"Fatzer" by Bertolt Brecht and Heiner Müller as Lehrstück-dramaturgy

Abstract

The object of this study is the genre of Lehrstück ("learning play"), whose founder was Bertolt Brecht (1898 - 1956), a follower and reformer – Heiner Mueller (1919 - 1995). The article examines the fundamental complex of Lehrstück-dramaturgy of both German playwrights, united under the name "Fatzer". In addition to the story-narrative basis, the study also focuses on song discourse. Songs as a kind of "text in the text", the lyro-epic component in the dramatic plane is, as it is known, a characteristic feature (post)-Brecht dramaturgy, as well as one of its main structural components. Songs is an important means of "V-Effekt", which was also used by Heiner Müller. These poetic-musical inserts serve as an analytical author's commentary. The introduction of the songs corresponds to the principle of assemblage, which was used by Brecht and Mueller in order to "alienate" the stage action. Assemblage technique assumes that the theatrical action is not a homogeneous system, but a "assembled" "designed" of various heterogeneous "materials" plane. An important element of "Fatzer" as well as other Lehrstücks, are projections. As a kind of libretto liners, they demonstrate the subtext of the work, which represents the main "learning" filling of the dramas of Brecht and Müller. The Projections are not just a mechanical auxiliary – their main role is to prevent the full sensual immersion of the viewer and inert follow the course of action. Thus, the projections give the action an indirect effect. In the form of expression in the play "Fatzer" it is possible to distinguish verbal and illustrative-demonstrative projections, which reveal the content of the scene, explain the key moments of the episode, demonstrate and quote the author's position.