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The Caucasian Chalk Circle
Few authors have had such a dramatic effect as Bertolt Brecht. His work has helped to shape a generation of writers, theatergoers, and thinkers. His plays are studied worldwide as texts that changed the face of theater. The Caucasian Chalk Circle is a parable inspired by the Chinese play Chalk Circle. Written at the close of World War II, the story is set in the Caucasus Mountains of Georgia. It retells the tale of King Solomon and a child claimed by and fought over by two mothers. But this chalk circle is metaphorically drawn around a society misdirected in its priorities. Brecht's statements about class are cloaked in the innocence of a fable that whispers insistently to the audience.
No translations of Brecht's work are as reliable and compelling as Eric Bentley's. These versions are widely viewed as the standard renderings of Brecht's work, ensuring that future generations of readers will come in close contact with the work of a playwright who introduced a new way of thinking about the theater.
No translations of Brecht's work are as reliable and compelling as Eric Bentley's. These versions are widely viewed as the standard renderings of Brecht's work, ensuring that future generations of readers will come in close contact with the work of a playwright who introduced a new way of thinking about the theater.
136 pages, Paperback
First published January 1, 1945
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About the author
Bertolt Brecht
1,533听books1,867听followersEugen Berthold Friedrich Brecht was a German poet, playwright, and theatre director. A seminal theatre practitioner of the twentieth century, Brecht made equally significant contributions to dramaturgy and theatrical production, the latter particularly through the seismic impact of the tours undertaken by the Berliner Ensemble鈥攖he post-war theatre company operated by Brecht and his wife and long-time collaborator, the actress Helene Weigel鈥攚ith its internationally acclaimed productions.
From his late twenties Brecht remained a life-long committed Marxist who, in developing the combined theory and practice of his 'epic theatre', synthesized and extended the experiments of Piscator and Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism. Brecht's modernist concern with drama-as-a-medium led to his refinement of the 'epic form' of the drama (which constitutes that medium's rendering of 'autonomization' or the 'non-organic work of art'鈥攔elated in kind to the strategy of divergent chapters in Joyce's novel Ulysses, to Eisenstein's evolution of a constructivist 'montage' in the cinema, and to Picasso's introduction of cubist 'collage' in the visual arts). In contrast to many other avant-garde approaches, however, Brecht had no desire to destroy art as an institution; rather, he hoped to 're-function' the apparatus of theatrical production to a new social use. In this regard he was a vital participant in the aesthetic debates of his era鈥攑articularly over the 'high art/popular culture' dichotomy鈥攙ying with the likes of Adorno, Luk谩cs, Bloch, and developing a close friendship with Benjamin. Brechtian theatre articulated popular themes and forms with avant-garde formal experimentation to create a modernist realism that stood in sharp contrast both to its psychological and socialist varieties. "Brecht's work is the most important and original in European drama since Ibsen and Strindberg," Raymond Williams argues, while Peter B眉rger insists that he is "the most important materialist writer of our time."
As Jameson among others has stressed, "Brecht is also 鈥楤recht鈥�"鈥攃ollective and collaborative working methods were inherent to his approach. This 'Brecht' was a collective subject that "certainly seemed to have a distinctive style (the one we now call 'Brechtian') but was no longer personal in the bourgeois or individualistic sense." During the course of his career, Brecht sustained many long-lasting creative relationships with other writers, composers, scenographers, directors, dramaturgs and actors; the list includes: Elisabeth Hauptmann, Margarete Steffin, Ruth Berlau, Slatan Dudow, Kurt Weill, Hanns Eisler, Paul Dessau, Caspar Neher, Teo Otto, Karl von Appen, Ernst Busch, Lotte Lenya, Peter Lorre, Therese Giehse, Angelika Hurwicz, and Helene Weigel herself. This is "theatre as collective experiment [...] as something radically different from theatre as expression or as experience."
There are few areas of modern theatrical culture that have not felt the impact or influence of Brecht's ideas and practices; dramatists and directors in whom one may trace a clear Brechtian legacy include: Dario Fo, Augusto Boal, Joan Littlewood, Peter Brook, Peter Weiss, Heiner M眉ller, Pina Bausch, Tony Kushner and Caryl Churchill. In addition to the theatre, Brechtian theories and techniques have exerted considerable sway over certain strands of film theory and cinematic practice; Brecht's influence may be detected in the films of Joseph Losey, Jean-Luc Godard, Lindsay Anderson, Rainer Werner Fassbinder, Nagisa Oshima, Ritwik Ghatak, Lars von Trier, Jan Bucquoy and Hal Hartley.
During the war years, Brecht became a prominent writer of the Exilliteratur. He expressed his opposition to the National Socialist and Fascist movements in his most famous plays.
From his late twenties Brecht remained a life-long committed Marxist who, in developing the combined theory and practice of his 'epic theatre', synthesized and extended the experiments of Piscator and Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism. Brecht's modernist concern with drama-as-a-medium led to his refinement of the 'epic form' of the drama (which constitutes that medium's rendering of 'autonomization' or the 'non-organic work of art'鈥攔elated in kind to the strategy of divergent chapters in Joyce's novel Ulysses, to Eisenstein's evolution of a constructivist 'montage' in the cinema, and to Picasso's introduction of cubist 'collage' in the visual arts). In contrast to many other avant-garde approaches, however, Brecht had no desire to destroy art as an institution; rather, he hoped to 're-function' the apparatus of theatrical production to a new social use. In this regard he was a vital participant in the aesthetic debates of his era鈥攑articularly over the 'high art/popular culture' dichotomy鈥攙ying with the likes of Adorno, Luk谩cs, Bloch, and developing a close friendship with Benjamin. Brechtian theatre articulated popular themes and forms with avant-garde formal experimentation to create a modernist realism that stood in sharp contrast both to its psychological and socialist varieties. "Brecht's work is the most important and original in European drama since Ibsen and Strindberg," Raymond Williams argues, while Peter B眉rger insists that he is "the most important materialist writer of our time."
