The action of the play is primarily confined to an impoverished part of the city, including city streets and the area in and around Shen Teh’s tobacco shop. It demands nothing less than a new way of perceiving. Shu Fu offers Shen Teh a blank check so she can stay in business, but Shen Teh refuses to use it. By the time Brecht graduated, he was also interested in the theatre. It signals us: Don’t get so carried away by this bittersweet episode that you forget to employ your complex seeing; the double character once more forces an epic interruption, refocusing our attention. Commenté aux États-Unis le 3 novembre 2014. The shift in identity brings a shift in expectations. Brecht’s metatheatrical pointings direct our attention to the possibility of change and to our role in effecting it. By scene nine, in Shen Teh’s absence, Shui Ta has paid her debts (to the carpet dealer and his wife) and has put out rice for the hungry, as Shen Teh used to do. Consulter la page Bertolt Brecht d'Amazon. And how can we maintain that Shui Ta is hard and self-serving because he is male when we are repeatedly reminded that he is Shen Teh? But that is to disregard the play’s theatrical dynamics. Mrs. Yang champions Shui Ta to the very end of the play. By making the act of theater-viewing strange, Brecht subjects all the transformations in the story to a parallel interrogation: Do they have to happen? Then Yang Sun expects her to sell the shop for 300 silver dollars so he can get the rest of the money he needs. They do not marry because Shui Ta does not come to their wedding and pay out 300 silver dollars. Shen Teh is worried that she will lose her shop. I said to myself, now I can be a deadhead, and it won’t matter.” Here, Shen Teh switches to verse: “I’m rich, I said to myself. Economic circumstances, primarily poverty, drive much of the action in Good Person. At one point, when she returns to her shop after spending the night with Yang Sun, the old woman, upon learning that Yang Sun has no money, asks Shen Te how she will pay her rent. When Shen Te, as Shui Ta, discusses the matter with a policeman, the policeman presents society’s idealized view, that sex for love is acceptable, but sex for money is not: “... love isn’t bought and sold like cigars, Mr. Shui Ta. In this moment, of course, like Walter Kerr, we have to side with Shui Ta, cheering his rejection of the freeloaders. After they leave, Shui Ta tells Shu Fu that Shen Teh is no longer involved with Sun, and will be gone for a few weeks. “Adding Szechuan to Shakespeare,” The San Francisco Chronicle, March 2, 1999, p. El. In scene seven, when Shen Teh is in danger of losing her business and cease her charitable ways, Shu Fu writes her a blank check so that she can save herself. When he does not, the wedding does not happen. The only way to do this is to be Shui Ta. Shui Ta’s tobacco factory is thriving. But most of the people whom she is trying to help take advantage of her generosity. When creditors and beggars come into her shop, it is they who suggest making up a relative so that Shen Teh can put them off. But we see something more than one character changing into the costume of another. Indeed, if one considers Brecht’s attitude toward identification and heroes, it seems downright ludicrous to look to him, as Iris Smith does, for “desiring and desirable behaviors modeled on stage... so that the feminist spectator could find herself there and project herself into the future.”. In a public park, Shen Teh comes upon a young pilot, Yang Sun, preparing to hang himself. As already noted, the V-effekt depends on first establishing the familiar to make it strange; similarly, Brecht throws events into critical relief after drawing us into them. he can then go about the epic task of making them strange. Though The Good Person of Szechwan was not as overtly political as Mother Courage and Her Children (1939), Brecht hoped it would be produced in the United States. Shui Ta is running the shop when Yang Sun shows up. But when Shen Teh emerges from the back room, Yang Sun manages to talk himself back into her affections, and Shen Teh admits she loves him, not the barber. He finally repays the 200 silver dollars Shen Teh borrowed from the carpet-dealer and his wife, though the couple has lost their business by that point. The Good Person of Szechwan Moscow Pushkin Drama Theatre. But this gestus provokes a sense of lament and refusal because the song contains—and displays—the inadequacies of its own argument. Shen Teh invents a male cousin, Shui Ta. Brecht formed the Berliner Ensemble, which debuted in 1949. 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