Brecht play, Mother Courage and her Three children

Mother Courage and Her Children  is a play written in 1939 by the German Bertolt Brecht (1898–1956) with significant contributions from Margarete Steffin. After four very important theatrical productions in Switzerland and Germany from 1941 to 1952 the last three supervised and/or directed by Brecht the play was filmed several years after Brecht's death in 1959/1960 with Brecht's widow and leading actress, Helene Weigel.
Mother Courage is considered by some to be the greatest play of the 20th century, and perhaps also the greatest anti-war play of all time

Plot Overview

Mother Courage opens in Dalarna, spring 1624, in the midst of the Thirty Years War. A Sergeant and Recruiting Officer are seeking soldiers for the Swedish campaign in Poland. A canteen wagon appears, bearing the infamous Mother Courage, her dumb daughter, Kattrin, and her sons, Eilif and Swiss Cheese.

The Recruiting Officer attempts to seduce Eilif into the army. Courage demands that he leave her children alone. The Sergeant protests and asks why, since Courage lives off the war, it should not ask something of her in return. When Eilif admits that he would like to sign up, Courage foretells the fate of her children: Eilif will die for his bravery, Swiss Cheese for his honesty, and Kattrin for her kindness. Courage readies to leave. The Recruiting Officer presses the Sergeant to stop them. While the Sergeant feigns to buy one of Courage's belts, the Recruiting Officer takes Eilif away.

In 1626, Courage appears beside the tent of the Swedish Commander, arguing with the Cook over the sale of a capon. The Commander, a Chaplain, and Eilif enter the tent, the Commander lauding his brave soldier for raiding the local peasants. Courage remarks that trouble must be afoot. If the campaign was any good, he would not need brave soldiers. Courage reunites with her son.
Three years later, Courage and Kattrin appear folding washing on a cannon with Swiss Cheese, now a paymaster, and Yvette Pottier, the camp prostitute, look on. Yvette recounts the story of her lost beau, Peter Piper.
The Chaplain and Cook appear and they talk about politics. The Cook remarks ironically that their king is lucky to have his campaign justified by God: otherwise, he could be accused of seeking profit alone. Suddenly cannons explode; the Catholics have launched a surprise attack. The Cook departs for the Commander. Swiss arrives and hides his regiment's cash box in the wagon.
Three days later, the remaining characters sit eating anxiously. When Courage and the Chaplain go to town, Swiss departs to return the cash box unaware that an enemies are lurking about to arrest him. When Courage and the Chaplain return, two men bring in Swiss. Mother and son pretend to not know each other.

 

That evening, Kattrin and the Chaplain appear rinsing glasses. An excited Courage enters, declaring that they can buy Swiss' freedom. Yvette has picked up an old Colonel who will buy the canteen; Courage only plans to pawn and reclaim it after two weeks with the money from the cash box. Thanking God for corruption, Courage sends Yvette to bribe One Eye with the 200 guilders.