As Jameson among others has stressed, "Brecht is also 鈥楤recht鈥�"鈥攃ollective and collaborative working methods were inherent to his approach. This 'Brecht' was a collective subject that "certainly seemed to have a distinctive style (the one we now call 'Brechtian') but was no longer personal in the bourgeois or individualistic sense." During the course of his career, Brecht sustained many long-lasting creative relationships with other writers, composers, scenographers, directors, dramaturgs and actors; the list includes: Elisabeth Hauptmann, Margarete Steffin, Ruth Berlau, Slatan Dudow, Kurt Weill, Hanns Eisler, Paul Dessau, Caspar Neher, Teo Otto, Karl von Appen, Ernst Busch, Lotte Lenya, Peter Lorre, Therese Giehse, Angelika Hurwicz, and Helene Weigel herself. This is "theatre as collective experiment [...] as something radically different from theatre as expression or as experience."
There are few areas of modern theatrical culture that have not felt the impact or influence of Brecht's ideas and practices; dramatists and directors in whom one may trace a clear Brechtian legacy include: Dario Fo, Augusto Boal, Joan Littlewood, Peter Brook, Peter Weiss, Heiner M眉ller, Pina Bausch, Tony Kushner and Caryl Churchill. In addition to the theatre, Brechtian theories and techniques have exerted considerable sway over certain strands of film theory and cinematic practice; Brecht's influence may be detected in the films of Joseph Losey, Jean-Luc Godard, Lindsay Anderson, Rainer Werner Fassbinder, Nagisa Oshima, Ritwik Ghatak, Lars von Trier, Jan Bucquoy and Hal Hartley.
During the war years, Brecht became a prominent writer of the Exilliteratur. He expressed his opposition to the National Socialist and Fascist movements in his most famous plays.
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May 21, 2022
Der Kaukasische Kreidekreis = The Caucsian Chalk Circle, Bertolt Brecht
The Caucasian Chalk Circle is a play by the German modernist playwright Bertolt Brecht. An example of Brecht's epic theater, the play is a parable about a peasant girl who rescues a baby and becomes a better mother than its wealthy natural parents. The play was written in 1944 while Brecht was living in the United States.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮 賳爻禺賴 賮丕乇爻蹖: 乇賵夭 賳賵夭丿賴賲 賲丕賴 賲蹖 爻丕賱1974賲蹖賱丕丿蹖
毓賳賵丕賳: 丿丕蹖乇賴 诏趩蹖 賯賮賯丕夭蹖貨 丕孬乇: 亘乇鬲賵賱鬲 亘乇卮鬲貨 亘乇诏夭丿丕賳 丕夭 賲鬲賳 丌賱賲丕賳蹖: 賲噩蹖丿 爻賲賳丿乇蹖丕賳貨 鬲賳馗蹖賲 丕卮毓丕乇: 賮乇賵睾 賮乇禺夭丕丿貨 鬲賴乇丕賳貙 賳卮乇 诏丕賲貙 趩丕倬 爻賵賲 爻丕賱1335貙 丿乇131氐貙 賲賵囟賵毓: 賳賲丕蹖卮賳丕賲賴 賴丕蹖 賳賵蹖爻賳丿诏丕賳 丌賱賲丕賳 - 爻丿賴20賲
毓賳賵丕賳: 丿丕蹖乇賴 诏趩蹖 賯賮賯丕夭蹖貨 丕孬乇: 亘乇鬲賵賱鬲 亘乇卮鬲貨 賲鬲乇噩賲: 賲. 丕賲蹖賳 賲賵蹖丿貨 鬲賴乇丕賳貙 賳卮乇 乇夭貙 趩丕倬 丿賵賲 爻丕賱1351貙 丿乇176氐貙 賮乇賵爻鬲 丿乇 賯賱賲乇賵 賳賲丕蹖卮貨
賳賲丕蹖卮賳丕賲賴 蹖 芦丿丕蹖乇賴贁 诏趩蹖 賯賮賯丕夭蹖禄貙 丿乇 賯丕賱亘 蹖讴 倬蹖卮鈥屫必①呚� 賵 倬賳噩 氐丨賳賴貙 賳诏丕卮鬲賴 卮丿賴 丕爻鬲貨 毓賳賵丕賳 倬蹖卮鈥� 丿乇丌賲丿: 芦讴卮賲讴卮禄貙 賵 毓賳丕賵蹖賳 氐丨賳賴鈥� 賴丕蹖 丌賳 亘賴 鬲乇鬲蹖亘 芦胤賮賱 賵丕賱丕诏賴乇禄貙 芦賮乇丕乇 亘賴 讴賵賴爻鬲丕賳鈥屬囏й� 卮賲丕賱蹖禄貙 芦丿乇 讴賵賴爻鬲丕賳鈥屬囏й� 卮賲丕賱蹖禄貙 芦卮乇丨 丕丨賵丕賱 賯丕囟蹖禄貙 賵 芦丿丕蹖乇賴贁 诏趩蹖禄 丕爻鬲貨 乇禺丿丕丿蹖 讴賴 丿乇 倬丕蹖丕賳 噩賳诏 丿賵賲 噩賴丕賳蹖 丿乇 芦卮賵乇賵蹖禄 乇禺 賲蹖丿賴丿貙 賴爻鬲賴 蹖 丕氐賱蹖 乇禺丿丕丿 亘乇 爻乇 鬲氐丕丨亘 蹖讴 胤賮賱 丕爻鬲貙 賵 讴卮賲讴卮蹖 賲蹖丕賳 賲丕丿乇 丕氐賱蹖 賵 讴爻蹖讴賴 胤賮賱 乇丕 賳噩丕鬲 丿丕丿賴貙 賵 亘夭乇诏 讴乇丿賴 丕爻鬲貨
讴賵丿鬲丕蹖蹖 丿乇 賲賳胤賯賴 乇賵蹖 丿丕丿賴貙 賮乇賲丕賳丿丕乇蹖 丕夭 讴丕乇 亘乇讴賳丕乇 卮丿賴貙 诏乇丿賳卮 乇丕 夭丿賴 丕賳丿貨 賴賲爻乇 賮乇賲丕賳丿丕乇 亘丕 毓噩賱賴 亘乇丕蹖 爻賮乇 丌賲丕丿賴 賲蹖卮賵丿貙 丕賳诏丕乇 賳賴 丕賳诏丕乇 讴賴 卮賵賴乇卮 乇丕 丕夭 丿爻鬲 丿丕丿賴貙 賵 賮乇夭賳丿卮 芦賲蹖讴丕卅蹖賱禄 乇丕 賴賲 噩丕 賲蹖诏匕丕乇丿貨 芦诏乇賵卮丕禄 禺丿賲鬲讴丕乇蹖 丕爻鬲 讴賴 亘丕 讴賵丿讴 鬲賳賴丕 诏匕丕卮鬲賴 卮丿賴貙 芦诏乇賵卮丕禄 爻乇倬乇爻鬲蹖 讴賵丿讴 乇丕 亘乇 丿賵卮 賲蹖诏蹖乇丿貙 賵 丕夭 賴賲丕賳 賱丨馗賴 乇賳噩賴丕蹖 亘爻蹖丕乇 賲蹖讴卮丿貙 亘賴 賴乇 噩丕蹖 賲蹖乇賵丿貙 賵 亘賴 賴乇 讴丕乇蹖 鬲賳 丿乇賲蹖丿賴丿貙 丕夭丿賵丕噩蹖 丕噩亘丕乇蹖 乇丕 賲蹖倬匕蹖乇丿貙 鬲丕 亘鬲賵丕賳丿 讴賵丿讴卮 乇丕 賳诏丕賴 丿乇丿貨 丕賲丕 賴賲爻乇 賮乇賲丕賳丿丕乇 倬蹖卮蹖賳 亘乇賲蹖诏乇丿丿貙 賵 讴賵丿讴卮 乇丕 丕夭 芦诏乇賵卮丕禄 賲蹖禺賵丕賴丿貨 丿丕丿诏丕賴蹖 鬲卮讴蹖賱 賲蹖卮賵丿貙 賳禺爻鬲 丨讴賲 賲蹖讴賳賳丿 讴賴 賲丕丿乇 胤賮賱貙 賴賲爻乇 賮乇賲丕賳丿丕乇 倬蹖卮蹖賳 丕爻鬲貙 賵 芦賲蹖讴丕卅蹖賱禄 丕夭 丌賳 丕賵爻鬲貨 丿乇 讴卮賲讴卮賴丕蹖 亘毓丿蹖貙 賵 亘丕 卮賴丕丿鬲 卮賴賵丿貙 賯丕囟蹖 鬲丕夭賴貙 亘賴 賳丕賲 芦丌夭丿讴禄 讴賴 丕夭 爻賵蹖 賮乇賲丕賳丿丕乇 賲賳氐賵亘 卮丿賴貙 亘丕 蹖讴 乇賵卮 讴賴賳 賯賮賯丕夭蹖 (賯囟丕賵鬲 爻賱蹖賲丕賳 賳亘蹖)貙 丿爻鬲賵乇 讴卮蹖丿賳 蹖讴 丿丕蹖乇賴 亘丕 诏趩 乇丕 賲蹖丿賴丿貙 鬲丕 讴賵丿讴 乇丕 賲蹖丕賳 丌賳 丿丕蹖乇賴 亘诏匕丕乇賳丿貨 賯丕囟蹖 芦丌夭丿讴禄 賲蹖诏賵蹖丿 賲丕丿乇 賵丕賯毓蹖 丌賳 讴爻蹖 爻鬲貙 讴賴 讴賵丿讴 乇丕 丕夭 賵爻胤 丿丕蹖乇賴 亘讴卮丿貙 賵 亘亘乇丿貙 賵 丕诏乇 丿賵 胤乇賮 賴賲夭賵乇 亘賵丿賳丿貙 賲蹖鬲賵丕賳賳丿 亘趩賴 乇丕 賳氐賮 讴賳賳丿貙 賵 賴乇讴丿丕賲 賳氐賮卮 乇丕 亘乇丿丕乇賳丿貨 賴賲爻乇 賮乇賲丕賳丿丕乇 倬蹖卮蹖賳 賲蹖倬匕蹖乇丿貙 丕賲丕 芦诏乇賵卮丕禄 鬲賳 亘賴 丕蹖賳 亘丕夭蹖 賳賲蹖丿賴丿貙 趩賵賳 丨丕囟乇 賳蹖爻鬲貙 亘賴 芦賲蹖讴丕卅蹖賱禄貙 賱胤賲賴 丕蹖 賵丕乇丿 卮賵丿貨 芦丌夭丿讴禄 賯丕囟蹖貙 丨讴賲 賲蹖讴賳丿 讴賴 芦賲丕丿乇 賵丕賯毓蹖 诏乇賵卮丕爻鬲禄貨 丿乇 倬丕蹖丕賳 禺賵丕賳賳丿賴 蹖 诏乇賵賴 賲賵爻蹖賯蹖貙 賲蹖禺賵丕賳丿 芦夭賲蹖賳 亘賴 讴爻蹖 賲蹖乇爻丿 讴賴 丕夭 丌賳 亘賴鬲乇 賳诏賴丿丕乇蹖 讴賳丿貙 賵 賲蹖賵賴 蹖 亘蹖卮鬲乇蹖 丨丕氐賱 讴賳丿貙 賳賴 亘賴 氐丕丨亘丕賳 倬蹖卮蹖賳 丌賳禄...貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 16/04/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 30/02/1401賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
The Caucasian Chalk Circle is a play by the German modernist playwright Bertolt Brecht. An example of Brecht's epic theater, the play is a parable about a peasant girl who rescues a baby and becomes a better mother than its wealthy natural parents. The play was written in 1944 while Brecht was living in the United States.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮 賳爻禺賴 賮丕乇爻蹖: 乇賵夭 賳賵夭丿賴賲 賲丕賴 賲蹖 爻丕賱1974賲蹖賱丕丿蹖
毓賳賵丕賳: 丿丕蹖乇賴 诏趩蹖 賯賮賯丕夭蹖貨 丕孬乇: 亘乇鬲賵賱鬲 亘乇卮鬲貨 亘乇诏夭丿丕賳 丕夭 賲鬲賳 丌賱賲丕賳蹖: 賲噩蹖丿 爻賲賳丿乇蹖丕賳貨 鬲賳馗蹖賲 丕卮毓丕乇: 賮乇賵睾 賮乇禺夭丕丿貨 鬲賴乇丕賳貙 賳卮乇 诏丕賲貙 趩丕倬 爻賵賲 爻丕賱1335貙 丿乇131氐貙 賲賵囟賵毓: 賳賲丕蹖卮賳丕賲賴 賴丕蹖 賳賵蹖爻賳丿诏丕賳 丌賱賲丕賳 - 爻丿賴20賲
毓賳賵丕賳: 丿丕蹖乇賴 诏趩蹖 賯賮賯丕夭蹖貨 丕孬乇: 亘乇鬲賵賱鬲 亘乇卮鬲貨 賲鬲乇噩賲: 賲. 丕賲蹖賳 賲賵蹖丿貨 鬲賴乇丕賳貙 賳卮乇 乇夭貙 趩丕倬 丿賵賲 爻丕賱1351貙 丿乇176氐貙 賮乇賵爻鬲 丿乇 賯賱賲乇賵 賳賲丕蹖卮貨
賳賲丕蹖卮賳丕賲賴 蹖 芦丿丕蹖乇賴贁 诏趩蹖 賯賮賯丕夭蹖禄貙 丿乇 賯丕賱亘 蹖讴 倬蹖卮鈥屫必①呚� 賵 倬賳噩 氐丨賳賴貙 賳诏丕卮鬲賴 卮丿賴 丕爻鬲貨 毓賳賵丕賳 倬蹖卮鈥� 丿乇丌賲丿: 芦讴卮賲讴卮禄貙 賵 毓賳丕賵蹖賳 氐丨賳賴鈥� 賴丕蹖 丌賳 亘賴 鬲乇鬲蹖亘 芦胤賮賱 賵丕賱丕诏賴乇禄貙 芦賮乇丕乇 亘賴 讴賵賴爻鬲丕賳鈥屬囏й� 卮賲丕賱蹖禄貙 芦丿乇 讴賵賴爻鬲丕賳鈥屬囏й� 卮賲丕賱蹖禄貙 芦卮乇丨 丕丨賵丕賱 賯丕囟蹖禄貙 賵 芦丿丕蹖乇賴贁 诏趩蹖禄 丕爻鬲貨 乇禺丿丕丿蹖 讴賴 丿乇 倬丕蹖丕賳 噩賳诏 丿賵賲 噩賴丕賳蹖 丿乇 芦卮賵乇賵蹖禄 乇禺 賲蹖丿賴丿貙 賴爻鬲賴 蹖 丕氐賱蹖 乇禺丿丕丿 亘乇 爻乇 鬲氐丕丨亘 蹖讴 胤賮賱 丕爻鬲貙 賵 讴卮賲讴卮蹖 賲蹖丕賳 賲丕丿乇 丕氐賱蹖 賵 讴爻蹖讴賴 胤賮賱 乇丕 賳噩丕鬲 丿丕丿賴貙 賵 亘夭乇诏 讴乇丿賴 丕爻鬲貨
讴賵丿鬲丕蹖蹖 丿乇 賲賳胤賯賴 乇賵蹖 丿丕丿賴貙 賮乇賲丕賳丿丕乇蹖 丕夭 讴丕乇 亘乇讴賳丕乇 卮丿賴貙 诏乇丿賳卮 乇丕 夭丿賴 丕賳丿貨 賴賲爻乇 賮乇賲丕賳丿丕乇 亘丕 毓噩賱賴 亘乇丕蹖 爻賮乇 丌賲丕丿賴 賲蹖卮賵丿貙 丕賳诏丕乇 賳賴 丕賳诏丕乇 讴賴 卮賵賴乇卮 乇丕 丕夭 丿爻鬲 丿丕丿賴貙 賵 賮乇夭賳丿卮 芦賲蹖讴丕卅蹖賱禄 乇丕 賴賲 噩丕 賲蹖诏匕丕乇丿貨 芦诏乇賵卮丕禄 禺丿賲鬲讴丕乇蹖 丕爻鬲 讴賴 亘丕 讴賵丿讴 鬲賳賴丕 诏匕丕卮鬲賴 卮丿賴貙 芦诏乇賵卮丕禄 爻乇倬乇爻鬲蹖 讴賵丿讴 乇丕 亘乇 丿賵卮 賲蹖诏蹖乇丿貙 賵 丕夭 賴賲丕賳 賱丨馗賴 乇賳噩賴丕蹖 亘爻蹖丕乇 賲蹖讴卮丿貙 亘賴 賴乇 噩丕蹖 賲蹖乇賵丿貙 賵 亘賴 賴乇 讴丕乇蹖 鬲賳 丿乇賲蹖丿賴丿貙 丕夭丿賵丕噩蹖 丕噩亘丕乇蹖 乇丕 賲蹖倬匕蹖乇丿貙 鬲丕 亘鬲賵丕賳丿 讴賵丿讴卮 乇丕 賳诏丕賴 丿乇丿貨 丕賲丕 賴賲爻乇 賮乇賲丕賳丿丕乇 倬蹖卮蹖賳 亘乇賲蹖诏乇丿丿貙 賵 讴賵丿讴卮 乇丕 丕夭 芦诏乇賵卮丕禄 賲蹖禺賵丕賴丿貨 丿丕丿诏丕賴蹖 鬲卮讴蹖賱 賲蹖卮賵丿貙 賳禺爻鬲 丨讴賲 賲蹖讴賳賳丿 讴賴 賲丕丿乇 胤賮賱貙 賴賲爻乇 賮乇賲丕賳丿丕乇 倬蹖卮蹖賳 丕爻鬲貙 賵 芦賲蹖讴丕卅蹖賱禄 丕夭 丌賳 丕賵爻鬲貨 丿乇 讴卮賲讴卮賴丕蹖 亘毓丿蹖貙 賵 亘丕 卮賴丕丿鬲 卮賴賵丿貙 賯丕囟蹖 鬲丕夭賴貙 亘賴 賳丕賲 芦丌夭丿讴禄 讴賴 丕夭 爻賵蹖 賮乇賲丕賳丿丕乇 賲賳氐賵亘 卮丿賴貙 亘丕 蹖讴 乇賵卮 讴賴賳 賯賮賯丕夭蹖 (賯囟丕賵鬲 爻賱蹖賲丕賳 賳亘蹖)貙 丿爻鬲賵乇 讴卮蹖丿賳 蹖讴 丿丕蹖乇賴 亘丕 诏趩 乇丕 賲蹖丿賴丿貙 鬲丕 讴賵丿讴 乇丕 賲蹖丕賳 丌賳 丿丕蹖乇賴 亘诏匕丕乇賳丿貨 賯丕囟蹖 芦丌夭丿讴禄 賲蹖诏賵蹖丿 賲丕丿乇 賵丕賯毓蹖 丌賳 讴爻蹖 爻鬲貙 讴賴 讴賵丿讴 乇丕 丕夭 賵爻胤 丿丕蹖乇賴 亘讴卮丿貙 賵 亘亘乇丿貙 賵 丕诏乇 丿賵 胤乇賮 賴賲夭賵乇 亘賵丿賳丿貙 賲蹖鬲賵丕賳賳丿 亘趩賴 乇丕 賳氐賮 讴賳賳丿貙 賵 賴乇讴丿丕賲 賳氐賮卮 乇丕 亘乇丿丕乇賳丿貨 賴賲爻乇 賮乇賲丕賳丿丕乇 倬蹖卮蹖賳 賲蹖倬匕蹖乇丿貙 丕賲丕 芦诏乇賵卮丕禄 鬲賳 亘賴 丕蹖賳 亘丕夭蹖 賳賲蹖丿賴丿貙 趩賵賳 丨丕囟乇 賳蹖爻鬲貙 亘賴 芦賲蹖讴丕卅蹖賱禄貙 賱胤賲賴 丕蹖 賵丕乇丿 卮賵丿貨 芦丌夭丿讴禄 賯丕囟蹖貙 丨讴賲 賲蹖讴賳丿 讴賴 芦賲丕丿乇 賵丕賯毓蹖 诏乇賵卮丕爻鬲禄貨 丿乇 倬丕蹖丕賳 禺賵丕賳賳丿賴 蹖 诏乇賵賴 賲賵爻蹖賯蹖貙 賲蹖禺賵丕賳丿 芦夭賲蹖賳 亘賴 讴爻蹖 賲蹖乇爻丿 讴賴 丕夭 丌賳 亘賴鬲乇 賳诏賴丿丕乇蹖 讴賳丿貙 賵 賲蹖賵賴 蹖 亘蹖卮鬲乇蹖 丨丕氐賱 讴賳丿貙 賳賴 亘賴 氐丕丨亘丕賳 倬蹖卮蹖賳 丌賳禄...貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 16/04/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 30/02/1401賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
February 11, 2025
Society continually punishes its rugged individualists by isolating them in an exclusionary Magical Chalk Circle!
