Uber Bert Brecht and the lowercase
Hardly anything else has the German education burers ever practiced more than the simple non-observance of their carefully considered coarse and small spelling by their coarse poet Bertolt Brecht. At least he gave them as bebe to recognize, as infant. That made it a bit easier to take it to him.
Of course Brecht, Hemingway, Robert Musil – All these authors – wrote with a typewriter. Every time you wanted to write a coarse letter, a massive smoke went through the writing roller car – which had to be lifted mechanically for this purpose. A cigar chain smoker like Brecht, who needed his left hand to keep the cigar stub hard, tapped the right handy. This gave a typographic closedness to the typeface, and instead of always being able to work with the mechanics of the writing process, to focus on the blob written on the words that you tinted. See the work journal.
What had these people have benefited from a simple computer of our days. Of course, duly, the spelling programs that corrected eternal automatically and often enough wrong! but still. musil Man without characteristics Hundreds of side newly tapped. What had to save for work! and a grammatical program would not be so badly too pass.
Oh well. So Brecht. Brecht So, with the lower case. Maybe he only meant, What is the English is right, should be cheap to me. I write everything small. Its English skills were known to be marginal, even after a long stay in the US, as we know from the record shot, which Eric Bentley has released decades ago at Folkays. Brecht is quoted before the committee to investigate unamerican activities. Here are a few Horproben and transcriptions.
If you see that and hoard. Brecht and America. a chapter for himself. Since Sab he in California and could not do anything right in the city of angels with the liberal sunshine in the city. Hanns Eisler wrote at least a few curious songs about it. Then they sort at Charlie Chaplin and paid him the story of gold rush Again, a different time, and laughed at a branch.
In 1947, in the same year, when Brecht the United States in love, Chaplin was also interviewed by a man named James Fay as a reporter. In reality, Fay was the commuters of a Catholic group who wanted to drive Chaplin as alleged communists from the country.
Fay: Are you friends with Hanns Eisler? Chaplin: Yes, he is a personnel friend, and I am very proud of the fact. Fay: Do You Think Eisler is a Communist? Chaplin: I Know He is a Fine Artist And A Great Musician And A Very Sympathetic Friend. Fay: Would It Make Any Difference IF He Were A Communist? Chaplin: No, it wouldn’t.
Chaplin probably said the same thing if you have it Brecht interviewed. Only the Gebruder Eisler were both "right one" Communists, and right communists were brought to the electric chair at that time, as the couple Rosenberg. They were quasi the Al Kaidas that time.
Only with the beginning of the Kennedy Ara, which also involved the American burger rights movement, one could remember in America, which had actually had such people like Brecht and Eisler. Of course, Kurt Weill and Lotte Lenya had had their respective and common careers in the US – Lenya as a shredder sanger, because the composer of numerous musicals and standards – first spat, 1953, posthumous, came the Threeepenny Opera In the version of Marc Blitzstein added. The famous text line from his Mack the Knife –
On The Sidewalk Sunday Morning Lies A Body Ooocing Life Someone’s Sneaking ‘Round The Corner Is That Someone Mack The Knife…?
– Should a flashstein itself prove pretty prophetish, because a few years later, 1964, he was quite down in the Caribbean – maybe a gay (or supposedly But just gay not-gay) free. Blitzstein was open toul and left, then a rare combination, and he had just received the order to write a musical over Sacco and Vanzetti – one to date controversial political murder case.
In the political unculture, which after the murder Kennedies in the USA was almost Putin’s outbreak, it was barely surprising that a man like Blitzstein was running on Martinique to the knife on Martinique. Mack the Knife Was a much different song than the Mackie knife Bankelsong from Brecht / Weills Dreigroschenoper And just the hit versions of Bobby in it and Louis Armstrong had dented this song permanently in the American psyche. Brecht in Ostberlin Horte the Louis Armstrong version for some time before his death. "After all, a Negro", or similar, he should have said. I do not find the quote anymore. Anyway, it was peeping. Dafur I found the entries over Brecht, which the Kennedy Center in Washington D. C. About him leads. There is already the first word wrong. Bertold.
in a certain way "Brecht" In America – his reputation, his prasence superimposed – the work of Eric Bentley, which there is still, he lives, is 94 years old. At 53 he had his public coming out, he explained that he has always been gay in the previous years of his life. in "The Brecht Memoir" If he pays from the years of his meetings with Brecht, in America, in Switzerland. Whether Brecht knew that Bentley was gay, if he was interested or not, Bentley does not mention.