Yvette reports that the enemy has agreed. Swiss, however, has thrown the cash box into the river. Courage hesitates, thinking that she will not be able to reclaim the wagon. Courage proposes a new offer, 120 guilders. Yvette returns, saying that they rejected it, and Swiss' execution is imminent. Drums roll in the distance. Two men enter with a stretcher, asking Courage if she can identify Swiss Cheese's body. Courage shakes her head, consigning the body to the carrion pit.
Courage then appears outside an officer's tent, planning to file a complaint over the destruction of her merchandise. A Young Soldier enters, threatening the captain's murder. Apparently he has stolen his reward for rescuing the Colonel's horse. Courage tells him to quiet down, since his rage will not last. Defeated, the soldier leaves, and Courage follows.
Two years pass, and the wagon stands in a war-ravaged village. The Chaplain staggers in; there is another wounded family of peasants in the farmhouse. He needs linen. Courage refuses, as she will not sacrifice her officers' shirts. The Chaplain lifts her off the wagon and takes the shirts.
The canteen sits before the funeral of Commander Tilly in 1632. Mother Courage and Kattrin take inventory inside the canteen tent. Courage asks the Chaplain if the war will end—she needs to know if she should buy more supplies. The Chaplain responds that war always finds a way. Courage resolves to buy new supplies, and sends Kattrin to town. Kattrin returns with a wound across her eye and forehead, as she was attacked en route. Counting the scattered merchandise, Courage curses the war. Immediately afterward she appears at the height of prosperity, dragging her new wares along a highway. She celebrates war as her breadwinner.
A year later, voices announce that peace has been declared. Suddenly the Cook arrives, bedraggled and penniless. Courage and Cook flirt as they recount their respective ruin. The Chaplain emerges, and the men begin to argue, fighting for the feedbag. When Courage defends the Cook, the Chaplain calls her a "hyena of the battlefield." Courage suggests they part company. Suddenly an older, fatter, and heavily powdered Yvette enters. The widow of a colonel, she has come to visit Courage. When she sees the Cook, she unmasks him as the Peter Piper that ruined her years ago. Courage calms her and takes her to town.
Both men are now convinced that they are lost. Eilif then enters in fetters. He faces execution for another of his raids and has come to see his mother for the last time. The soldiers take him away and cannons thunder. Courage appears, breathless. The war resumed three days ago and they must flee with the wagon. She invites the Cook to join her, hoping that she will see Eilif soon.
It is autumn of 1634. A hard winter has come early. Courage and the Cook appear in rags before a parsonage. Abruptly the Cook tells her that he has received a letter from Utrecht saying that his mother has died and left him the family inn. He invites her to join him there. However, they must leave Kattrin behind. Kattrin overhears their conversation.
Calling to the parsonage, the Cook then sings "The Song of the Great Souls of the Earth" for food. It recounts how the great souls meet their dark fates on account of their respective virtues—wisdom, bravery, honesty, and kindness. Courage decides she cannot leave her daughter. Kattrin climbs out of the wagon, planning to flee, but Courage stops her. They depart.
It is January 1636 and the wagon stands near a farmhouse outside Halle. Kattrin is inside; her mother has gone to town to buy supplies. Out of the woods come a Catholic Lieutenant and three soldiers, seeking a guide to the town. The Catholic regiment readies for a surprise attack. Convinced there is nothing they can do, the peasants begin to pray. Quietly Kattrin climbs on the roof and begins to beat a drum. The soldiers shoot Kattrin. Her final drumbeats mingle with the thunder of a cannon. She has saved the town.
Toward morning, Courage sits by Kattrin's body in front of the wagon. Courage sings Kattrin a lullaby. The peasants bring her to her senses and offer to bury her daughter. Courage pays them and harnesses herself to the wagon. "I must get back into business" she resolves and moves after the regiment.

Key Facts About Mother Courage

full title · Mother Courage and Her Children
author · Bertolt Brecht
type of work · Drama
genre · Epic theater, social drama
language · German
time and place written · Written during Brecht's exile in Sweden, 1939
date of first publication · 1941
publisher · Henschelverlag Kunst und Gesellschaft, Berlin
narrator · None (though each scene includes a poster summarizing the future events)
climax · As a work of "epic theater," Mother Courage does not adhere to the Aristotelian model of plot and thus does not involve a structure of rising and falling action, climax, and catharsis. In some sense, each scene exists for itself.
protagonists · Mother Courage, Kattrin, Swiss Cheese, and Chaplain
setting (time) · The Thirty Years War (Spring 1624–January 1636)
setting (place) · Throughout Europe (Germany, Poland, Bavaria, and Saxony)
point of view · Point of view is not located as there is no narrator figure
falling action · Again, as a work of "epic theater," Mother Courage does not adhere to the Aristotelian model of plot.
tense · The play unfolds in the time of the present
foreshadowing · Most notably, Courage's game of fortune telling in the first scene foretells the death of her children
tone · Tragi-comic
themes · War as business; virtue in wartime
motifs · The Verfremdungseffekt, allegory, music, business practices, maternity, capitulation
symbols · The red boots

Themes

War as Business

Brecht states in the Courage Model Book that the play conceives of war as a "continuation of business by other means." War is neither some supernatural force nor simply a rupture in civilization but one of civilization's preconditions and logical consequences. In this respect, there are many dialogues—the most explicit one appearing in Scene 3—that cast war as another profit venture by Europe's great leaders. Mother Courage is the play's primary small businesswoman, parasitically living off of the war with her canteen wagon. As the Model Book observes the "big profits are not made by little people." Courage's commitment to the business of war will cost her children, the war taking back for what it has provided her in flesh.

Scene 3 Summary

The Chaplain and Cook appear. Eilif has requested money; Courage gives some to the Chaplain, chiding her son for speculating in maternal love. The Cook says she is too hard: her son may die at any moment. The Chaplain rejoins that to fall in a war of religion is a blessing to his skeptical interlocutors.
The three move behind the cart, talking of politics. This campaign has cost the Swedish King a great deal. Neither the Poles nor Germans wanted their freedom from the Kaiser, forcing him to subjugate if not execute them. He got nothing but trouble for his outlays and so he had to levy an unpopular salt tax back home. In any case, his justification by God kept his conscience clear. Without it, he could be accused of seeking profit alone. Courage and the Chaplain chastise their friend for his disloyalty and he eats the king's bread. The Cook disagrees; he does not eat his bread, but instead bakes it.
While the three converse, Kattrin's dons Yvette's boots and imitates her sashay. Suddenly cannons, shots, and drums explode: the Catholics have launched a surprise attack. The Ordnance Officer and a Soldier enter and attempt to move the cannon. The Cook departs for the Commander, leaving his pipe behind. The Chaplain remains, wringing a cloak from the reluctant Courage to disguise himself. Discovering Kattrin, Courage rips off the boots and smears her face with dirt. When a clean face appears before a soldier, another whore comes into the world. To her horror, Swiss Cheese arrives and stupidly hides the regiment cash box in the wagon. They quickly take down the regiment flag.
Three days later, the remaining characters sit eating anxiously. Swiss Cheese worries that his sergeant is wondering about the cash box, and the Chaplain complains of having no one to preach to. Mother Courage has sworn herself a Catholic to keep the canteen safe. The Chaplain asks Swiss Cheese what he plans to do with the cash box. Spies are everywhere, the Chaplain even found a one-eyed fellow sniffing his excrement. Courage also commands her son to leave the cash box where it is. She leaves with the Chaplain, and Kattrin clears the dishes.