***
I remember the Summer of 1964 when Dad's friend and colleague at the University of Minnesota, Dr. Rufus Lumery, took me along with his wife and daughter to see this play at the Tyrone Guthrie Theatre in Minneapolis.
The stage was stark and bare, under bright lighting, and marked my first encounter with this German Marxist writer who thought he Had It All Figured Out. Caught up in the tricky dialogue, I thought I could see how he did it.
(It was only, according to W.H. Auden, his Pig Headedness.)
But I aspired to such certainty too - pig headed or not. I became counter cultural after that, garnering two prizes at university in my English major for my own Pig Headedness.
And so, as you may have guessed - in 1970 I finally saw certainty - and ran from it.
It's like the old Army joke: I'll give you the classified data on why we're doing this, but I'll have to kill you afterwards.
Auden was right all along. The Secret of a guy's coming of age is only his Pig Headedness after all.
I was isolated and rendered docile after that, my head swimming in tranquilized confusion, as I have long since remained.
***
I could Never take my Hard Knocks. They hurt too much.
Such is life for a supersensitive Aspie.
My key to figuring it out was a no-brainer, but I had always noticed it was marked it Off Limits to me.
Know why?
For us Aspies that key only opened the door into The Land of Lost Innocence.
But look - a little beyond that, was Freedom.
The freedom of Life Outside the Magic Exclusionary Chalk Circle...
"In windless cold that is the Heart's Heat."
***
I remember the Summer of 1964 when Dad's friend and colleague at the University of Minnesota, Dr. Rufus Lumery, took me along with his wife and daughter to see this play at the Tyrone Guthrie Theatre in Minneapolis.
The stage was stark and bare, under bright lighting, and marked my first encounter with this German Marxist writer who thought he Had It All Figured Out. Caught up in the tricky dialogue, I thought I could see how he did it.
(It was only, according to W.H. Auden, his Pig Headedness.)
But I aspired to such certainty too - pig headed or not. I became counter cultural after that, garnering two prizes at university in my English major for my own Pig Headedness.
And so, as you may have guessed - in 1970 I finally saw certainty - and ran from it.
It's like the old Army joke: I'll give you the classified data on why we're doing this, but I'll have to kill you afterwards.
Auden was right all along. The Secret of a guy's coming of age is only his Pig Headedness after all.
I was isolated and rendered docile after that, my head swimming in tranquilized confusion, as I have long since remained.
***
I could Never take my Hard Knocks. They hurt too much.
Such is life for a supersensitive Aspie.
My key to figuring it out was a no-brainer, but I had always noticed it was marked it Off Limits to me.
Know why?
For us Aspies that key only opened the door into The Land of Lost Innocence.
But look - a little beyond that, was Freedom.
The freedom of Life Outside the Magic Exclusionary Chalk Circle...
"In windless cold that is the Heart's Heat."
July 24, 2022
賳賲丕蹖卮賳丕賲賴 "丿丕蹖乇賴 诏趩蹖 賯賮賯丕夭蹖"貙 丌賳賯丿乇 禺賵丕賳丿賳蹖 賳亘賵丿 讴賴 賮讴乇卮 乇賵 賲蹖讴乇丿賲. 賵賱蹖 爻乇诏乇賲 讴賳賳丿賴 亘賵丿 賵 丕丨鬲賲丕賱丕 鬲賲丕卮丕卮 丕夭蹖賳 賴賲 亘賴鬲乇賴. 賵賯鬲蹖 讴鬲丕亘 "賳賲丕蹖卮賳丕賲賴 丿乇 趩蹖賳" 乇賵 賲蹖禺賵賳丿賲貙 丿蹖丿賲 蹖讴蹖 丕夭 賲毓乇賵賮鬲乇蹖賳 賵 賯丿蹖賲蹖 鬲乇蹖賳 賳賲丕蹖卮賳丕賲賴 賴丕蹖 趩蹖賳蹖 丕爻賲卮 "丿丕蹖乇賴 诏趩蹖" 賴爻鬲卮. 賵 亘毓丿 賴賲 賮賴賲蹖丿賲 亘乇卮鬲 蹖讴 賳賲丕蹖卮賳丕賲賴 亘丕 賴賲蹖賳 賲賵囟賵毓 丿丕乇賴 賵 賯乇丕乇 卮丿 亘禺賵賳賲卮 鬲丕 丕賲乇賵夭 讴賴 卮賳蹖丿賲卮 :))
賮讴乇 賲蹖鈥屭┵嗁� 賳賲丕蹖卮賳丕賲賴 乇賵 亘卮賴 丕蹖賳鈥屫焚堌� 禺賱丕氐賴 讴乇丿: 丿乇 丨丕賱蹖 讴賴 卮賴乇 丿乇 噩賳诏 丿丕禺賱蹖 賲蹖鈥屫迟堌操囏� 蹖讴 禺丿賲鬲讴丕乇 亘乇丕蹖 賲丨丕賮馗鬲 丕夭 蹖讴 讴賵丿讴 乇賴丕 卮丿賴 賴夭丕乇 噩賵乇 爻禺鬲蹖 乇賵 亘賴 噩賵賳 賲蹖禺乇賴 賵 賴賲賴 趩蹖夭卮 乇賵 ( 丨鬲蹖 毓卮賯卮 亘賴 爻乇亘丕夭蹖 讴賴 賳丕賲夭丿卮賴) 賮丿丕 賲蹖鈥屭┵嗁�. 丕賲丕 賵賯鬲蹖 亘丕賱丕禺乇賴 丌乇丕賲卮 亘乇賯乇丕乇 賲蹖 卮賴貙 賲丕丿乇 倬爻乇 亘趩賴 讴賴 丕賱丕賳 爻賴 爻丕賱卮賴貙 賲蹖丕丿讴賴 亘趩賴鈥� 乇賵 倬爻 亘诏蹖乇賴. 賲丕丿乇 丕氐賱蹖 亘趩賴 夭賳 丨丕讴賲賴 賵 賲丕丿乇蹖 讴賴 亘夭乇诏卮 讴乇丿賴 禺丿賲鬲讴丕乇賴. 丨丕賱丕 蹖讴 賯丕囟蹖 賴賲蹖卮賴 賲爻鬲 賵 賲爻禺乇賴 亘丕 丕賱賴丕賲 丕夭 爻賳鬲 亘丕爻鬲丕賳蹖 丿丕蹖乇賴 诏趩蹖貙 鬲氐賲蹖賲 亘賴 丨賱 賵 賮氐賱 丕禺鬲賱丕賮丕鬲 賲蹖诏蹖乇賴. 丕賲丕 賳讴鬲賴 丿丕爻鬲丕賳 丕蹖賳噩丕爻鬲 讴賴 鬲賵蹖 噩丕賲毓賴 賮爻丕丿 賵 賮乇蹖亘貙 亘丕 賵噩賵丿 蹖讴 賯丕囟蹖 睾蹖乇 賯丕亘賱 丕毓鬲賲丕丿貙 趩賴 讴爻蹖 亘乇賳丿賴 丕爻鬲責
亘乇卮鬲 鬲賵蹖 丕蹖賳 賳賲丕蹖卮賳丕賲賴 夭丿賴 鬲乇讴賵賳丿賴 丌丿賲丕 乇賵 .
丕賵卮賵賳 讴賴 禺賵丿卮 鬲賲丕蹖賱丕鬲 讴賲賵賳蹖爻鬲蹖 丿丕卮鬲賴貙 鬲賵蹖 賳賲丕蹖卮賳丕賲賴 丕卮 賲蹖禺賵丕丿 亘诏賴 讴賴 孬乇賵鬲 賵 賯丿乇鬲 賲蹖鬲賵賳賴 丕亘鬲丿丕蹖蹖 鬲乇蹖賳 賵 馗乇蹖賮 鬲乇蹖賳 丕丨爻丕爻丕鬲 丕賳爻丕賳蹖 乇賵 賴賲 亘賴 賮爻丕丿 亘讴卮賵賳賴. 倬爻 孬乇賵鬲 亘丿賴. 丕賵賳 鬲丕讴蹖丿 丿丕乇賴 讴賴 丕賳爻丕賳 賴丕 鬲賵蹖 賴乇 噩丕蹖诏丕賴蹖 亘丕卮賳貙 毓胤卮 亘丕賱丕蹖蹖 亘乇丕蹖 鬲賲賱讴 丿丕乇賳 賵 丕诏乇 丕蹖賳 鬲賲賱讴 讴賳鬲乇賱 賳卮賴貙 亘丕毓孬 賮丕噩毓賴 賲蹖卮賴. 亘乇卮鬲 賴賲趩賳蹖賳 丕蹖賳 賳賲丕蹖卮賳丕賲賴 乇賵 亘毓賳賵丕賳 倬丕乇賵丿蹖 毓丿丕賱鬲 丕賳爻丕賳蹖 賳賵卮鬲賴. 丕賵賳 賳卮賵賳 賲蹖丿賴 毓丿丕賱鬲蹖 讴賴 丕賳爻丕賳 賴丕 賲噩乇蹖卮 賴爻鬲賳貙 亘丕 倬賵賱 禺乇蹖丿賳蹖 賵 賮丕爻丿賴貨 倬爻 讴賱丕 夭賳丿诏蹖 賲毓賳丕 诏乇丕蹖丕賳賴 禺賵亘賴.
賮讴乇 賲蹖鈥屭┵嗁� 賳賲丕蹖卮賳丕賲賴 乇賵 亘卮賴 丕蹖賳鈥屫焚堌� 禺賱丕氐賴 讴乇丿: 丿乇 丨丕賱蹖 讴賴 卮賴乇 丿乇 噩賳诏 丿丕禺賱蹖 賲蹖鈥屫迟堌操囏� 蹖讴 禺丿賲鬲讴丕乇 亘乇丕蹖 賲丨丕賮馗鬲 丕夭 蹖讴 讴賵丿讴 乇賴丕 卮丿賴 賴夭丕乇 噩賵乇 爻禺鬲蹖 乇賵 亘賴 噩賵賳 賲蹖禺乇賴 賵 賴賲賴 趩蹖夭卮 乇賵 ( 丨鬲蹖 毓卮賯卮 亘賴 爻乇亘丕夭蹖 讴賴 賳丕賲夭丿卮賴) 賮丿丕 賲蹖鈥屭┵嗁�. 丕賲丕 賵賯鬲蹖 亘丕賱丕禺乇賴 丌乇丕賲卮 亘乇賯乇丕乇 賲蹖 卮賴貙 賲丕丿乇 倬爻乇 亘趩賴 讴賴 丕賱丕賳 爻賴 爻丕賱卮賴貙 賲蹖丕丿讴賴 亘趩賴鈥� 乇賵 倬爻 亘诏蹖乇賴. 賲丕丿乇 丕氐賱蹖 亘趩賴 夭賳 丨丕讴賲賴 賵 賲丕丿乇蹖 讴賴 亘夭乇诏卮 讴乇丿賴 禺丿賲鬲讴丕乇賴. 丨丕賱丕 蹖讴 賯丕囟蹖 賴賲蹖卮賴 賲爻鬲 賵 賲爻禺乇賴 亘丕 丕賱賴丕賲 丕夭 爻賳鬲 亘丕爻鬲丕賳蹖 丿丕蹖乇賴 诏趩蹖貙 鬲氐賲蹖賲 亘賴 丨賱 賵 賮氐賱 丕禺鬲賱丕賮丕鬲 賲蹖诏蹖乇賴. 丕賲丕 賳讴鬲賴 丿丕爻鬲丕賳 丕蹖賳噩丕爻鬲 讴賴 鬲賵蹖 噩丕賲毓賴 賮爻丕丿 賵 賮乇蹖亘貙 亘丕 賵噩賵丿 蹖讴 賯丕囟蹖 睾蹖乇 賯丕亘賱 丕毓鬲賲丕丿貙 趩賴 讴爻蹖 亘乇賳丿賴 丕爻鬲責
亘乇卮鬲 鬲賵蹖 丕蹖賳 賳賲丕蹖卮賳丕賲賴 夭丿賴 鬲乇讴賵賳丿賴 丌丿賲丕 乇賵 .
