CCC

Question 1

context

Answer 1

written in 1944 whilst Brecht was in exile in America

inspired by Klabund’s ancient Circle of Chalk, which was based on an ancient Chinese play written in 1300 A.D also solomonic law and the biblical story of solomon (cutting the baby in half)

Question 2

key facts CCC

Answer 2

style: epic theatre
themes: nature vs nurture, responsibility, communism/socialism, corruption, power
5 acts
techniques: multi-rolling, clowning, caricature, ensemble movement,

Question 3

singer intentions

Answer 3

1 to be an omnipresent voice of morality
2 guide the audience
3 make them sympathise with Grusha, Simon, and Michael

Question 4

singer interpretations

Answer 4

1 moral outside perspective, he acts as a narrator posing judgement in a unforceful and artistic way

2 he helps the audience to understand the narrative and form opinions on the play, arkadi may be the only character who does not represent a defined social class, although he favours .

3 he helps to voice characters thoughts and can act as an angel on the shoulder type figure

4 he is omnipresent perhaps to suggest that society is constantly changing and we need to reflect on ourselves and our actions. Arkadi is a wider embodiment of Brecht’s overall aim of teaching the audience a moral message through theatre, as he reminds the audience that they are watching a play (v-effect) and uses didactic teaching.

Question 5

azdak key moments

Answer 5

d

Question 6

music

Answer 6

d

Question 7

I convey grusha’s epic journey to the mountains and the omnipresent nature of the soldiers, which are symbolic of the ruling power

Answer 7

D The soldiers should all face the front of the stage, placed out evenly, in orderly lines. They should all march on the spot, holding spears and staring directly into the horizon with sombre facial expressions – lowered eyebrows and stern faces. Grusha should weave her way in and out of these soldiers
E the unity and precision of the soliders shows how they have taken over the capital and georgia and are now intent on searching for Michael
A Grusha is established as a fighting figure – escaping the authorities – symbolic of Nazi Germany
L by contrasting Grusha’s fighting, embattled, character with the forceful nature of the soldiers Brecht is suggesting that they are not serving the best needs of the people

Question 8

I convey the relationship between the corporal and the soldier, as a representation of how Simon has left Grusha to go to war and this is the situation for many soldiers – however, is the war effort to any point.

Answer 8

D The soldier’s singing should be solemn and lamenting at first, three musicians sitting stage front left should accompany him with a soft drum beat and a traditional Georgia instrument such as the Panduri (three stringed guitar accompanying solo songs) his voice should commence as weaker and feeble, with a melodic nature to it. He should stumble, with a limp, and look to the floor as he is singing – conveying his obvious sadness
E The contrast between the meek and obeying soldier with the corporal emphasise his brash and rude character.
A we see the corruption within the army and the human relationships that have been severed as a cause of war
L Social message – Brecht as opposing war after his experience of ww2

Question 9

azdaks courts and ludovica

Answer 9

D Ludovica should walk promiscuously with her backside swinging and bend down extremely slowly. Azdak’s behaviour is self-depreciating, yet playful and womanising. He should raise his eyebrows up and down suggestively and wolf whistle. As the two walk of together he should turn his head and wink obviously to the audience, employing Brecht’s ‘V-effekt’
E Azdak is witty and cunning and the actions within his court are antithetical to real life yet serve to help the poor –
A we see him as a better alternative to the old judge – despite his seductive manner. However, Azdak also serves to please himself and make money.
L A judgment on the self-serving nature of man kind.

Question 10

simon and grusha’s wedding

Answer 10

I The fact that this wedding is merely a marriage of convenience should be alluded to by the comedic nature of the wedding, how it quickly loses dignity, control and respectability.
D all of the onlookers should crowd around Grusha, the Monk and the Mother. There facial expressions range from gleeful to haughty and suspicious. For example the line ‘you say there’s a little one’ should be said inquisitively, ‘tongue in cheek’ and glancing around at the others, searching for validation. Furthermore, they should stuff their faces greedily with cake, not caring about their appearance and manner.
E The crowd represent the obnoxious and judgemental eyes of society alluding to the fact that Grusha must marry to be accepted into society. However, their actions are light hearted and harmless – provoking humour from the audience.
A there is a tender truth in the gossiping and manner in which the villagers are onlooking onto the wedding therefore it provides us with humour.
L Brecht is critiquing the standards by which society judges single mothers – Grusha is forced to marry one who she doesn’t love, however accepts this out of practicality.