 

Swiss Cheese resolves to return the cash box, daydreaming about his sergeant's reaction. Two men-an enemy Sergeant and the Man with the Bandage over his eye—confront Kattrin. They ask if she has seen a man from the Second Protestant Regiment and she flees in terror. The men withdraw after seeing Swiss Cheese. Oblivious to the imminent danger, Swiss Cheese prepares to leave. Kattrin does all she can to warn him but to no avail.

When Courage and the Chaplain return, Kattrin desperately tells her mother what has happened. Suddenly the two men bring in a struggling Swiss Cheese. Mother and son pretend to not know each other. Nevertheless, Courage strongly suggests that Swiss Cheese give up the cash box. The men take him away, and Courage follows.
That evening, Kattrin and the Chaplain appear rinsing glasses and polishing knives. The Chaplain sings "The Song of the Hours," a song that recounts the passion of Christ. An excited Courage enters, declaring that they must buy Swiss Cheese's freedom. Yvette has picked up a hoary old Colonel who might buy the canteen from her. Courage plans to pawn the wagon and reclaim it after two weeks with the money from the cash box. Yvette seduces the Colonel into the purchase. He exits. Stopping her as she counts the merchandise, Courage sends Yvette to bribe One Eye with the 200 guilders. She thanks God men are corruptible, as corruption is their only hope.
Yvette returns and reports that One Eye has agreed. She also relates that Swiss Cheese confessed under thumbscrews that he threw the cash box into the river when he was near capture. Courage hesitates and decides that she will not be able to reclaim the wagon. She asks Yvette to return with a new offer of 120 guilders.
Courage sits to help polish the knives. She muses that they will get Swiss Cheese back, that the war will never end, and that she was once offered 500 guilders for her wagon. Kattrin flees, sobbing behind the wagon. Yvette returns, One Eye rejected her offer, and Swiss Cheese's execution is imminent. Desperately, Courage orders Yvette to tell him that she will pay 200. "I believe—that I've haggled to long" she murmurs.

 

Drums roll in the distance. Yvette appears and Swiss Cheese has eleven bullets in him. The army remains convinced that they are hiding the cash box. They are coming with the body. She asks if she should keep Kattrin away and Courage asks that she bring her. Two men enter with a stretcher with a sheet over the top. Raising the sheet, the Sergeant asks Courage if she can identify the body. Courage shakes her head. The Sergeant orders that the body be thrown into the carrion pit: "He has no one that knows him."

Practical work on Character-Chaplain and Research about that era

Brecht is a very inspirational man who created a whole different technique for the acting field. This technique contains grotesque, enormous expressions and that is what we are focusing on now.
In preparion for Brecht, we did a small scene  from the Brecht play The resistable Rise of Arturo Ui.

We did a court scene from scene eight, where we used props, costumes and a set. I played a bodyguard. Even though I didnt have any dialogue, I had to be fully engaged and involved in the piece in order for my part to be fulfilled. I had to show grotesque face expressions and movements, even when I am just standing there. Here are some pictures to show the costumes, set and props we had.




































While working on Brecht, I find it particularly difficult, to get into my character. Reason being that, what i noticed about the script that i am using, including other plays i have read, The lines each character has are plentiful. There are so much dialogue to be spoken by one actor. As a result, i find it difficult to maintain that level of characteristics in which i should portray on stage.





My Character-The Chaplain

My character in Mother Courage and Her Three Children is the chaplain. 

According to http://chaplain.askdefine.com/, A chaplain is typically a priest, pastor, ordained deacon or other member of the clergy serving a group of people who are not organized as a mission or church, or who are unable to attend church for various reasons; such as health, confinement, or military or civil duties; lay chaplains are also found in other settings such as universities. Ffor example a chaplain is often attached to a military unit (often known as padre), a private chapel, a ship, a prison, a hospital, a high school, college or especially boarding school, even a parliamentary assembly and so on. In recent years many non-ordained persons have received professional training in chaplaincy and are now appointed as chaplains in schools, hospitals, universities, prisons and elsewhere to work alongside or instead of ordained chaplains. 