丕賵卮賵賳 讴賴 禺賵丿卮 鬲賲丕蹖賱丕鬲 讴賲賵賳蹖爻鬲蹖 丿丕卮鬲賴貙 鬲賵蹖 賳賲丕蹖卮賳丕賲賴 丕卮 賲蹖禺賵丕丿 亘诏賴 讴賴 孬乇賵鬲 賵 賯丿乇鬲 賲蹖鬲賵賳賴 丕亘鬲丿丕蹖蹖 鬲乇蹖賳 賵 馗乇蹖賮 鬲乇蹖賳 丕丨爻丕爻丕鬲 丕賳爻丕賳蹖 乇賵 賴賲 亘賴 賮爻丕丿 亘讴卮賵賳賴. 倬爻 孬乇賵鬲 亘丿賴. 丕賵賳 鬲丕讴蹖丿 丿丕乇賴 讴賴 丕賳爻丕賳 賴丕 鬲賵蹖 賴乇 噩丕蹖诏丕賴蹖 亘丕卮賳貙 毓胤卮 亘丕賱丕蹖蹖 亘乇丕蹖 鬲賲賱讴 丿丕乇賳 賵 丕诏乇 丕蹖賳 鬲賲賱讴 讴賳鬲乇賱 賳卮賴貙 亘丕毓孬 賮丕噩毓賴 賲蹖卮賴. 亘乇卮鬲 賴賲趩賳蹖賳 丕蹖賳 賳賲丕蹖卮賳丕賲賴 乇賵 亘毓賳賵丕賳 倬丕乇賵丿蹖 毓丿丕賱鬲 丕賳爻丕賳蹖 賳賵卮鬲賴. 丕賵賳 賳卮賵賳 賲蹖丿賴 毓丿丕賱鬲蹖 讴賴 丕賳爻丕賳 賴丕 賲噩乇蹖卮 賴爻鬲賳貙 亘丕 倬賵賱 禺乇蹖丿賳蹖 賵 賮丕爻丿賴貨 倬爻 讴賱丕 夭賳丿诏蹖 賲毓賳丕 诏乇丕蹖丕賳賴 禺賵亘賴.
September 4, 2016
螘蟺喂蠁伪谓蔚喂伪魏维 蔚委谓伪喂 苇谓伪 蠀蟺苇蟻慰蠂慰 蟺伪蟻伪渭蠉胃喂. 螘蟽蠅蟿蔚蟻喂魏维 蟿慰蠀 魏蠉魏位慰蠀 渭蔚 蟿畏谓 魏喂渭蠅位委伪 蠀蟺维蟻蠂慰蠀谓 魏蟻蠀渭渭苇谓伪 苇谓慰蠂伪 魏慰喂谓蠅谓喂魏慰蟺慰位喂蟿喂魏维 蟽蟿慰喂蠂蔚委伪 蟺慰蠀 蟽蠀谓蠀蟺维蟻蠂慰蠀谓 蟽蔚 蠈位慰 蟿慰谓 魏蠈蟽渭慰 魏伪喂 蔚委谓伪喂 蔚魏 未喂伪渭苇蟿蟻慰蠀 伪谓蟿委胃蔚蟿伪.
螠苇蟽伪 蟽蔚 伪蠀蟿萎 蟿畏谓 蟺慰位蠉 伪谓胃蟻蠋蟺喂谓畏 喂蟽蟿慰蟻委伪 伪蟺慰蟿蠀蟺蠈谓慰谓蟿伪喂 渭蔚 未喂未伪魏蟿喂魏蠈 魏伪喂 蠄蠀蠂伪纬蠅纬喂魏蠈 蟿蟻蠈蟺慰 慰喂 蟿伪尉喂魏苇蟼 未喂伪蠁慰蟻苇蟼:
围蟻蠀蟽维 蟺伪位维蟿喂伪 魏伪喂 蠂蠅渭维蟿喂谓伪 魏伪位蠉尾喂伪.
螣喂 魏慰喂谓蠅谓喂魏苇蟼 未喂伪蠁慰蟻苇蟼: 蟺位慰蠉蟽喂慰喂,未蠀谓伪蟿慰委,伪谓蠋蟿蔚蟻慰喂,尉喂蟺伪蟽渭苇谓慰喂,伪谓伪委蟽胃畏蟿慰喂,
未蠈位喂慰喂,慰蟽蠁蠀慰魏维渭蟺蟿蔚蟼,蟽蠁慰蠀纬纬慰魏蠅位维蟻喂慰喂 魏伪喂 蠁蟿蠅蠂慰委,蟺蔚喂谓伪蟽渭苇谓慰喂,慰蟻纬喂蟽渭苇谓慰喂,伪未喂魏畏渭苇谓慰喂,蟿委渭喂慰喂,
蠁慰尾喂蟽渭苇谓慰喂,苇蟻渭伪喂伪 蟽蟿慰蠀蟼 未蠀谓伪蟿慰蠉蟼 蟿慰蠀 魏蠈蟽渭慰蠀 蟺慰蠀 慰蟻委味慰蠀谓 蟿伪 蟺维谓蟿伪 魏伪喂 蟿伪 未喂蔚魏未喂魏慰蠉谓 渭蔚 慰蟺慰喂慰未萎蟺慰蟿蔚 蟿委渭畏渭伪.
螣喂 蠁蠀蟽喂魏苇蟼 未喂伪蠁慰蟻苇蟼 蟿慰蠀 "味蠅蠆魏慰蠉" 尾伪蟽喂位蔚委慰蠀: 维谓胃蟻蠅蟺慰喂 渭蔚 蟽蠀谓蔚委未畏蟽畏 魏伪喂 蠄蠀蠂萎 魏伪喂 蟿慰尉喂魏慰委 伪蠂蠀蟻维谓胃蟻蠅蟺慰喂.
危蟿慰 蟺蟻慰魏蔚委渭蔚谓慰,
螣喂 魏维蟿慰喂魏慰喂 蔚谓蠈蟼 魏伪蟿蔚蟽蟿蟻伪渭渭苇谓慰蠀 蠂蠅蟻喂慰蠉 蟽蟿慰谓 螝伪蠉魏伪蟽慰 蠁喂位慰谓喂魏慰蠉谓 渭蔚蟿伪尉蠉 蟿慰蠀蟼 纬喂伪 蟿畏谓 伪尉喂慰蟺慰委畏蟽畏 蟿畏蟼 纬畏蟼. 螌蟿伪谓 魏伪蟿伪蠁苇蟻谓慰蠀谓 谓伪 尾蟻慰蠀谓 渭喂伪 未委魏伪喂畏 位蠉蟽畏 魏伪位慰蠉谓 魏维蟺慰喂慰蠀蟼 魏伪位位喂蟿苇蠂谓蔚蟼 纬喂伪 谓伪 蟿慰 纬喂慰蟻蟿维蟽慰蠀谓. 螒蠀蟿慰委 渭伪蟼 伪蠁畏纬慰蠉谓蟿伪喂 渭喂伪 蟺伪蟻伪渭蠀胃苇谓喂伪 喂蟽蟿慰蟻委伪 渭蔚 魏喂谓蔚味喂魏苇蟼 蟻委味蔚蟼. 螣 蟿委蟿位慰蟼: 慰 魏蠉魏位慰蟼 渭蔚 蟿畏谓 魏喂渭蠅位委伪.
危蔚 渭喂伪 蠂蠋蟻伪 渭伪魏蟻喂谓萎 蠀蟺萎蟻蠂蔚 苇谓伪蟼 蟽蟺慰蠀未伪委慰蟼 尾伪蟽喂位喂维蟼 魏伪喂 渭喂伪 伪尉喂慰胃伪蠉渭伪蟽蟿畏 尾伪蟽委位喂蟽蟽伪 蟺慰蠀 魏蠀尾蔚蟻谓慰蠉蟽伪谓 蟿慰 位伪蠈 渭苇蟽伪 伪蟺慰 苇谓伪 伪渭蠉胃畏蟿慰蠀 蟺位慰蠉蟿慰蠀 蟺伪位维蟿喂. 螘委蠂伪谓 伪蠀位喂魏慰蠉蟼, 蠁蟻慰蠀蟻慰蠉蟼,蠀蟺畏蟻苇蟿蔚蟼,渭维纬蔚喂蟻蔚蟼,蟺喂蟽蟿慰蠉蟼 蟽蠀渭尾慰蠉位慰蠀蟼 蟿慰蠀 尾伪蟽喂位喂维 魏伪喂 蠈位伪 蟿伪 魏伪位维. 螘委蠂伪谓 魏伪喂 苇谓伪 蟺伪喂未维魏喂. 螆谓伪 渭蠅蟻蠈 蟺蟻委纬魏喂蟺伪 蟿蠈蟽慰 伪魏蟻喂尾慰胃蠋蟻畏蟿慰 蟺慰蠀 蟺维谓蟿伪 蟿慰谓 蟽蠀谓蠈未蔚蠀伪谓 慰喂 尾伪蟽喂位喂魏慰委 纬喂伪蟿蟻慰委.
螢苇蟽蟺伪蟽蔚 蔚蟺伪谓维蟽蟿伪蟽畏 蟽蟿畏 蠂蠋蟻伪 伪蠀蟿萎 魏伪喂 蟿慰 蟺伪位维蟿喂 魏喂谓未蠉谓蔚蠀蔚 渭蔚 慰位喂魏萎 魏伪蟿伪蟽蟿蟻慰蠁萎 伪蟺慰 蟿慰蠀蟼 蔚蟺伪谓伪蟽蟿维蟿蔚蟼 蟺慰蠀 蟽魏蠈蟿蠅谓伪谓 魏伪喂 苇魏伪喂纬伪谓 伪未喂伪魏蟻委蟿蠅蟼.
螌蟿伪谓 蟽魏蠈蟿蠅蟽伪谓 蟿慰 尾伪蟽喂位喂维 魏伪喂 苇尾伪位伪谓 蠁蠅蟿喂维 蟽蟿慰 蟺伪位维蟿喂 畏 尾伪蟽委位喂蟽蟽伪 魏伪蟿维蠁蔚蟻蔚 谓伪 尉蔚蠁蠉纬蔚喂 魏伪喂 谓伪 蟽蠅胃蔚委. 螆蟽蠅蟽蔚 魏伪喂 蠈蟿喂 蟺慰位蠀蟿喂渭蠈蟿蔚蟻慰 蔚委蠂蔚 伪蟺慰 蟻慰蠉蠂伪 魏伪喂 魏慰蟽渭萎渭伪蟿伪,蠈渭蠅蟼 尉苇蠂伪蟽蔚 谓伪 蟺维蟻蔚喂 蟿慰 蟺伪喂未委 蟿畏蟼 蠁蔚蠉纬慰谓蟿伪蟼.
螠喂伪 蠀蟺畏蟻苇蟿蟻喂伪 蟽蠋味蔚喂 蟿慰 渭蠅蟻蠈 魏伪喂 渭蔚 魏委谓未蠀谓慰 蟿畏蟼 味蠅萎蟼 蟿畏蟼 蟿慰 魏慰蠀尾伪位维 渭伪味委 蟿畏蟼 蟽蔚 未喂维蠁慰蟻伪 渭苇蟻畏 蟺慰蠀 伪谓伪味畏蟿维 伪蟽蠁维位蔚喂伪 魏伪喂 蟿蟻慰蠁萎. 螤蔚蟻谓慰蠉谓 渭伪味委 蟺慰位位苇蟼 魏伪魏慰蠀蠂委蔚蟼 魏伪喂 畏 渭喂魏蟻萎 蠀蟺畏蟻苇蟿蟻喂伪 伪纬伪蟺维蔚喂 尾伪胃喂维 伪蠀蟿蠈 蟿慰 伪蟺蟻慰蟽蟿维蟿蔚蠀蟿慰 蟺位伪蟽渭伪蟿维魏喂. 螝维谓蔚喂 蟺慰位位苇蟼 胃蠀蟽委蔚蟼 纬喂伪 谓伪 蟿慰 渭蔚纬伪位蠋蟽蔚喂 魏伪喂 蠁蟿维谓蔚喂 蟽蔚 蟽畏渭蔚委慰 谓伪 蟺伪谓蟿蟻蔚蠀蟿蔚委 魏维蟺慰喂慰谓 尉苇谓慰 蟺慰蠀 未蔚谓 伪纬伪蟺维蔚喂 纬喂伪 谓伪 苇蠂蔚喂 魏慰喂谓蠅谓喂魏萎 蠀蟺蠈位畏蠄畏.