Question 11

the old man

Answer 11

I convey the comedy of the lower class, making us view them better
D A door frame should be wheeled on, comedising the shockingly little that the poor own and have to make do with as his house has been reduced to a doorframe. The old man should have a hunched over, withdrawn posture. He should stare Grusha up and down embarrassingly slowly, scrutinising her. His dialogue should be in short sharp barks such as ‘bump off the soldiers if you want milk’
E His gruff, scornful and judgemental stares shock Grusha as this is the first time she is truly encountering the stubbornness of the poor, however both of their responses are more likeable than those of the upper class.
A Grusha and the old man are humanised to the audience.
L we see the effect of the war and greediness of the rich as causing the poor to be selfish.

Question 12

grusha and simon first meet

Answer 12

I Humour the audience through the simplicity and awkwardness of young love
D Grusha and Simon are standing in close proximity yet very conscious of it. Simon should block Grusha as she tries to enter the palace gates. Simon is more in control and is openly flirtatious to the oblivious and stubborn Grusha. For example when he lightly chides Grusha in saying the line ‘’ he should look out to the audience and wink, then thrusting his hips forward promiscuously
E their behaviour is naturalistic, simple, yet convincing.
A we begin to like and root for Simon and Grusha due to their simple yet relatable love story. Furthermore, it provides a contrast to the false and self-serving actions of the rich.
L establishes the love story of Grusha and Simon and favours us towards them

Question 13

the doctors

Answer 13

I they are yet another part of the upper class’s regime and rule, serving the rich yet refusing to take responsibility for their actions
D Their behaviour and actions are that of children, mikha’s face is one of drawed pain, as he paints for breath and screams girlishly. They shout vehemently ‘your abandoning your duty. ’Niko should slap him on the face, Mikha should clap his hands together – clearly illustrating how they are not actually fighting and it is only play fighting. He should then jerk his head backwards and fall violently onto the floor, his eyebrows raised and a outraged expression on his face.
E There is a stark contrast between the insignificant, trivial complaints and fighting of the rich compared to the real suffering of the poor.
A we are humoured by their playful and ridiculous behaviour
L Despite the supposed humour of this moment there is an undertone of darkness as we presume that if the doctors had misdone their job they would be punished harshly.

Question 14

the fat prince - tickle tickle

Answer 14

I to illustrate the false-hearted nature of the Fat Prince and his preoccupation for only himself. His self-obssesed and mocking, trivial and frivilous manner.
D Caricatured actions. Turns his hands upwards to the sky ‘but this morning, a blue sky.’ A cunning grin on his face with raised eyebrows. All of his actions would be heightened by his costume, and makeup – giving him an exaggerated smile, black arching eye brows and rosy cheeks. As he says ‘tickle tickle’ he should employ a low and cunning voice, wiggling his fingers slyly in Michael’s direction as if tickling him, yet not touching him.
E mocking of his falsely friendly character as he distracts them by talking about Michael and the ‘blue sky.’ The Fat Prince is clearly imposing as a friendly figure in order to get closer and appear as a trusting and harmless character.
A we see the motives behind the fat prince’s actions. We also question the peace in Georgia and its soon to come downfall. As the fat prince looks out to the audience on the line ‘I have a simple heart’ smiling coyly we are humoured by the nature of his actions and the complete ridiculousness and absurdness of his comments. He provides a contrast to the suffering of the poor.
L Brecht is mocking the ruling class.

