Bertol t brecht

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The Instructive Theatre

The stage began to be instructive.

Oil, inflation, war, social struggles, the family, religion, wheat, the meat

market, all became subjects for theatrical representation. Choruses enlight­ened the spectator about facts unknown to him. Films showed a montage of events from all over the world. Projections added statistical material. And as the "background" came to the front of the stage so people's activity was subjected to criticism. Right and wrong courses of action were shown. People were shown who knew what they were doing, and others who did not. The theatre became an affair for philosophers, but only for such philosophers as wished not just to explain the world but also to change it. So we had philos­ophy, and we had instruction. And where was the amusement in all that? Were they sending us back to school, teaching us to read and write? Were we supposed to pass exams, work for diplomas?

Generally there is felt to be a very sharp distinction between learning and amusing oneself. The first may be useful, but only the second is pleasant. So we have to defend the epic theatre against the suspicion that it is a highly disagreeable, humourless, indeed strenuous affair.

Well: all that can be said is that the contrast between learning and amusing oneself is not laid down by divine rule; it is not one that has always been and must continue to be.

Undoubtedly there is much that is tedious about the kind of learning familiar to us from school, from our professional training, etc. But it must be remembered under what conditions and to what end that takes place.

It is really a commercial transaction. Knowledge is just a commodity. It is acquired in order to be resold. All those who have grown out of going to school have to do their learning virtually in secret, for anyone who admits that he still has something to learn devalues himself as a man whose knowledge

is inadequate. Moreover the usefulness of learning is very much limited by factors outside the learner's control. There is unemployment, for instance, against which no knowledge can protect one. There is the division of labour, which makes generalized knowledge unnecessary and impossible. Learning is often among the concerns of those whom no amount of concern will get any forwarder. There is not much knowledge that leads to power, but plenty of knowledge to which only power can lead.

Learning has a very different function for different social strata. There are strata who cannot imagine any improvement in conditions: they find the conditions good enough for them. Whatever happens to oil they will benefit from it. And: they feel the years beginning to tell. There can't be all that many years more. What is the point of learning a lot now? They have said their final word: a grunt. But there are also strata 'waiting their turn' who are discontented with conditions, have a vast interest in the practical side of learning, want at all costs to find out where they stand, and know that they


are lost without learning; these are the best and keenest learners. Similar differences apply to countries and peoples. Thus the pleasure of learning depends on all sorts of things; but none the less there is such a thing as pleasurable learning, cheerful and militant learning.

If there were not such amusement to be had from learning the theatre's

whole structure would unfit it for teaching.

Theatre remains theatre even when it is instructive theatre, and in so

far as it is good theatre it will amuse.

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