A PARABLE CONCERNING PROPERTY
PLAY/BOOK REVIEW
THE CAUCASIAN CHALK CIRCLE, BERTAOLT BRECHT, UNIVERSTIY OF MINNESOTA PRESS, 1999
One of the master communist playwright Bertolt Brecht’s strengths as an artist was the ability to set up a moral dilemma and work it out to a conclusion, not always a satisfactory one, by play’s end. This is unusual in a seemingly orthodox follower of the old Stalinist 'socialist realist’ cultural program. This work nevertheless permitted Brecht to address an age-old question about the nature of property ownership, extending it from its natural and historic setting in land and chattels to the question of personal human ownership.
The question posed here is whether a child abandoned by its natural mother then found and raised by another women should go to the former or that latter. Nice dilemma, right? But Brecht, as seem in Mother Courage and other parables, is not above cutting right to the bone on moral questions. What makes this work a cut above some of Brecht’s more didactic plays is the way that he weaves the parable about the odd resolution of an ancient Chinese property dispute and places that ‘wisdom’ in context of a then current dispute between two Soviet-era communes.
In the ancient dispute the judge who is called upon to render judgment, using the circle as a medium to resolve the dispute, seems to be Solomonic but is really a buffoon. This is pure Brechtian irony. This says as much about Brecht's attitude toward property as it does about the old time Chinese justice system. The question of property rights as presented by Brecht and their value as a societal glue is also something the reader or viewer of this play should think about, as well.
PLAY/BOOK REVIEW
THE CAUCASIAN CHALK CIRCLE, BERTAOLT BRECHT, UNIVERSTIY OF MINNESOTA PRESS, 1999
One of the master communist playwright Bertolt Brecht’s strengths as an artist was the ability to set up a moral dilemma and work it out to a conclusion, not always a satisfactory one, by play’s end. This is unusual in a seemingly orthodox follower of the old Stalinist 'socialist realist’ cultural program. This work nevertheless permitted Brecht to address an age-old question about the nature of property ownership, extending it from its natural and historic setting in land and chattels to the question of personal human ownership.
The question posed here is whether a child abandoned by its natural mother then found and raised by another women should go to the former or that latter. Nice dilemma, right? But Brecht, as seem in Mother Courage and other parables, is not above cutting right to the bone on moral questions. What makes this work a cut above some of Brecht’s more didactic plays is the way that he weaves the parable about the odd resolution of an ancient Chinese property dispute and places that ‘wisdom’ in context of a then current dispute between two Soviet-era communes.
In the ancient dispute the judge who is called upon to render judgment, using the circle as a medium to resolve the dispute, seems to be Solomonic but is really a buffoon. This is pure Brechtian irony. This says as much about Brecht's attitude toward property as it does about the old time Chinese justice system. The question of property rights as presented by Brecht and their value as a societal glue is also something the reader or viewer of this play should think about, as well.
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