螌蟿伪谓 蟿蔚位蔚喂蠋谓蔚喂 慰 蟺蠈位蔚渭慰蟼, 畏 "蟺慰位蠉蟺伪胃畏" 尾伪蟽委位喂蟽蟽伪 伪谓伪味畏蟿维 蟿慰 尉蔚蠂伪蟽渭苇谓慰 蟿畏蟼 蟺伪喂未委 魏伪喂 蟿畏谓 蟺蔚蟻喂慰蠀蟽委伪 蟺慰蠀 蟿慰蠀 伪谓伪位慰纬蔚委 蠅蟼 谓蠈渭喂渭慰蠀 魏位畏蟻慰谓蠈渭慰蠀. 螚 蠀蟺畏蟻苇蟿蟻喂伪 伪蟻谓蔚委蟿伪喂 谓伪 蟿慰 未蠋蟽蔚喂 魏伪喂 魏伪蟿伪位萎纬慰蠀谓 蟽蟿慰 未喂魏伪蟽蟿萎蟻喂慰.
螚 蠀蟺畏蟻苇蟿蟻喂伪 蔚委谓伪喂 畏 蔚蟺喂蟿慰渭萎 蟿畏蟼 伪谓胃蟻蠅蟺喂维蟼 魏伪喂 蟿畏蟼 渭畏蟿蟻蠈蟿畏蟿伪蟼.
螣 未喂魏伪蟽蟿萎蟼 蔚委谓伪喂 畏 蔚蟺喂蟿慰渭萎 蟿畏蟼 位伪蠆魏萎蟼 蟽慰蠁委伪蟼 魏伪喂 蟿畏蟼 维纬蟻蠀蟺谓畏蟼 蟽蠀谓蔚委未畏蟽畏蟼. 螘委谓伪喂 苇谓伪蟼 蟺蔚蟻喂蟽蟿伪蟽喂伪魏蠈蟼 未喂魏伪蟽蟿萎蟼 蟺慰蠀 蟺伪位蔚蠉蔚喂 蔚谓维谓蟿喂伪 蟽蟿慰 维未喂魏慰 魏伪喂 蟿喂蟼 蟺慰蠀位畏渭苇谓蔚蟼 魏伪喂 蔚魏蠁蠀位喂蟽渭苇谓蔚蟼 味蠅苇蟼.
螠蠈位喂蟼 伪蟺慰魏伪胃委蟽蟿伪蟿伪喂 畏 喂蟽慰蟻蟻慰蟺委伪 魏伪喂 蟿慰 未委魏伪喂慰, 蟺伪蟻蠈位慰 蟺慰蠀 谓喂魏维 畏 魏伪位慰蟽蠉谓畏 魏伪喂 畏 伪纬维蟺畏,慰 蟽慰蠁蠈蟼 魏伪喂 伪纬谓蠈蟼
蟺蔚蟻喂蟽蟿伪蟽喂伪魏蠈蟼 未喂魏伪蟽蟿萎蟼 蠂维谓蔚蟿伪喂 魏维蟺慰蠀 渭苇蟽伪 蟽蟿慰谓 蟻慰渭伪谓蟿喂蟽渭蠈 蟿慰蠀.
螉蟽蠅蟼 渭伪味委 蟿慰蠀 蠂维谓慰谓蟿伪喂 魏伪喂 蠈位蔚蟼 慰喂 伪尉委蔚蟼...
螝伪位萎 伪谓维纬谓蠅蟽畏.
螠苇蟽伪 蟽蔚 伪蠀蟿萎 蟿畏谓 蟺慰位蠉 伪谓胃蟻蠋蟺喂谓畏 喂蟽蟿慰蟻委伪 伪蟺慰蟿蠀蟺蠈谓慰谓蟿伪喂 渭蔚 未喂未伪魏蟿喂魏蠈 魏伪喂 蠄蠀蠂伪纬蠅纬喂魏蠈 蟿蟻蠈蟺慰 慰喂 蟿伪尉喂魏苇蟼 未喂伪蠁慰蟻苇蟼:
围蟻蠀蟽维 蟺伪位维蟿喂伪 魏伪喂 蠂蠅渭维蟿喂谓伪 魏伪位蠉尾喂伪.
螣喂 魏慰喂谓蠅谓喂魏苇蟼 未喂伪蠁慰蟻苇蟼: 蟺位慰蠉蟽喂慰喂,未蠀谓伪蟿慰委,伪谓蠋蟿蔚蟻慰喂,尉喂蟺伪蟽渭苇谓慰喂,伪谓伪委蟽胃畏蟿慰喂,
未蠈位喂慰喂,慰蟽蠁蠀慰魏维渭蟺蟿蔚蟼,蟽蠁慰蠀纬纬慰魏蠅位维蟻喂慰喂 魏伪喂 蠁蟿蠅蠂慰委,蟺蔚喂谓伪蟽渭苇谓慰喂,慰蟻纬喂蟽渭苇谓慰喂,伪未喂魏畏渭苇谓慰喂,蟿委渭喂慰喂,
蠁慰尾喂蟽渭苇谓慰喂,苇蟻渭伪喂伪 蟽蟿慰蠀蟼 未蠀谓伪蟿慰蠉蟼 蟿慰蠀 魏蠈蟽渭慰蠀 蟺慰蠀 慰蟻委味慰蠀谓 蟿伪 蟺维谓蟿伪 魏伪喂 蟿伪 未喂蔚魏未喂魏慰蠉谓 渭蔚 慰蟺慰喂慰未萎蟺慰蟿蔚 蟿委渭畏渭伪.
螣喂 蠁蠀蟽喂魏苇蟼 未喂伪蠁慰蟻苇蟼 蟿慰蠀 "味蠅蠆魏慰蠉" 尾伪蟽喂位蔚委慰蠀: 维谓胃蟻蠅蟺慰喂 渭蔚 蟽蠀谓蔚委未畏蟽畏 魏伪喂 蠄蠀蠂萎 魏伪喂 蟿慰尉喂魏慰委 伪蠂蠀蟻维谓胃蟻蠅蟺慰喂.
危蟿慰 蟺蟻慰魏蔚委渭蔚谓慰,
螣喂 魏维蟿慰喂魏慰喂 蔚谓蠈蟼 魏伪蟿蔚蟽蟿蟻伪渭渭苇谓慰蠀 蠂蠅蟻喂慰蠉 蟽蟿慰谓 螝伪蠉魏伪蟽慰 蠁喂位慰谓喂魏慰蠉谓 渭蔚蟿伪尉蠉 蟿慰蠀蟼 纬喂伪 蟿畏谓 伪尉喂慰蟺慰委畏蟽畏 蟿畏蟼 纬畏蟼. 螌蟿伪谓 魏伪蟿伪蠁苇蟻谓慰蠀谓 谓伪 尾蟻慰蠀谓 渭喂伪 未委魏伪喂畏 位蠉蟽畏 魏伪位慰蠉谓 魏维蟺慰喂慰蠀蟼 魏伪位位喂蟿苇蠂谓蔚蟼 纬喂伪 谓伪 蟿慰 纬喂慰蟻蟿维蟽慰蠀谓. 螒蠀蟿慰委 渭伪蟼 伪蠁畏纬慰蠉谓蟿伪喂 渭喂伪 蟺伪蟻伪渭蠀胃苇谓喂伪 喂蟽蟿慰蟻委伪 渭蔚 魏喂谓蔚味喂魏苇蟼 蟻委味蔚蟼. 螣 蟿委蟿位慰蟼: 慰 魏蠉魏位慰蟼 渭蔚 蟿畏谓 魏喂渭蠅位委伪.
危蔚 渭喂伪 蠂蠋蟻伪 渭伪魏蟻喂谓萎 蠀蟺萎蟻蠂蔚 苇谓伪蟼 蟽蟺慰蠀未伪委慰蟼 尾伪蟽喂位喂维蟼 魏伪喂 渭喂伪 伪尉喂慰胃伪蠉渭伪蟽蟿畏 尾伪蟽委位喂蟽蟽伪 蟺慰蠀 魏蠀尾蔚蟻谓慰蠉蟽伪谓 蟿慰 位伪蠈 渭苇蟽伪 伪蟺慰 苇谓伪 伪渭蠉胃畏蟿慰蠀 蟺位慰蠉蟿慰蠀 蟺伪位维蟿喂. 螘委蠂伪谓 伪蠀位喂魏慰蠉蟼, 蠁蟻慰蠀蟻慰蠉蟼,蠀蟺畏蟻苇蟿蔚蟼,渭维纬蔚喂蟻蔚蟼,蟺喂蟽蟿慰蠉蟼 蟽蠀渭尾慰蠉位慰蠀蟼 蟿慰蠀 尾伪蟽喂位喂维 魏伪喂 蠈位伪 蟿伪 魏伪位维. 螘委蠂伪谓 魏伪喂 苇谓伪 蟺伪喂未维魏喂. 螆谓伪 渭蠅蟻蠈 蟺蟻委纬魏喂蟺伪 蟿蠈蟽慰 伪魏蟻喂尾慰胃蠋蟻畏蟿慰 蟺慰蠀 蟺维谓蟿伪 蟿慰谓 蟽蠀谓蠈未蔚蠀伪谓 慰喂 尾伪蟽喂位喂魏慰委 纬喂伪蟿蟻慰委.
螢苇蟽蟺伪蟽蔚 蔚蟺伪谓维蟽蟿伪蟽畏 蟽蟿畏 蠂蠋蟻伪 伪蠀蟿萎 魏伪喂 蟿慰 蟺伪位维蟿喂 魏喂谓未蠉谓蔚蠀蔚 渭蔚 慰位喂魏萎 魏伪蟿伪蟽蟿蟻慰蠁萎 伪蟺慰 蟿慰蠀蟼 蔚蟺伪谓伪蟽蟿维蟿蔚蟼 蟺慰蠀 蟽魏蠈蟿蠅谓伪谓 魏伪喂 苇魏伪喂纬伪谓 伪未喂伪魏蟻委蟿蠅蟼.
螌蟿伪谓 蟽魏蠈蟿蠅蟽伪谓 蟿慰 尾伪蟽喂位喂维 魏伪喂 苇尾伪位伪谓 蠁蠅蟿喂维 蟽蟿慰 蟺伪位维蟿喂 畏 尾伪蟽委位喂蟽蟽伪 魏伪蟿维蠁蔚蟻蔚 谓伪 尉蔚蠁蠉纬蔚喂 魏伪喂 谓伪 蟽蠅胃蔚委. 螆蟽蠅蟽蔚 魏伪喂 蠈蟿喂 蟺慰位蠀蟿喂渭蠈蟿蔚蟻慰 蔚委蠂蔚 伪蟺慰 蟻慰蠉蠂伪 魏伪喂 魏慰蟽渭萎渭伪蟿伪,蠈渭蠅蟼 尉苇蠂伪蟽蔚 谓伪 蟺维蟻蔚喂 蟿慰 蟺伪喂未委 蟿畏蟼 蠁蔚蠉纬慰谓蟿伪蟼.
螠喂伪 蠀蟺畏蟻苇蟿蟻喂伪 蟽蠋味蔚喂 蟿慰 渭蠅蟻蠈 魏伪喂 渭蔚 魏委谓未蠀谓慰 蟿畏蟼 味蠅萎蟼 蟿畏蟼 蟿慰 魏慰蠀尾伪位维 渭伪味委 蟿畏蟼 蟽蔚 未喂维蠁慰蟻伪 渭苇蟻畏 蟺慰蠀 伪谓伪味畏蟿维 伪蟽蠁维位蔚喂伪 魏伪喂 蟿蟻慰蠁萎. 螤蔚蟻谓慰蠉谓 渭伪味委 蟺慰位位苇蟼 魏伪魏慰蠀蠂委蔚蟼 魏伪喂 畏 渭喂魏蟻萎 蠀蟺畏蟻苇蟿蟻喂伪 伪纬伪蟺维蔚喂 尾伪胃喂维 伪蠀蟿蠈 蟿慰 伪蟺蟻慰蟽蟿维蟿蔚蠀蟿慰 蟺位伪蟽渭伪蟿维魏喂. 螝维谓蔚喂 蟺慰位位苇蟼 胃蠀蟽委蔚蟼 纬喂伪 谓伪 蟿慰 渭蔚纬伪位蠋蟽蔚喂 魏伪喂 蠁蟿维谓蔚喂 蟽蔚 蟽畏渭蔚委慰 谓伪 蟺伪谓蟿蟻蔚蠀蟿蔚委 魏维蟺慰喂慰谓 尉苇谓慰 蟺慰蠀 未蔚谓 伪纬伪蟺维蔚喂 纬喂伪 谓伪 苇蠂蔚喂 魏慰喂谓蠅谓喂魏萎 蠀蟺蠈位畏蠄畏.