However, Bentley’s almost monstrous use of Brecht – and for everything that has to do with Brecht – a series of treatises and translations in book form, a new three-groove opera, stagings of contaminated other Brecht stucco and then, in the sixties, a series of records, Brecht, Eisler, even with self-advanced harmonium, finally, in 1968, even the first record with Biermann songs in English – because Biermann could be considered as a kind of continuation of Brecht – then it also shows how I mean , a monstrous infire in the man Brecht, not just the writer Brecht.
Bentley: Brecht to Biermann
And that was in the American-English-Australian reception of Brecht / Weill actually still so far – these songs, this material has become part of the gay / lesbian counterculture, a culture that likes to go to the term "cabaret" appeal. quasi in a row that (for my taste, little sexy) US film’s same name, which provides a kind of romantic reduction of the Berlin gay scene at the beginning of the Nazi time. Mirrored by the optics of a British gay, the author Christopher Iserwood, the "Goodbye to Berlin" wrote, the book on which the story was originally based – and then mirrored by the optics countless (completely apolitical) Broadway writer, thus emerging a vision of the German Tingel tangel, which is from somewhere again the Brecht / Faints Dreigroschenoper feigned. and –WOW. Lotte Lenya was also there again.
Kaba-Rett or Kaba-deh?
Cabaret, pronounced Kaba-deer, was always something other than the political cabaret. The funnies before present Polit prominence, realiters or by telly, however, were neither Cabareh nor cabaret, but just unsavely. Political cabaret always needed the duddy cellar lokers, smoke, Wolfgang Neuss practically to grip close, with the collection bush for the Vietkong, the Reichskabarett in the eye contact. Increasingly interesting. Who smires and "Reichskabaret" – with a T – writes and entered on Google, appears at "Rick’s Cabaret" From Las Vegas, a tie Arschen show.
But still: also the Dreigroschenoper had more of the Tingel tangel than from the cabaret. The music of Weill: Naturally awesome. But it took this voice of the little Viennese suburbanhur ‘, Karoline Blamauer to guarantee the Stuck his world career:
Gentlemen, today they see me washers wash off and I make the bed for everyone. And they give me a penny and thank you quickly and they see my rags and this lumpy hotel and they do not know who they talk to with whom they are talking to? …
10-inch, Telefunken, 1953, the original recordings of 1930
Today, since Turbo capitalism has started his triumphs of the complete world destruction, the poor Bebe is not very popular in his homeland. But what is that for a home? "Germany, pale mother" he once dignified when the land was driven by the Nazis in the war and bleached, faded, how dead, there was, in rubble and ashes. "Germany’s pale mother", Today, Angela Merkel, no matter if you consider them good or malicious, nothing is further than a calfactor of corporate capitalism, a calf behind his slaughter, a blobe character mask / mask of the political process. It is possible that Angela Merkel – private, as a trained former GDR burger – even loves her Brecht.
But you, when it will be that, that man is a helper for humans intensify us.
lese to? Already this word – alone this word – is susceptible today. he says "night shift"? he says "night vision"? and this lutheran clay. "But you, who you …" Go slices, Brecht. The lavelessness towards this coarse poet could not be gross, and the hatred comes from both sides. On the one hand the neoliberal and fascist infected practiced practiced of all kinds that mean, they already had the Dreigroschenoper as "Marxist" on the other hand, the once somehow left and socialist indoctrined, which Brecht is now "ass" goes. Well, you can understand that if I had all 50 plates of Konstantin alarm clock, I did not want to read a benn more. But let’s take another "to the post-born". Here is a version in American Harper’s magazines.
This is, so to speak, the poetic counter-piece to Picassos "Guernica", The gross German poem of the 20th century. in rock Pop terms this is this "A Day in the life" The Beatles, during example, Celans "mortality" something like "MR Tabourine Man" from Dylan is. Coarse poems, masterpieces of the shape, not necessarily faultless in content. And yet, you just meck a word, the construction begins to wobble. So it goes Brecht’s poems in every translation, here then several times. and the line —
It’s true: I only earn my maintenance
– does not rely unpleasantly due to the bumpy coarse and lowercase, where you can read as much more pleasant in through lower case. She is still not correct quoted. In English, the translator let him say:
It Is True: I Work for A Living
Well, it may be laughed. Interestingly, there is the poem in German in two readings, in two hor-versions, once read by Helene Weigel, the actress who was married to Brecht, and once of Brecht himself.
