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Soziologische Betrachtungsweise” reads like a blueprint for the first section of the Mahagonny notes. ” 20 Fritz Sternberg (1895–1963) “Diese Differenz zwischen dem Wissenschaftler Sternberg und dem Künstler Brecht ist, weil sie die erste einer Reihe Begegnungen von Wissenschaft und Kunst war, von großer Bedeutung. Daß Brecht den Standpunkt der Produktion notfalls auch gegen den der wissenschaftlichen Analyse aufrechterhielt, war eine Grundentscheidung, der er Zeit seines Lebens treu blieb” (Voigts 1977, 96).

It also enables us to subject his theoretical ideas to critical scrutiny in the light of later thinking, rather than continuing the longstanding practice of simply saying what Brecht was trying to say. INTRODUCTION ♦ 25 Some preliminary caveats and statements of intention are called for at the outset. As has just been indicated, my main concern in this study is with Brecht’s canonical theoretical writings. In the process of exploring these works, I shall inevitably have recourse to a large number of related essays, journal entries, letters, interviews and notes.

The subsequent Versuche 2 version was prefaced by the announcement that it offered “eine Untersuchung über die Möglichkeit von Neuerungen in der Oper” (44). e. Brecht-Weill’s Mahagonny, the libretto of which precedes the notes in Versuche 2. In other words, “Über die Oper” is not a further alternative title, but simply an abbreviated reference. The full Versuche title, “Anmerkungen zur Oper Aufstieg und Fall der Stadt Mahagonny,” eventually found itself demoted to mere subtitle: Unseld’s Schriften zum Theater anthology (1957) and the seven-volume collection of the same title (1963–64), as well as Willett’s Brecht on Theatre, all have as their main title “Das moderne Theater ist das epische Theater,” a claim taken from the third section of the notes.

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