Bertolt Brecht was one of the chief innovators of modern theatrical techniques. He was both a poet and a playwright all in one. His epic theatrical creations developed drama as a forum for social and idealistic causes. Brecht’s imagination, artistic genius, and social views distinguish his work and his life.

Eugen Bertolt Brecht was born February 10, 1898 in Augsburg Germany, a town in Bavaria. His family was of middle class, which he came to resent, in favor of a Marxist proletarian society. In 1917 he attended Ludwig Maximillian University, in Munich, where he studied medicine.

Towards the end of the First World War, Brecht served in a military hospital. During this time in 199918, he wrote his first piece of work Baal, however it was not published until a later time. In 1922 he wrote his first success, Drums in the Night. In 1923 Baal was finally produced.

Until this time Brecht had lived in Bavaria. In 1924 he moved to Berlin, where he developed a strong antibourgeois attitude. Several people of his generation developed similar attitudes, as a result of the disappointing post World War I society in Germany. Among his friends, at this time, was a group of Dadaist, wh

Mother courage was a very important play because it showed how peasants and lower class citizens could be used as tools for the socially elite. It exposed the commercial aspect of war, which some individuals take total advantage of. Mother Courage herself was one of these people. It never dawns on her that one must be high up in society and wealth to make a prophet from war. She seems to think of this somewhat in the middle of the play, but stops thinking about it towards the end. However, Bertolt Brecht’s main goal was not for Mother Courage to think about these topics, but for the audience watching the play to thing about them. Mother Courage and her Children succeeded in getting across the social issues that Brecht wanted to be noticed, while it used his style of “epic theatre.” The Audience was never supposed to feel sympathy for Mother Courage, but to think of the reasons of why she was going through her ordeal. For these reasons Mother Courage and her Children is considered to be one of Bertolt Brecht’s finest works and one of this lasts century’s greatest plays.

Later that year Brecht worked on a play called A Little Orangum for the Theatre. Through this work Brecht revealed his theory of drama, which is that a truly Marxist drama must avoid the premise that the audience should be made to believe that what they are witnessing is really happening here and now. Brecht argued that the theatre should not seek to make its audience believe in or relate to the characters on the stage, but rather make the audience realize that what it sees on stage is merely an account that should be watched with critical detachment. A Little Orangum for the Theatre, thoroughly explained Brecht’s theory of “epic theatre.”

Bertolt Brecht had two main periods of maximum creativity. The first period came at the onset of his manhood. During this time his writings were greatly influenced by the Dadaist group and by Marxism. Still though he created some of his finest poems before the age of twenty-five. The second period came when Brecht had to somewhat abandoned his hectic political activities during the depression years, and go into a self induced exile. This is the time, which many critics believe to be, when Brecht created his greatest plays. The Good woman of Setzuan, The Life of Galileo, and the Caucasian Chalk Circle were all among them. His greatest piece of work created at this time was Mother Courage and her Children, a play that many regard as his masterpiece and finest mature creation.

o aimed at destroying what they called the false standards and ideals of the

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