Question 15

putting the new judge in power

Answer 15

I Critique the sly and cunning nature of the fat prince, who tries to please the people and the soldiers only in order to gain more power for himself. Brecht is questioning the fact that power and control can be bought and sold – therefore is corrupt.
D The soldiers should form a huddle upstage whilst the fat prince and his nephew go DSL. He should whisper cunningly ‘as soon as we’ve got our hands on the grand duke, we won’t need to lick the rabble’s arse anymore.’ He should spit and articulate the words ‘rabble’s arse’ clearly. As he addresses the soldiers he should use a charming smile, with a booming friendly voice and playful hand gestures, conveying his supposed ease around the soldiers. However, as soon as he turns away this mask and façade should be dropped as he lowers his eye brows and narrows his eyes menacingly. The same actor should play the grand duke and the fat prince. The difference between the two should be established by the fat prince wearing a half mask, giving him a sinister look, and employing over the top, falsely friendly mannerism, such as grinning exaggeratedly.
E the discontent and hatred the fat prince feels towards the grand duke should be conveyed clearly and unapologetically. The fact that he comes down stage to address his nephew, making him closer to the audience evidently displays him as the stereotypical antagonist.
A Our first impressions of the ‘fat prince’ as a double faced intruder are reaffirmed as he says ‘we need peace in Georgia and then proceeds to lose his composure and become angry as soon as he cannot get his nephew elected as the judge
L the relationship of convenience that the Fat Prince is trying to establish with the soldiers should be obvious therefore critiquing the false rapports we create with one another in society in order to get what we want. It is extremely ironic that the same actor who plays the grand duke plays the fat prince. This alludes to the fact that they are both of the ruling class, holding the same motives of power and greed.

Question 16

azdak deciding to turn himself in

Answer 16

I To question the choices of Azdak, as this is the moment he decides to challenge the law and subvert it to benefit himself, the grand duke and the lower class
D as the singer stands DSC, a silhouette of Azdak should be projected onto the back wall as he stands frozen, his arms by his side staring down at the grand duke, who should be lying asleep on the floor. The singer provides us with the internal thoughts of Azdak, as he does not tend to reveal his personal inner emotions. However, Azdak should begin to pace back and forth, in contemplation and distress.
E this shows Azdak contemplating his choices and how he will forever be blamed for hiding the grand duke
A this poignant moment of stillness provokes us to pity Azdak and question the obliviousness and lack of care that the grand duke previously had towards his people.
L We see the inversion of power caused by the coup

Question 17

simon accepting michael as his own

Answer 17

The final moment between Grusha and Simon, Simon accepts Michael as his own – should be similar to the moment when he proposes as it is simple and poignant of their love
D the two wear a weary smile on their face, happy to have Michael back yet moved by the effort it has taken to get him back. Grusha should proudly and sweetly ask ‘do you like him’ Simon should look down at the baby with a tender smile on his face, eyebrows upturned and eyes wide. Simon should carefully and extremely slowly take the baby – something he has argued for but never really interacted with’ and place him on his back
E Simon is accepting Michael as his own out of the want to do the right thing, as opposed to him being the biological father
A it is one of the rare moments of happiness for Simon and Grusha therefore the audience should reflect this
L this is a key moment for Simon and Grusha therefore it should be emphasised to the audience

Question 18

simon and grusha reunited

Answer 18

I to ruin the relationship between Simon and grusha
D Simon and Grusha should be standing in close proximity with the ensemble below them acting as the river with a large blue silk drape, watching and scrutinising their every move. On the line ‘how can nothing be changed between us and yet it has’ Simon’s posture should grow visibly more tense, as he faces away and takes slow steps backwards
E Simon’s actions are obvious and upset, Grusha has been taken away from him
A the audience feel sorrow and empathy for the helpless character of Simon, whose character has been greatly reduced from the confident soldier he once was – suggestive of the ruinous effects of war also
L the fact that Grusha is now married is devastating for Simon as he has just returned from loss and bitter violence that war brings to find that he no longer has Grusha either. Also illustrates the everchanging nature of humans and how society has forced Grusha to marry Jessup for convenience instead of Simon the one that she loves, Simon’s profoundly upset reaction to this shows his utter heartbreak and suggests that we should not impose ourselves under the authority of the ruling class and relates to Brecht’s overall political message of collectively