螌蟿伪谓 蟿蔚位蔚喂蠋谓蔚喂 慰 蟺蠈位蔚渭慰蟼, 畏 "蟺慰位蠉蟺伪胃畏" 尾伪蟽委位喂蟽蟽伪 伪谓伪味畏蟿维 蟿慰 尉蔚蠂伪蟽渭苇谓慰 蟿畏蟼 蟺伪喂未委 魏伪喂 蟿畏谓 蟺蔚蟻喂慰蠀蟽委伪 蟺慰蠀 蟿慰蠀 伪谓伪位慰纬蔚委 蠅蟼 谓蠈渭喂渭慰蠀 魏位畏蟻慰谓蠈渭慰蠀. 螚 蠀蟺畏蟻苇蟿蟻喂伪 伪蟻谓蔚委蟿伪喂 谓伪 蟿慰 未蠋蟽蔚喂 魏伪喂 魏伪蟿伪位萎纬慰蠀谓 蟽蟿慰 未喂魏伪蟽蟿萎蟻喂慰.
螚 蠀蟺畏蟻苇蟿蟻喂伪 蔚委谓伪喂 畏 蔚蟺喂蟿慰渭萎 蟿畏蟼 伪谓胃蟻蠅蟺喂维蟼 魏伪喂 蟿畏蟼 渭畏蟿蟻蠈蟿畏蟿伪蟼.
螣 未喂魏伪蟽蟿萎蟼 蔚委谓伪喂 畏 蔚蟺喂蟿慰渭萎 蟿畏蟼 位伪蠆魏萎蟼 蟽慰蠁委伪蟼 魏伪喂 蟿畏蟼 维纬蟻蠀蟺谓畏蟼 蟽蠀谓蔚委未畏蟽畏蟼. 螘委谓伪喂 苇谓伪蟼 蟺蔚蟻喂蟽蟿伪蟽喂伪魏蠈蟼 未喂魏伪蟽蟿萎蟼 蟺慰蠀 蟺伪位蔚蠉蔚喂 蔚谓维谓蟿喂伪 蟽蟿慰 维未喂魏慰 魏伪喂 蟿喂蟼 蟺慰蠀位畏渭苇谓蔚蟼 魏伪喂 蔚魏蠁蠀位喂蟽渭苇谓蔚蟼 味蠅苇蟼.
螠蠈位喂蟼 伪蟺慰魏伪胃委蟽蟿伪蟿伪喂 畏 喂蟽慰蟻蟻慰蟺委伪 魏伪喂 蟿慰 未委魏伪喂慰, 蟺伪蟻蠈位慰 蟺慰蠀 谓喂魏维 畏 魏伪位慰蟽蠉谓畏 魏伪喂 畏 伪纬维蟺畏,慰 蟽慰蠁蠈蟼 魏伪喂 伪纬谓蠈蟼
蟺蔚蟻喂蟽蟿伪蟽喂伪魏蠈蟼 未喂魏伪蟽蟿萎蟼 蠂维谓蔚蟿伪喂 魏维蟺慰蠀 渭苇蟽伪 蟽蟿慰谓 蟻慰渭伪谓蟿喂蟽渭蠈 蟿慰蠀.
螉蟽蠅蟼 渭伪味委 蟿慰蠀 蠂维谓慰谓蟿伪喂 魏伪喂 蠈位蔚蟼 慰喂 伪尉委蔚蟼...
螝伪位萎 伪谓维纬谓蠅蟽畏.
May 3, 2022
夭賲蹖賳 亘賴 讴爻蹖 賲蹖 乇爻丿 讴賴 丕夭 丌賳 亘賴鬲乇 賳诏賴丿丕乇蹖 讴賳丿 賵 賲蹖賵賴 蹖 亘蹖卮鬲乇蹖 丨丕氐賱 讴賳丿貙 賳賴 亘賴 氐丕丨亘丕賳 賯亘賱蹖 丌賳...
丌蹖丕 丕蹖賳 丕蹖丿賴 賲丕乇讴爻蹖爻賲蹖 賳蹖爻鬲責 賲賳 丕賵賱蹖賳 亘丕乇賴 讴賴 丕夭 亘乇卮鬲 賲蹖禺賵賳賲 賵丕爻賴 賴賲蹖賳 亘丕賴丕卮 丌卮賳丕 賳蹖爻鬲賲.
丌蹖丕 丕蹖賳 丕蹖丿賴 賲丕乇讴爻蹖爻賲蹖 賳蹖爻鬲責 賲賳 丕賵賱蹖賳 亘丕乇賴 讴賴 丕夭 亘乇卮鬲 賲蹖禺賵賳賲 賵丕爻賴 賴賲蹖賳 亘丕賴丕卮 丌卮賳丕 賳蹖爻鬲賲.
May 7, 2010
What I learnt from this book: rich people suck, poor people suck, war sucks, society sucks, socialism isn't bad and fruit farms are the future.
November 29, 2018
螚 渭畏蟿蟻喂魏萎 伪纬维蟺畏 蔚委谓伪喂 伪蠀蟿萎 蟺慰蠀 蟺蟻慰魏蠉蟺蟿蔚喂 伪蟺蠈 蟿畏 未喂伪未喂魏伪蟽委伪 蟿畏蟼 纬苇谓谓伪蟼 萎 渭蟺慰蟻蔚委 谓伪 谓伪喂 魏伪喂 畏 伪纬维蟺畏 蟺慰蠀 蟺蟻慰魏蠉蟺蟿蔚喂 伪蟺蠈 蟿畏谓 伪谓维纬魏畏 谓伪 渭慰喂蟻伪蟽蟿蔚委 蟺蔚蟻委蟽蟽喂伪 伪纬维蟺畏蟼 蟽蔚 苇谓伪 蟺伪喂未委 伪蟺蠈 渭喂伪 尉苇谓畏 纬蠀谓伪委魏伪? 螞喂蟿蠈 魏喂 伪蟺苇蟻喂蟿蟿慰 伪位位维 渭蔚 蟺慰位蠉 魏慰喂谓蠅谓喂魏蠈, 喂蟽蟿慰蟻喂魏蠈 魏伪喂 蟺慰位喂蟿喂魏蠈 尾维胃慰蟼. 危蠀谓喂蟽蟿维蟿伪喂 伪谓蔚蟺喂蠁蠉位伪魏蟿伪!
April 4, 2019
螕蔚谓喂魏维, 苇蠂蠅 未喂伪尾维蟽蔚喂 蔚位维蠂喂蟽蟿伪 胃蔚伪蟿蟻喂魏维 苇蟻纬伪 - 纬喂伪 蟺蟻慰蠁伪谓萎蟼 位蠈纬慰蠀蟼, 蟿伪 胃蔚伪蟿蟻喂魏维 蔚委谓伪喂 蠁蟿喂伪纬渭苇谓伪 纬喂伪 谓伪 蟺伪委味慰谓蟿伪喂 蟽蟿慰 胃苇伪蟿蚁慰 魏伪喂 蠈蠂喂 纬喂伪 谓伪 未喂伪尾维味慰谓蟿伪喂.
危蟿畏谓 蟺蔚蟻委蟺蟿蠅蟽畏 蟿慰蠀 伪纬伪蟺畏渭苇谓慰蠀 渭慰蠀 螠蟺蟻蔚蠂蟿 蠈渭蠅蟼, 谓慰渭委味蠅 蠈蟿喂 维尉喂味蔚 蟿慰谓 魏蠈蟺慰 魏伪喂 渭蔚 蟿慰 蟺伪蟻伪蟺维谓蠅.
惟蟻伪委伪 喂蟽蟿慰蟻委伪, 纬蟻伪渭渭苇谓畏 渭蔚 位蠀蟻喂蟽渭蠈 伪位位维 魏伪喂 蠂喂慰蠉渭慰蟻, 渭蔚 魏蟻蠀渭渭苇谓伪 谓慰萎渭伪蟿伪 魏伪喂 渭蔚 苇谓伪谓 魏慰蟻蠀蠁伪委慰 未喂魏伪蟽蟿萎, 蟺慰蠀 蟿慰 未喂魏伪蟽蟿喂魏蠈 渭伪蟼 蟽蠉蟽蟿畏渭伪 胃伪 萎蟿伪谓 蟺慰位蠉 魏伪位蠉蟿蔚蟻慰 伪谓 蔚委蠂蔚 3-4 蟽伪谓 魏喂 伪蠀蟿蠈谓.
危蟿畏谓 蟺蔚蟻委蟺蟿蠅蟽畏 蟿慰蠀 伪纬伪蟺畏渭苇谓慰蠀 渭慰蠀 螠蟺蟻蔚蠂蟿 蠈渭蠅蟼, 谓慰渭委味蠅 蠈蟿喂 维尉喂味蔚 蟿慰谓 魏蠈蟺慰 魏伪喂 渭蔚 蟿慰 蟺伪蟻伪蟺维谓蠅.
惟蟻伪委伪 喂蟽蟿慰蟻委伪, 纬蟻伪渭渭苇谓畏 渭蔚 位蠀蟻喂蟽渭蠈 伪位位维 魏伪喂 蠂喂慰蠉渭慰蟻, 渭蔚 魏蟻蠀渭渭苇谓伪 谓慰萎渭伪蟿伪 魏伪喂 渭蔚 苇谓伪谓 魏慰蟻蠀蠁伪委慰 未喂魏伪蟽蟿萎, 蟺慰蠀 蟿慰 未喂魏伪蟽蟿喂魏蠈 渭伪蟼 蟽蠉蟽蟿畏渭伪 胃伪 萎蟿伪谓 蟺慰位蠉 魏伪位蠉蟿蔚蟻慰 伪谓 蔚委蠂蔚 3-4 蟽伪谓 魏喂 伪蠀蟿蠈谓.
February 27, 2018
When the sharks the sharks devour
Little fishes have their hour.
This might be the Master at his finest, remarkably both modern and ancient, timeless parables are bracketed in the struggle against fascists with an all too human squalor that likely made Stalin squeal.
The play within the play is apparently from an ancient Chinese tale, it proved unexpectedly surprising. Grusha is a wonderful, highly developed protagonist, unlike the Portia of Venice, her motivation isn't guile but an almost childish concept of loyalty and justice. No doubt Brecht embraced this unlikely refuge even as the world around him was collapsing into barbarism. The title refers to the Chinese story of a judge placing a child in a chalked circle and the two women claiming to be the mother are asked to remove the child, the nominal reason being that only the true parent could extricate the young one. As the reasoning goes the judge awards the child to the woman who didn't attempt to remove the child for fear of harming it. This is replicated by Brecht with certain human caveats about the stewards of justice and the greasing of palms.
Little fishes have their hour.
This might be the Master at his finest, remarkably both modern and ancient, timeless parables are bracketed in the struggle against fascists with an all too human squalor that likely made Stalin squeal.
The play within the play is apparently from an ancient Chinese tale, it proved unexpectedly surprising. Grusha is a wonderful, highly developed protagonist, unlike the Portia of Venice, her motivation isn't guile but an almost childish concept of loyalty and justice. No doubt Brecht embraced this unlikely refuge even as the world around him was collapsing into barbarism. The title refers to the Chinese story of a judge placing a child in a chalked circle and the two women claiming to be the mother are asked to remove the child, the nominal reason being that only the true parent could extricate the young one. As the reasoning goes the judge awards the child to the woman who didn't attempt to remove the child for fear of harming it. This is replicated by Brecht with certain human caveats about the stewards of justice and the greasing of palms.