"to the post-born" Read from Helene Weigel
The Weiel version suggests me that Helene Weigel has significantly influenced the poem – with its emergence -. That’s why I think "A Day in the life" From the Beatles, as John Lennon and Paul McCartney, two relatively unconcanished song parts screwed together, and bumm! Did you have a classic. Here it can have gone so. Brecht says: Oh, I do not know, I only wrote about crap ten days. The Weigel: Why? Let’s see. she reads. Then she says: is Prima, Bertl. Here you just say part one, because you say part two, and that’s part three. And then you always say this here as a refrain:
So my time passed that on earth was given to me.
and the sentence here you please. Says the Weigel. And Brecht: What do I write instead? Then you say, says the Weigel, what my dad has always said: I always cared regularly but not surprised. No No, Brecht says. that does not have the right cutting. It had to live it –
I used the love careless
Well, now the Weigel again. I’m testing the danen tonight, let’s see what they say. Applause, big text. Weigel’s reading is the classic. Brecht himself read the poem rather whining, like an old man.
Now the discussion comes to the publication in Harper’s. In an English blog, Language has commented entreprenehers who are Argim that any left-handed curriculizer once at their school time Brecht – as the only non-English author – had prescribed. They trace the hidden or hidden or concealed Stalinism in the text, and debate what it is with this word "used" could have on himself because they have the meaning of the expression, "I used the love" Do not decipher. One of the comment suppliers means that in any case Grimmelshausens "Simplicius Simplicis"(SiC) a far shocking representation of the true-year war is as Brecht mother courage. Lastly, all pleasure for Limericks.
my opinion to "to the post-born" I have already expressed. It is some likeable a unexplained historical mark, whether it is one now or not. I think the murdered of Guernica might have shaked his head during his lifetime when someone had shown them with which picture Picasso was fired their future fate in humanity of humanity. but that was just the form he found for it. The same applies to Brecht’s poem. Its content statements are now to be accepted as such. For example, on the very everyday level, no concrete information about how Brecht has indeed nerves, whether he had really only taken bread and water.
The fact is, the Brechts Aben obviously not bad. At Amazon, there is even a cookbook from which one learns what Helene Weigel has cooked. "And what was your Contribution to his work?" someone has asked them. "Well, I cooked well."
Brecht’s poems are often like collages, or like cartoons, or as snapships, but not even snapshuses reflect the reality as they really is. They only reflect the light. They are not in the sense real, really, autobiographical. Erich Kastner wrote poetry about sex experiences with stubenauts, pub-arts and real hookers in the Berlin of the 30s and 40s, and the light is always a bit spotted, but Kastner’s poems are as mechanical as a pencil sharpener with crank. Real is all and nothing to you.
Charles Bukowski describes in a poem, as he now lives in luxury and hold a little scribe, who writes his poetry to him, and like his critics, he was now always better. and when Angela Merkel reads a Brecht poem, and ignoring contemplated – "Commemorative our dessert" – So also belongs to the real reception of the poem. the misunderstanding.1
In the focial years when Germany was still pitched in East and West, Brecht lived in Ostberlin. Whether that was a really way decision, Brecht probably did not know myself. But he knew that a person was without a pass as a child without his head, so he got an East East Rich Pass. (Helene Weigel was Easter Richer, in Vienna, the Soviet occupiers sobil, so it seems to have not been a problem.) Brecht had just as well remain in neutral Zurich. The theater work also worked there. But he settled in Ostberlin, operation the Berlin Ensemble, braised choleric, smoked Stinkadores, got the Stalin Peace Prize, and died. 1956, with 58.
In West Germany, they accepted Brecht HAnfort as a coarse lyrician, and as a theatrical poor, but one tried to somehow sister the Marxist layer with him. The letters "b. b." Retrievably transferred to Brigitte Bardot, called Bebe, the baby, who helped with her pouting not only paschen loads to uncontrolled seed sources. The dog’s dusk Berliner Kaufmannsohn Curd Jurgens had to old SHIVE UBER 29 YEARS IN THE FILM MEMEN THE AVATAR OF THE APPLICATIONS.
The Bardot called him the "Norman cabinet." The star of Bardot exceeded the Fifties, today Curd Jurgens in the film looks at their side only silly – they also at his own. the poem "from poor B. b." – from Brechts "house postille", created in 1922, printed in 1927 – longed for a long time to go to the world long before the Bebe – and belongs to the poems, which belong to the constant stock of German poetry, even if it, when I remember correctly, was only one of three poems, the Brecht a single night trip between Augsburg and Munchen (or vice versa) has criticated. Here you can fly it at least short.
in "to the post-born" Brecht recalls this poem, and this time. Even then, as a young man, Brecht reflects over his fragile health. ("… The cold of the Walder will be in me to my death…"// – "…From everything beginning – provided with every stalema scramb: – with newspaper. and tobacco. and brandy …") Whether from Brecht’s poems and theater show to his eating habits and his health? Who wife. somewhere I once read, he had an unhealthy or at least underlying preference for cheese but that does not appear in any of his texts that are known to me. Maybe the power-and-juice stride is "Baal" only a desired idea of a sick young man, the photos of the box-sport-enthusiastic young Brecht only fantasies of a weakly trying to overpass his weak?
