In the opening concert of The Art of News a programme devised by Dominic Muldowney and Di Trevis examines the impact of one of the 20th century’s most iconic cultural figures. The artistic reputation of Bertolt Brecht (1898-1956) still rests squarely on his remarkable output of plays and poetry, but is enhanced by his revolutionary dramatic technique and strong political voice – a voice which probably made art a more powerful and dangerous force for social and political change than at any other time in modern history.
His work, from the early Baal to The Resistable Rise of Arturo Ui written in exile in 1941, were deeply concerned with the position of the individual within society and the wider social morals and responsibilities of the time in which he lived. Undoubtedly influenced by his own strongly held political views Brecht sought to create a theatrical style that emphasised the sense of collective, delivered in an almost matter-of-fact vocal style and reclaimed the idea that innovative art could be for all. It was the combination of these factors and his personal charisma that made him a focal point for collaborative projects, as his collaborations with both Kurt Weill from 1927 (including The Threepenny Opera and The Rise and Fall of the City of Mahoganny) and Hanns Eisler from 1930 (The Decision, The Mother etc) testify. He was also the most prominent figure in the movement within German culture that proactively opposed the rise of the Nazi party in the last years of the Weimar Republic. Like many of his colleagues he went into exile from Germany upon Hitler’s assumption of power in 1933, first to Scandinavia and ultimately to the United States; there in 1947 he became embroiled in the House Committee on Un-American Activities and returned to Europe, eventually living in East Germany (GDR).
The universality of Brecht’s writing and message has ensured that it has resonated throughout the ensuing half century since his death, as seen by the success of recent productions of The Caucasian Chalk Circle and The Good Person of Szechuan. Dominic Muldowney’s Songs from The Resistable Rise of Arturo Ui written in 1991 date from his time as music director of the National Theatre (in London), a position which he identifies as having established a deep understanding of the importance of simple and direct gestures in his musical style.
The songs of Kurt Weill, Hanns Eisler and their contemporaries feature alongside a new sequence of topical songs by composers from the Royal Opera House’s OperaGenesis VOX course in Carbon Copy Cabaret tomorrow (7.30pm). Dominic Muldowney’s London Sinfonietta commission, Songs of the Zeitgeist, receives its world premiere on Saturday (7.30pm).
During The Art of News each concert is followed by a late evening Poetry Platform. The first event features Graham Roos, whose work blends traditional poetic forms and drama with contemporary appeal to reflect the anxities of 21st century life. Graham Roos has also provided the text for Dominic Muldowney’s commission.