December 2, 2018
螣 螠蟺蟻苇蠂蟿 尉伪谓伪纬蟻维蠁蔚喂 蟿慰 渭蠉胃慰 蟿慰蠀 尾伪蟽喂位喂维 危慰位慰渭蠋谓蟿伪, 渭蠈谓慰 蟺慰蠀 伪蠀蟿蠈蟼 蟿慰 魏维谓蔚喂 蟽蠅蟽蟿维 ! 韦慰 尾喂尾位委慰 蔚委谓伪喂 渭喂魏蟻蠈 , 蠈渭蠅蟼 慰喂 蠂伪蟻伪魏蟿萎蟻蔚蟼 苇蠂慰蠀谓 未喂维蟽蟿伪蟽畏 魏伪喂 蠈纬魏慰 , 魏伪喂 蠁蠀蟽喂魏维 慰 螠蟺蟻苇蠂蟿 未蔚谓 未蔚喂位喂维味蔚喂 谓伪 魏维谓蔚喂 魏慰喂谓蠅谓喂魏萎 魏蟻喂蟿喂魏萎 纬喂伪 蟿畏谓 慰喂魏慰谓慰渭喂魏萎 伪谓喂蟽蠈蟿畏蟿伪 伪位位维 魏伪喂 蟿慰蠀蟼 胃蟻畏蟽魏蔚蠀蟿喂魏慰蠉蟼 蟺慰位苇渭慰蠀蟼. 韦慰 渭萎谓蠀渭伪 蟿畏蟼 渭畏蟿蟻喂魏萎蟼 伪纬维蟺畏蟼 未喂伪蟻魏蠋蟼 蟺伪蟻蠋谓 蟽蔚 伪蠀蟿蠈 蟿慰 未喂伪蠂蟻慰谓喂魏蠈 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪. 螉蟽蠅蟼 畏 胃蔚伪蟿蟻喂魏萎 蟿慰蠀 苇魏未慰蟽畏 谓伪 渭慰蠀 伪蟻苇蟽蔚喂 伪魏蠈渭伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰.
January 15, 2016
螒蟺位蠈, 渭蔚蟽蟿蠈, 位喂蟿蠈, 魏伪蟿伪谓慰畏蟿蠈, 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪!!
May 31, 2015
螚 喂蟽蟿慰蟻委伪 蟿慰蠀 尾伪蟽喂位喂维 危慰位慰渭蠋谓蟿伪 魏伪喂 蟿蠅谓 2 纬蠀谓伪喂魏蠅谓 蟿慰蟺慰胃蔚蟿畏渭苇谓畏 蟽蟿畏谓 蟺蔚蟻委慰未慰 蟿慰蠀 蟿蟻喂伪谓蟿伪魏慰谓蟿伪蔚蟿萎 蟺慰位苇渭慰蠀 魏伪喂 未慰蟽渭苇谓畏 伪蟻喂蟽蟿慰蟿蔚蠂谓喂魏维 伪蟺慰 蟿慰谓 螠蟺蟻蔚蠂蟿... 韦慰 尾喂尾位委慰 蟺蔚蟻喂位伪渭尾维谓蔚喂 魏伪喂 渭喂伪 未喂伪蟽魏蔚未伪蟽蟿喂魏萎 喂蟽蟿慰蟻委伪 "韦蟻伪蠀渭伪蟿喂蟽渭苇谓慰蟼 危蠅魏蟻维蟿畏蟼"!!
October 21, 2014
Bertolt Brecht considered himself to be a great author which is not terribly surprising as most people are at least partially self-delusion. What is more surprising is how many people agreed with Brecht's high opinion of himself during the middle decades of the Twentieth Century.
In fact Brecht had a wicked sense of humour and a great instincts on how to use the space on the stage to best effect. As a result he produced a number of highly entertaining plays that had audiences laughing in the four corners of the world.
The Caucasian Chalk Circle is an amusing fairy tale set in the Georgian Caucasus about the judgements rendered by the village idiot that an invading army has installed as a magistrate as a joke. Not too surprisingly the village idiot proves to an excellent judge during his very short term.
If properly staged, the Caucasian Chalk Circle is extremely funny and offers a great evening at the theatre. You might want to consider taking in a performance if the opportunity ever presents itself.
In fact Brecht had a wicked sense of humour and a great instincts on how to use the space on the stage to best effect. As a result he produced a number of highly entertaining plays that had audiences laughing in the four corners of the world.
The Caucasian Chalk Circle is an amusing fairy tale set in the Georgian Caucasus about the judgements rendered by the village idiot that an invading army has installed as a magistrate as a joke. Not too surprisingly the village idiot proves to an excellent judge during his very short term.
If properly staged, the Caucasian Chalk Circle is extremely funny and offers a great evening at the theatre. You might want to consider taking in a performance if the opportunity ever presents itself.
December 4, 2018
This is another one I performed during my years as a drama geek. To be honest, I think I was too young to appreciate Brecht's work properly.
You have to comprehend symbolism, or this all ends up kind of dull. The whole story of the mums fighting over the kids is interesting but short, while the rest of the play is a comment on society.
I'd have to go back to give a worthy review, but it honestly just didn't interest me enough.
You have to comprehend symbolism, or this all ends up kind of dull. The whole story of the mums fighting over the kids is interesting but short, while the rest of the play is a comment on society.
I'd have to go back to give a worthy review, but it honestly just didn't interest me enough.
September 23, 2024
Perhaps the best Brecht play I have read so far (though they have all been good). There is something particularly engaging about the two main characters, Grusha and Azdak. Although the message of the play is supposedly very straightforwardly "Socialist" I always feel that Brecht is never quite so obviously simple as that. The writing is amazing and the songs always add to the impetus rather than detract from it.
February 5, 2020
螒蟺位萎 喂蟽蟿慰蟻喂慰蠉位伪 渭蔚 尾伪胃蠉 魏慰喂谓蠅谓喂魏蠈 蠀蟺蠈尾伪胃蟻慰 蟺慰蠀 胃委纬蔚喂 未喂伪蠁慰蟻维 味畏蟿萎渭伪蟿伪 伪谓胃蟻蠅蟺委谓蠅谓 蟽蠂苇蟽蔚蠅谓, 蟽蠂慰位喂维味蔚喂 蟿畏谓 蠀蠁萎 蟿畏蟼 渭畏蟿蟻喂魏萎蟼 伪纬维蟺畏蟼 魏位蟺 蔚谓蠋 蟿慰 蠁喂谓伪位蔚 蟽蔚 渭慰蟻蠁萎 芦魏慰喂谓蠅谓喂魏慰蠉 蟺蔚喂蟻维渭伪蟿慰蟼禄 渭蔚 蟿慰谓 魏蠉魏位慰 渭蔚 蟿畏谓 魏喂渭蠅位委伪 伪谓蔚尾维味蔚喂 蟿畏谓 蟽蟺喂蟻蟿维未伪 蟿畏蟼 纬蟻伪蠁萎蟼.
螚 渭蔚蟿维蠁蟻伪蟽畏 渭蔚蟿蟻喂蠈蟿伪蟿畏.
螚 渭蔚蟿维蠁蟻伪蟽畏 渭蔚蟿蟻喂蠈蟿伪蟿畏.
September 14, 2020
"乇賮賯丕貙 趩乇丕 丕賳爻丕賳 賵胤賳 乇丕 丿賵爻鬲 丿丕乇賴責 亘乇丕蹖 丕蹖賳鈥屭┵� 賵胤賳 賳賵賳卮 禺賵卮賲夭賴鈥屫辟囏屫⒇迟呝堎嗀� 亘賱賳丿鬲乇賴貙 賴賵丕卮 禺賵卮亘賵鬲乇賴貙 賳睾賲賴鈥屬囏ж� 倬乇胤賳蹖賳鈥屫辟囏� 賵 禺丕讴卮 丿賵爻鬲鈥屫ж簇嗃屸€屫辟�! 賲诏賴 賴賲蹖賳胤賵乇 賳蹖爻鬲責"
亘賳丿賴 鬲乇噩賲賴鈥屰� 丕爻鬲丕丿 爻賲賳丿乇蹖丕賳 乇丕 禺賵丕賳丿賴鈥屫з�.
亘賳丿賴 鬲乇噩賲賴鈥屰� 丕爻鬲丕丿 爻賲賳丿乇蹖丕賳 乇丕 禺賵丕賳丿賴鈥屫з�.
November 14, 2015
Tackling a Brecht script takes a lot of patience and time! His writing is complex and fluid and yet the embedded symbolism takes time to unravel and reflect on!
This is one play I would love to see on the stage!
December 29, 2022
4.5/5 stars
TWs: Abuse, classism, alcoholicism, mention of r*pe, r*pe threats, violence
It's a classic and a play so there's not much to say other than the fact that I thoroughly enjoyed it. I recommend it for fans of shorter classics, especially if you want to eat the rich.
TWs: Abuse, classism, alcoholicism, mention of r*pe, r*pe threats, violence
It's a classic and a play so there's not much to say other than the fact that I thoroughly enjoyed it. I recommend it for fans of shorter classics, especially if you want to eat the rich.
April 4, 2024
亘夭乇诏丕賳 趩賴 讴賵乇丿賱賳丿! 丌賳 賴丕 趩賵賳 禺丿丕蹖丕賳 噩丕賵蹖丿 賲蹖鈥屬嗁呚й屬嗀�. 亘丕 鬲讴蹖賴 亘賴 賲卮鬲 賴丕 賲夭丿賵乇 亘乇 倬卮鬲鈥屬囏й� 賴賲蹖丿賴 爻乇賵乇蹖 賲蹖鈥屭┵嗁嗀�.丕毓鬲賲丕丿卮丕賳 亘賴 賯丿乇鬲蹖 丿蹖乇 倬丕 丕爻鬲.賯丿乇鬲 賲丿鬲 賴丕 丿賵丕賲 賲蹖鈥屭┵嗀� 賵賱蹖 噩丕賵丿丕賳賴 賳蹖爻鬲.丕蹖 鬲睾蹖蹖乇 讴賴 诏賴鈥屭з� 乇禺 賲蹖鈥屫囒屫屫� 丕賲蹖丿 丿賱 賲乇丿賲蹖!
March 26, 2007
丿丕蹖乇賴 诏趩蹖 賯賮賯丕夭蹖 丕夭 賲賴賲 鬲乇蹖賳 賳賲丕蹖卮 賳丕賲賴 賴丕蹖 鬲蹖丕鬲乇 丨賲丕爻蹖 亘乇卮鬲 賵 蹖讴蹖 丕夭 丌禺乇蹖賳 丌賳賴丕 丿乇 丿賵乇丕賳 賴噩乇鬲 丕賵 丿乇 丌賲乇蹖讴丕爻鬲. 丿乇 丕蹖賳 丕孬乇 亘乇卮鬲 丕夭 鬲蹖丕鬲乇 丿乇 鬲蹖丕鬲乇 賴賲 亘賴乇賴 亘乇丿賴 丕爻鬲. 賵丕賯毓賴 讴賴 丿乇 丕賳鬲賴丕蹖 噩賳诏 丿賵賲 噩賴丕賳蹖 丿乇 卮賵乇賵蹖 乇禺 賲蹖 丿賴丿貙 鬲賵爻胤 蹖讴 诏乇賵賴 丿賵乇賴 诏乇丿 賳賵丕夭賳丿賴 賵 禺賵丕賳賳丿賴 乇賵丕蹖鬲 賲蹖 卮賵丿. 賴爻鬲賴 蹖 丕氐賱蹖 賵丕賯毓賴 丿乇 胤賵賱 丿賴 賴丕 氐丨賳賴 賵 賵丕賯毓賴 蹖 丿蹖诏乇貙 亘乇 爻乇 鬲氐丕丨亘 蹖讴 胤賮賱 賲蹖 诏匕乇丿貙 賵 讴卮賲讴卮 賲蹖丕賳 賲丕丿乇 丕氐賱蹖 賵 讴爻蹖 讴賴 胤賮賱 乇丕 賳噩丕鬲 丿丕丿賴 賵 亘丕 賲乇丕乇鬲 亘夭乇诏 讴乇丿賴 丕爻鬲. 讴賵丿鬲丕蹖蹖 丿乇 賲賳胤賯賴 乇賵蹖 丿丕丿賴貙 賮乇賲丕賳丿丕乇蹖 丕夭 讴丕乇 亘乇讴賳丕乇 卮丿賴貙 诏乇丿賳卮 乇丕 夭丿賴 丕賳丿. 賴賲爻乇 賮乇賲丕賳丿丕乇 亘丕 毓噩賱賴 亘乇丕蹖 爻賮乇 丌賲丕丿賴 賲蹖 卮賵丿貙 丕賳诏丕乇 賳賴 丕賳诏丕乇 讴賴 卮賵賴乇卮 乇丕 丕夭 丿爻鬲 丿丕丿賴貙 賵 賮乇夭賳丿卮 賲蹖讴丕卅蹖賱 乇丕 賴賲 噩丕 賲蹖 诏匕丕乇丿. 诏乇賵卮丕貙 禺丿賲鬲讴丕乇蹖 讴賴 亘丕 讴賵丿讴 鬲賳賴丕 诏匕丕卮鬲賴 卮丿賴貙 爻乇倬乇爻鬲蹖 讴賵丿讴 乇丕 亘毓賴丿賴 賲蹖 诏蹖乇丿 賵 丕夭 賴賲丕賳 賱丨馗賴 亘乇丕蹖 丨賮丕馗鬲 丕賵 丕夭 賲氐蹖亘鬲 賴丕蹖 賲鬲毓丿丿貙 亘賴 賴乇噩丕 賲蹖 乇賵丿 賵 亘賴乇讴丕乇蹖 鬲賳 賲蹖 丿賴丿貙 丨鬲蹖 蹖讴 丕夭丿賵丕噩 丕噩亘丕乇蹖 鬲丕 亘鬲賵丕賳丿 讴賵丿讴 乇丕 丨賮馗 讴賳丿.