In my case, my character is the Chaplain of the Protestants who are fighting against the Catholics.

My character, the Chaplain, is known as Mother Courage's feedbag because he is really dependant on her. He is appears as a cynical (Believing that people are motivated by self-interest; distrustful of human sincerity or integrity), wooden character. He is a protestant and remains loyal to the swedish monarchy. Reading further in the play, I have seen that he also has sympathetic qualities, particularly when he defies Courage and attempts to save the local peasants at the Battle of Magdeburg. At Magdeburg, the Model Book shows him recalling a sense of his former importance and understanding himself as someone oppressed by the war. Indeed, as he will tell the Cook, his life as a tramp makes it impossible for him to be a priest again and all its attendant beliefs.

Also, I  really find it difficult to understand my character and the text, for example; How my character would respond and overall the meaning of the text in itself. Therefore, in order to understand the text, I have to dig deep in the script to really analyse and understand it. At times, I will get a good understanding, but at other times, I have to get information from a teacher, (Sean and Yusuf), to really get my understanding of the text amd character in full detail.

Also, when working with my character, I had the idea that my character is a more and spoke in a northern accent. I wasnt really getting the understanding on my character when I did this, and because it is Brecht, I found it really difficult to get humour in my character with this decision.

On Friday, I realised how my character can be funny, I changed my whole idea of my character. I knew that the way i portrayed my character was boring and not as interesting i thought it could be. So I decided to convey my character as a stereotypical preacher that speaks in a loud voice and always refer to a spiritual force when speaking. To top it all, I Nick liked what I have done with my character and also made my character as a Caribbean pastor, which makes it more exciting because I have the opportunity to show how Caribbean preachers are really portrayed.

Concerning my character, I have been working on the walk he has. My character walks with a slight drag and his body stature is upright. He talks in a low tone and occasionally goes back into the preaching tone.

Creating the Cart For Mother Courage

Today has been a very fun experience for me. Today, Charles, Shabill, Penny, Simone, Nick, Yusuf and I, had the privilege to create Mother Courage's Cart. After finding a base at the bins made of metal and two wheels, we decided to use it. We then got pieces of wood and ply to create the card. Our beautiful rehearsal space, the drama studio, became a carpenter's workshop. We had saws, pencil, wood and a whole tool kit with different tools for different purposes. I sawed wood into size, assisted others in doing so as well, drilling the wood together and now we have the frame of the cart. We made the cart our selves like proper work men and the cart as been  made by students and teachers. We have done a good days job on that cart, and it continues tomorrow.  Continuing on the cart, we added a little roof on the cart and a door, and also placed cushions in the cart.

Rehearsal Process

Rehearsals in the first week of our piece has been hectic. Mother Courage was absent a lot because she does another subject that clashes with our rehearsal schedule.  We tried so hard to go through it without her, even though it was difficult, we had other people playing her role in rehearsals. Well, learning my lines was the easiest aspect of the rehearsal process for me. Because I learned my lines a long time before we actually did a good rehearsals, playing my character got a lot easier for me. Also, it helped me to focus more on the character rather than on the script.

Weeks into rehearsals got more and more devastating and I got more worried about the piece on a whole because Mother Courage did not learn her lines.  She struggled on stage with her script for weeks and I got more worried as time flew by. We actually decided to just sit and do lines runs in order for the actors who doesn't know their lines to get accustomed to them.  

After a while, Mother Courage, started to get her lines known by heart and rehearsals got much easier and i got less worried, even though I was still concerned about how the show altogether will turn out.

In a week before the final performance, we started to gather props that we needed to bring in ourselves. 

Cristal and Claudia made the protestant, while Shabill and I made the ''we are catholic'' flag. We also gathered cups, plates, pans, and utensils that we needed. Also sorting out our costumes. We had to get what we are meant to wear by ourselves and turn it into our costumes. 

On the final week, we had to make sure that our lines and acting technique was on point.

Also in the final week, we also worked with the crew to sort out the technical aspects of the piece, like lighting. In the lighting rehearsals, we were asked by the director (Nick), to move and stand on the stage and the crew will just place light wherever we move about on the stage. Then when this is done, they save the lighting that Nickl decides work perfectly with the piece.

 

As it can be seen in the picture, we just had a simple set for Mother Courage. Pierce and I are in the positions that we are in before I start preaching to the audience.

 

 

 

 

In the picture, we are in the position at meal time before we sit at the bench and eat.

We were told to basically told to stand in order for the light to hit our face.

This picture was taken when we were told to move into positon in order for the lighht to hit our face.