Photo Brecht with Boxer Paul Samson Korner, 1926
Why do these questions and overhead of Brecht just now and without a concrete decimal event, it has to do so that a professor Stephen Parker from the University of Manchester undesigned the "True reason for Brechts" quarrel. "A stylish stucco detective work of a universitative vibration has enthused the truth about how one of the largest stucco wrists in the world 54 years ago died", it is called in a press release of the university. detective work? I’ll think of murder immediately, maybe he was poisoned? Even Eisler died of a summery heartbeat. indicates the anamnesis on the same cause – cheese?
"broken" it is called in the said press message, "For a long time, the official version of Brecht has longed a heartbeat in 1956 in communist East Berlin. But Professor Stepehen Parker from the University of Manchester has now proven that the iconic German poet, stucco writer and theater manager as a child at the beginning of the 1900s at a then not diagnosed at that time rheumatic fever suffered."
What is the rheumatic fever? The Wikipedia entry is a bacterial discharging that the heart, the joints, the brain infested and needed a longest penicillin treatment. Penicillin was still unknown than the arms B. b. A child was, and if you could get it so easy in the beginning of the 50s in the GDR, you may also doubt. From the press release to the book:
Brecht was simply stamped as a nervous child with an intolered heart, but his condition brought him lifelong suffering and finally the death. As Professor Parker, who writes a book about the life of the German, found an Obskure note on Brecht’s childhood diagnosis of an intolered heart, which was deeply buried deep in the gigantic 30-band edition of the crushing writings, he made himself up in the archives. His research results, which he succeeds from archive documents – including a radius of radiance, including the year 1951, as well as other published sources – open a completely new view on Brecht’s life and work. Last but not least on his cultivation of a Macho self-portrait as a serial women’s lover, which was famous for photos in counterupising with boxers,.
The research, which were financially supported by the Leverhulme Trust, show that the rheumatic fever attacks the heart of the boy and its engine-neuronal system, which has been drawn up a chronic heart failure and Sydenhams Chorea, which manifested erratic movements and a grimated facial expression. Professor Parker, who is at the Institute of University of Languages, Linguistics and Cultures, said: ‘Brecht had easy to die as a child. In the MAB as he became age, he became progressive for further bacterial infections, such as endocarditis, an explaining his battered heart."
Professor Parker’s detective work also led to the discovery of another document, which enters that this situation was worsened by repeated urological complaints, which are derived from an unpleasant urinary tube constriction. That too has been reviewed by Fruheren Biographers. The heart problems and the urological problems together caused the dead heart failure. The professor said: ‘Brecht was physically a wreck, whose chronic disease were finally killed him and finally kill him.And yet he had a pleasant poetic and theatrical talent, which helped him to convert his bleak mostly to a catchy power.’-‘ By doing the documents from the archives together and also involved the published sources, we can now certainly ame that Brecht practically had to fight for his life with a body suffering, which is finally in the form of a heart failure as especially.’-‘ What is astonishing today is that that Brecht’s condition has never been properly diagnosed. That may explain a certain point of interest with him, something that he was afraid to be buried alive and therefore had that his main artery was severed after his death.’-‘ I never believed that his problems were only the result of a neurosis – as some people have claimed – no one had just made the mess to explore his medical history."
The professor fugged: ‘Brecht’s symptoms show all signs of rheumatic fever. an escalated neck, followed by motorbneuronal problems and heart problems, which all made more than just ‘nervose’ symptoms. His brother described his appearance as a tricky, scary and threatening. The Chorea also returned to adult age again when Brecht was under stress. At the beginning of the 20th century there was no firmly established diagnosis for rheumatic fever, but this was in the 30s and 40s. It was a very widespread disease that was often not diagnosed. In the developed world, it is almost extinct today, thanks to the use of antibiotics, almost extinct. These findings in no way affect the importance of the crushing plant, far away from it. We now just know more about the man, and that’s certainly an important step waiting for."
Arms B.b., plagued by neurotic twitches and a narrowed urine pipes, and a hinged heart, smoked his cigars in Ostberlin, who did not come from Cuba at that time, nibbled at the Kase and got a certainly savory but certainly even fatty food delivered delivered. As I said, the recipes can be read, in the WHITE compendium for Witwenmacher. at the Position is still a completely different detective story hidden. Armer B.b. He cared carelessly. How likely the original line in the poem would have liked?