B. Brecht: THE PETTY BURGEOIS WEDDING

“The Petty Bourgeois Wedding” belongs to the wittily ingenious Brecht, the irreconcilable critic of reality, who successfully found…

“The Petty Bourgeois Wedding” belongs to the wittily ingenious Brecht, the irreconcilable critic of reality, who successfully found a mode of protest against modern civilisation in an almost totally anarchist rebellion from the nearly nihilistic positions of his youth. His ruthless analytical mockery of modern society often reduced man to just four basic functions: eating, fighting, fornicating, and getting drunk. And here is our wedding. Petty bourgeois. Today’s Balkan tavern where we, as Krleža thought in his “Kraljevo”, are used to “solving” our problems, consciously or unconsciously, alive or dead. In such a description, he stands out not only for the boldness of what is said, but also for his fearless desire for experimentation, a passion for what he intended to say. Love at this wedding is often exposed as lust, the fight for truth as anger. It is dramatic, but at the same time painfully witty, entertaining. The ideal picture of a family celebration reveals the unconventional relationships between guests and hosts, situations provoke the agreed-upon orderly everyday life, the grotesque dance that breaks tables only points the finger at the uncertain future of our newlyweds.

At the moment when he became aware of the fact that Germany would accept Hitler, Brecht accepts the Marxist worldview, writes lessons, changes the dramaturgical structure, but does not give up on humor and satire as a means of expression. That “communist without a membership card”, paraphrasing Marx’s statement, claimed that art is the opium of the people. What did he mean? He meant that with art, one has no right to deceive the audience with illusions or to conceal reality from them, no matter what it may be.
Željka Udovičić Pleština

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