丕賲丕 賵賯丕蹖毓 亘賴 诏賵賳賴 丕蹖 倬蹖卮 賲蹖 乇賵丿 讴賴 倬爻 丕夭 賲丿鬲蹖 賴賲爻乇 賮乇賲丕賳丿丕乇 賯亘賱蹖 亘丕夭 賲蹖 诏乇丿丿 賵 讴賵丿讴卮 乇丕 丕夭 诏乇賵卮丕 賲蹖 禺賵丕賴丿. 丿丕丿诏丕賴蹖 鬲卮讴蹖賱 賲蹖 卮賵丿 賵 胤蹖 賵賯丕蹖毓蹖貙 丕亘鬲丿丕 丨讴賲 賲蹖 讴賳賳丿 讴賴 賲丕丿乇 胤賮賱貙 賴賲爻乇 賮乇賲丕賳丿丕乇 賯亘賱蹖 爻鬲 賵 賲蹖讴丕卅蹖賱 賲鬲毓賱賯 亘賴 丕賵爻鬲. 丿乇 讴卮賲讴卮 賴丕蹖 亘毓丿蹖 賵 卮賴丕丿鬲 卮賴賵丿貙 賯丕囟蹖 鬲丕夭賴 亘賴 賳丕賲 丌夭丿讴 讴賴 丕夭 爻賵蹖 賮乇賲丕賳丿丕乇 賮毓賱蹖 賲賳氐賵亘 卮丿賴貙 亘賴 蹖讴 丨蹖賱賴 蹖 賯丿蹖賲蹖 賯賮賯丕夭蹖 (賯囟丕賵鬲 爻賱蹖賲丕賳) 賲鬲賵爻賱 賲蹖 卮賵丿貙 丕蹖賳 讴賴 丿丕蹖乇賴 丕蹖 亘丕 诏趩 賲蹖 讴卮賳丿 賵 讴賵丿讴 賲蹖丕賳 丌賳 賲蹖 诏匕丕乇賳丿. 賯丕囟蹖 丌夭丿讴 賲蹖 诏賵蹖丿 賲丕丿乇 賵丕賯毓蹖 丌賳 丕爻鬲 讴賴 讴賵丿讴 乇丕 丕夭 賵爻胤 丿丕蹖乇賴 亘讴卮丿 賵 亘亘乇丿貙 賵 丕诏乇 丿賵 胤乇賮 賴賲 夭賵乇 亘賵丿賳丿貙 賲蹖 鬲賵丕賳賳丿 亘趩賴 乇丕 賳氐賮 讴賳賳丿 賵 賴乇讴丿丕賲 賳氐賮卮 乇丕 亘乇丿丕乇賳丿. 賴賲爻乇 賮乇賲丕賳丿丕乇 爻丕亘賯 賲蹖 倬匕蹖乇丿 丕賲丕 诏乇賵卮丕 鬲賳 亘賴 丕蹖賳 亘丕夭蹖 賳賲蹖 丿賴丿 趩賵賳 丨丕囟乇 賳蹖爻鬲 亘賴 賲蹖讴丕卅蹖賱 賱胤賲賴 丕蹖 賵丕乇丿 卮賵丿. 丌夭丿讴 賯丕囟蹖 丕毓賱丕賲 賲蹖 讴賳丿 讴賴 賲丕丿乇 賵丕賯毓蹖 诏乇賵卮丕爻鬲. 丿乇 丕賳鬲賴丕 禺賵丕賳賳丿賴 蹖 诏乇賵賴 賲賵爻蹖賯蹖 賲蹖 禺賵丕賳丿貨 夭賲蹖賳 亘賴 讴爻蹖 賲蹖 乇爻丿 讴賴 丕夭 丌賳 亘賴鬲乇 賳诏賴丿丕乇蹖 讴賳丿 賵 賲蹖賵賴 蹖 亘蹖卮鬲乇蹖 丨丕氐賱 讴賳丿貙 賳賴 亘賴 氐丕丨亘丕賳 賯亘賱蹖 丌賳...
丕賲丕 賵賯丕蹖毓 亘賴 诏賵賳賴 丕蹖 倬蹖卮 賲蹖 乇賵丿 讴賴 倬爻 丕夭 賲丿鬲蹖 賴賲爻乇 賮乇賲丕賳丿丕乇 賯亘賱蹖 亘丕夭 賲蹖 诏乇丿丿 賵 讴賵丿讴卮 乇丕 丕夭 诏乇賵卮丕 賲蹖 禺賵丕賴丿. 丿丕丿诏丕賴蹖 鬲卮讴蹖賱 賲蹖 卮賵丿 賵 胤蹖 賵賯丕蹖毓蹖貙 丕亘鬲丿丕 丨讴賲 賲蹖 讴賳賳丿 讴賴 賲丕丿乇 胤賮賱貙 賴賲爻乇 賮乇賲丕賳丿丕乇 賯亘賱蹖 爻鬲 賵 賲蹖讴丕卅蹖賱 賲鬲毓賱賯 亘賴 丕賵爻鬲. 丿乇 讴卮賲讴卮 賴丕蹖 亘毓丿蹖 賵 卮賴丕丿鬲 卮賴賵丿貙 賯丕囟蹖 鬲丕夭賴 亘賴 賳丕賲 丌夭丿讴 讴賴 丕夭 爻賵蹖 賮乇賲丕賳丿丕乇 賮毓賱蹖 賲賳氐賵亘 卮丿賴貙 亘賴 蹖讴 丨蹖賱賴 蹖 賯丿蹖賲蹖 賯賮賯丕夭蹖 (賯囟丕賵鬲 爻賱蹖賲丕賳) 賲鬲賵爻賱 賲蹖 卮賵丿貙 丕蹖賳 讴賴 丿丕蹖乇賴 丕蹖 亘丕 诏趩 賲蹖 讴卮賳丿 賵 讴賵丿讴 賲蹖丕賳 丌賳 賲蹖 诏匕丕乇賳丿. 賯丕囟蹖 丌夭丿讴 賲蹖 诏賵蹖丿 賲丕丿乇 賵丕賯毓蹖 丌賳 丕爻鬲 讴賴 讴賵丿讴 乇丕 丕夭 賵爻胤 丿丕蹖乇賴 亘讴卮丿 賵 亘亘乇丿貙 賵 丕诏乇 丿賵 胤乇賮 賴賲 夭賵乇 亘賵丿賳丿貙 賲蹖 鬲賵丕賳賳丿 亘趩賴 乇丕 賳氐賮 讴賳賳丿 賵 賴乇讴丿丕賲 賳氐賮卮 乇丕 亘乇丿丕乇賳丿. 賴賲爻乇 賮乇賲丕賳丿丕乇 爻丕亘賯 賲蹖 倬匕蹖乇丿 丕賲丕 诏乇賵卮丕 鬲賳 亘賴 丕蹖賳 亘丕夭蹖 賳賲蹖 丿賴丿 趩賵賳 丨丕囟乇 賳蹖爻鬲 亘賴 賲蹖讴丕卅蹖賱 賱胤賲賴 丕蹖 賵丕乇丿 卮賵丿. 丌夭丿讴 賯丕囟蹖 丕毓賱丕賲 賲蹖 讴賳丿 讴賴 賲丕丿乇 賵丕賯毓蹖 诏乇賵卮丕爻鬲. 丿乇 丕賳鬲賴丕 禺賵丕賳賳丿賴 蹖 诏乇賵賴 賲賵爻蹖賯蹖 賲蹖 禺賵丕賳丿貨 夭賲蹖賳 亘賴 讴爻蹖 賲蹖 乇爻丿 讴賴 丕夭 丌賳 亘賴鬲乇 賳诏賴丿丕乇蹖 讴賳丿 賵 賲蹖賵賴 蹖 亘蹖卮鬲乇蹖 丨丕氐賱 讴賳丿貙 賳賴 亘賴 氐丕丨亘丕賳 賯亘賱蹖 丌賳...
August 17, 2016
I saw a production of this but I have not read it yet. Brecht's ideas are abstract and they kept me wondering about the fairy-tale like quality. Grusha, a servant working for a snobbish aristocratic woman (Natella), cares for the child (Michael) who Natella left behind. Grusha is selfless and she gives everything she can to him. When the case is brought to court with the judge named Azdak, the chalk circle is drawn to put the child in. Brecht's ideas intrigued me here. Grusha and Natella are asked to pull at him to see who is the real mother. Grusha is the true mother because she could not bear to hurt the child she raised and cared for. This play is not about emotions. It is supposed to be unsentimental. I liked it for its historical context and its ideas, because it was meaningful. The play was originally written in German and it premiered in the United States in 1948.
November 14, 2018
This book is really hard to understand because the language of this book is really complicate. But after reading this book twice it made this book a lot easier to understand. This book uses really hard words and some words are not even in English. I really enjoy the prologue. I really like how it foreshadows the story.
July 4, 2017
Es scheint als wurde der Herr Brecht in seinem Alter ein bisschen "gef眉hlsduselig" Aber sonst immer noch Alles beim Alten: alle Geschehen sind noch sch枚n im lieben Marxismuskleid eingepackt. (inkl. Songs und St眉ck im St眉ck Parabel)
January 25, 2017
賲賳 毓卮賯 亘乇卮鬲 賴爻鬲賲 丿乇亘爻鬲! 丕夭 丕亘鬲丿丕蹖 丌卮賳丕蹖蹖 鬲丕 賴賲蹖賳 丕賱丕賳:)
May 27, 2015
I finished reading this a couple weeks ago for my Theatre class and yes, it's that genius Brecht whom everyone has heard of yet no one quite understands. Brecht's works and techniques aiming to completely and utterly emotionally isolate the audience of his plays create confusion as to how the characters should act or whether they should act at all and they SHOULD. The Caucasian Chalk Cirle threads together two conflicts regarding the ownership of farmed land after the second world war, and uses sly morals to show how power drives people to do insane things as in the ancient Chinese tale "The Circle of Chalk" (Brecht's plays usually used ideas from ancient fables). By confusing you with things like having the characters refer to themselves in third person, the sudden gestures and expressions (gestus), Brecht truly accomplishes a state of uneasiness, making the reader (audience, better put) question what they're seeing and encouraging a thought process that evaluates the nature of our system. This man is suave af.
October 18, 2010
I once acted in a powerful production of Brecht's satirical masterpiece in, of all places, Kampala, Uganda
I suppose the play can be summarised as follows: The city burns in the heat of civil war and a servant girl sacrifices everything to protect an abandoned child. But when peace is finally restored, the boy's mother comes to claim him. Calling upon the ancient tradition of the Chalk Circle, a comical judge sets about resolving the dispute. But in a culture of corruption and deception, who wins?
Well, you can probably guess the ending and I won't spoil it for you. It is a brilliant play and when performed in a country as corrupt as Uganda was in 1965/66 and at a time of civil war it becomes even more poignant!!!!!!!!!!
I suppose the play can be summarised as follows: The city burns in the heat of civil war and a servant girl sacrifices everything to protect an abandoned child. But when peace is finally restored, the boy's mother comes to claim him. Calling upon the ancient tradition of the Chalk Circle, a comical judge sets about resolving the dispute. But in a culture of corruption and deception, who wins?
Well, you can probably guess the ending and I won't spoil it for you. It is a brilliant play and when performed in a country as corrupt as Uganda was in 1965/66 and at a time of civil war it becomes even more poignant!!!!!!!!!!
February 21, 2021
I really hope everyone who reads/sees this play understands its meaning because it鈥檚 so profound and therefore important. In conclusion: is the mother of its child its biological mother that abandoned it or the woman who gave up her life to raise this child. But this is just the used metaphor for a more important question raised at the beginning: who should get the land? The ones who claim that it has been their own for many centuries, or the ones who could use it to benefit everyone.
September 28, 2015
Taking place right after WWII, in the Caucasus region, but most of it actually being told as a story within the play (which is set a few centuries in the past?). While the actual play is inspired by an old chinese drama.
March 11, 2024
*snaps* this play is perfect
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