: Writings on the theater 3 . P. 1021
  55. ^ A b c Critique by Christoph Funke reprinted in: Christoph Funke: Zum Theater Brechts
  56. ↑ Report in the mirror . In: Der Spiegel . No. 51 , 1979 ( online ).
  57. ^ Critique by Christoph Funke reprinted in: Christoph Funke: Zum Theater Brechts
  58. ↑ radiobremen.de  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Toter Link / www.radiobremen.de  
  59. ↑ Reviews at nachtkritik.de
  60. ↑ Review at nachtkritik.de
  61. ↑ http://www.schaubuehne.de/de/produktionen/die-heilige-johanna-der-schlachthoefe.html/m=221
  62. ↑ http://www.theater-bonn.de/schauspiel/spielplan/monatsspielplan/event/die-heilige-johanna-der-schlachthoefe/vc/Veranstaltung/va/show/
  63. ↑ An announced new edition as print 2012 was not implemented
  64. ↑ These articles first appeared in the central organ of the LDPD , the daily newspaper Der Morgen