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This version of Brecht's great anti-war play by playwright David Hare was premiered by the National Theatre, London, in November 1995. It adopts a freer approach to the text than many editions, adapting the original rather than offering a close translation. In this chronicle of the Thirty Years War, Mother Courage follows
the armies back and forth across Europe, selling provisions and liquor
from her canteen wagon. One by one she loses her children to the war
but will not part with her livelihood - the wagon. The Berlin
production of 1949, with Helene Weigel as Mother Courage, marked the
foundation of the Berliner Ensemble.
Considered by many to
be one of the greatest anti-war plays ever written and Brecht's
masterpiece, it remains a powerful example of Brecht's Epic Theatre and pioneering theatrical style.
- Sales Rank: #727808 in eBooks
- Published on: 2015-02-13
- Released on: 2015-02-13
- Format: Kindle eBook
Review
“At last--the definitive translations of one of the 20th century's most influential playwrights…Far superior to the competition.” ―Theatre Journal
About the Author
A major dramatist of the twentieth century, Bertolt Brecht (1898-1956) was the founder of one of the most influential theatre companies, the Berliner Ensemble, and the creator of some of the landmark plays of the twentieth century: The Threepenny Opera, The Life of Galileo, Mother Courage and The Caucasian Chalk Circle. His plays and dramatic theory are central to the study of modern theatre.
Most helpful customer reviews
101 of 114 people found the following review helpful.
An appalling translation
By G M
What were Penguin thinking? "Mother Courage and her Children" is a German-language play set in the 1600s. There is therefore no excuse for having one character turn to another to say "Bob's your uncle" within the opening lines. When reading this play, we are supposed to be hearing the voices of German peasants and soldiers. However, I found myself listening to what sounded like north-of-England coal-miners. (Perhaps this was translator John Willett's clever rendering of the 'Verfremdungseffekt'. If so, it has certainly succeeded in alienating this reader.) Within the first two scenes, we hear Mother Courage herself using such choice verbiage as:
"Talk proper to me, do you mind, and don't you dare say I'm pulling your leg in front of my unsullied children, 'taint decent, I got no time for you. My honest face, that's me licence with the Second Regiment, and if it's too difficult to read there's nowt I can do about it."
Talk proper, indeed. It gets worse. Here is another dollop of Yorkshire pudding for the reader to chew on:
"My eldest boy. It's two years since I lost sight of him, they pinched him from me on the road, must think well of him if the general's asking him to dinner, and what kind of a dinner can you offer? Nowt."
The dinner, it seems, is a dog's dinner. So awful was this translation that I soon wound up buying the Eyre Methuen edition (with Eric Bentley translating). Compare-and-contrast the two translations:
~~~~~~~~~~~~~~~~~~~~~~
--Scene 1:--
EYRE METHUEN:
"Stay here. You're never happy till you're in a fight. He has a knife in his boot and he knows how to use it."
PENGUIN:
"Stop there! You varmint! I know you, nowt but fights. There's a knife down his boot. A slasher, that's what he is."
~~~~~~~~~~~~~~~~~~~~~~
--Scene 2:--
EYRE METHUEN:
"Dear God, it's my Eilif!"
PENGUIN:
"Jesus Christ, it's my Eilif."
~~~~~~~~~~~~~~~~~~~~~~
--Scene 2:--
EYRE METHUEN:
"Listen. When a general or a king is stupid and leads his soldiers into a trap. they need the virtue of courage."
PENGUIN:
"Look, s'pose some general or king is bone stupid and leads his men up shit creek, then those men've got to be fearless, there's another virtue for you."
~~~~~~~~~~~~~~~~~~~~~~
So it was obvious by the end of Scene 2 that the cause was lost. I skipped to the end to see did it get any better. Nope:
--Scene 12:--
EYRE METHUEN:
"I hope I can pull the wagon by myself. Yes, I can manage. There's not much inside it now."
PENGUIN:
"Hope I can pull the cart along by meself. Be all right, nowt much inside it."
~~~~~~~~~~~~~~~~~~~~~~
But why should we expect any better from this edition? No less than four different writers contribute three prefatory essays before the play has even started. They contain such aeroboard passages as:
"... perhaps no other literary or performative work has so relentlessly and ruthlessly engaged in such a critical-aesthetic experiment on war."
"Brecht understood, well before Anthony Swofford in his 2003 Gulf War I chronicle 'Jarhead', that all performative discourse on war, even the most antiwar, never rises above 'pornography' - hence the dangerous high-wire act Brecht performs with Mother Courage and its setting within the Thirty Years war."
And in case the clanking prose of the first quote didn't make enough of an impression on you, the next page reminds the reader that:
"For such a relentless and ruthlessly intellectual and emotional piece, it is a stunningly simple story."
Leaving aside the fact that Swofford wrote a memoir - which was therefore nothing to do with the 'performative' world, Brecht's "aesthetic and critical enterprise" was clearly about as dangerous as the consumption of a low-fat yoghurt. But the central problem here is the translation. We all know that verisimilitude was hardly Brecht's number one priority: that's no excuse, however, for Willett's trashing of the German language. The most important question facing any reader is how much value they will get from this translation. The answer is: nowt.
26 of 27 people found the following review helpful.
Go ahead and feel
By A Customer
Saying that Brecht didn't want his plays to evoke an emotional response is an extreme oversimplification of his theories. He just didn't want the emotional response to overwhelm the intellectual response and remove the audience's capacity to judge the work objectively. In this play, we have a heroine who is not a heroine. We understand her, but we never empathize with her. Consequently, the interdependence of war and economy is illuminated without making the reader wallow in excessive emotion. Yes, we do feel strongly when Kattrin is beathing her drum, but that feeling is not what the audience leaves with at the end of the play.
18 of 19 people found the following review helpful.
Response to Noah Lambert's review
By Molly McBride
Brecht doesn't want emotion because that is Brechtian theater. He thought that in order for a play to invoke social change, it needed to be clear to the audience, that the audience needed to learn something. Emotions, Brecht felt, clog the mind and only feed the brain sentiment, not rational thought. Mother Courage and Her Children is, quite obviously, an anti-war play. Brecht wants you to see that war makes criminals out of everyone, even mothers. He wants you to love Mother Courage while you hate her so that the emotion is cancelled out and you are only left with the thoughts of her actions and why they were wrong. If you want a play to read or perform that is challenging, amazing, and intellectual all at once, this is the way to go. I performed this and I was forever changed.
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