Question 19

the proposal

Answer 19

I To show how quickly times can change and the reaction this has on people, eg. Simon leaves for war but he still proposes to Grusha. It also brings together Grusha and Simon irreversibly and gives them a motive to survive the war so they can see each other again
D the moment in which Simon gives the cross to Grusha shows his sacrifice for her and somewhat influences Grusha’s sacrifice of herself to Michael. The stage should go silent and Simon should reach for the cross in slow motion he should gently brush Grusha’s hair and pass the silver necklace over her head
E this moment is simple and poignant, Grusha and Simon are both simple and honest compared with the lying and manipulative upper-class characters such as Natella
A we sympathise with them      
L key to brecht’s portrayal of Grusha and Simon is there archetypal characters, this moment as a simple proposal is key to this concept to that – a symbol of their love

Question 20

azdak’s near death

Answer 20

I Illustrate the fine line between tolerance and violence whilst showing the everchanging nature of the soldiers, and how they act without reason, moral or direction.
D The soldiers use heavy and laborious movements to drag Azdak across the floor, they remain silent as Azdak screams and whimpers in high pitched tones, as he sobs and begs for their mercy the first soldier stands to the silent with a coy smile, watching silently. The second soldier should bring his spear up silently and slowly, as he plunges it down menacingly he should do so in slow motion.
E this moment represents the crucial seconds of agony and fear that Azdak experiences as he believes that he is just about to die – the point in which he realises that he needs to act favourably towards the soldier by taking on the role of the judge
A the audience are shocked by the pitiless behaviour of the soldiers, and how Azdak’s habitually cocky and arrogant character has been reduced to a whimpering mess
L political aim – power is not all that it seems

Question 21

mutinying of the carpet weavers

Answer 21

I to shock the audience by contrasting the soldier’s casual and snide behaviour with their utter brutality
D the first soldier has just finished a speech about how the capital is mutinied and how they have been paid to kill the carpet weavers by prince kazbeki. He takes his cup, slouching and lazily watching the other two with his cocked facial expression. He signals to the two with his cup and says ‘just watch the fun’ and in slow motion raises his cup, drinking to the death of a man
E builds the tension before the near death of Azdak, the soldiers movements show their lack of morality and care
A puts the audience on edge and makes us sympathise with Azdak
L political message - ‘just watch the fun’ referring to the near killing of a man, Brecht suggested that war reduced the meaning/quality of life and mass killing and violence was considered a normality.

Question 22

the corporal and the wounded soldier

Answer 22

I convey the relationship between the corporal and the soldier, as a representation of how Simon has left Grusha to go to war and this is the situation for many soldiers – however, is the war effort to any point.
D The soldier’s singing should be solemn and lamenting at first, three musicians sitting stage front left should accompany him with a soft drum beat and a traditional Georgia instrument such as the Panduri (three stringed guitar accompanying solo songs) his voice should commence as weaker and feeble, with a melodic nature to it. He should stumble, with a limp, and look to the floor as he is singing – conveying his obvious sadness
E The contrast between the meek and obeying soldier with the corporal emphasise his brash and rude character.
A we see the corruption within the army and the human relationships that have been severed as a cause of war
L Social message – Brecht as opposing war after his experience of ww2

Question 23

the entrance of the soldiers

Answer 23

I to convey the brutality of the soldiers under the corruptive rule of the fat prince through caricature and over exaggerated and caricature movements
D ‘the fat prince enters with drunken soldiers’ they should be holding the bloodied head of the fat prince, one of the soldiers waving it above his head with unrestrained and lopsided movements. The soldiers should leer and burp grossly, clearly drunk – on power as well as alcohol . Their movements with each other are playful and casual, for example one of them climbing on the others back
E Shows how power can become corrupt and bloodthirsty if it is given to the wrong people and
A the audience are shocked by the violent behaviour of the soldiers yet how they act comicly, not giving a thought for the murder of the governor
L The caricatured behaviour suggests how power is not taken seriously and this can have harmful effects on a society, prefacing/foregrounding Grusha’s epic story escaping the authorities and caring for baby Michael

Question 24

key points for design

Answer 24

DSR and DSL should be two white cotton sheets draped over metal poles to represent tents. Furthermore, an orange, rubber dinghy should sit deflated USL. Finally, barbed wire should be strung around the curtains and back wall of the thrust theatre.

rubble and debris such as rubber tyres, shrapnel, and orange life jackets which would be littered around the front of the stage

soldiers dressed in greek hellenic police uniform

petitions’ clearly stating words such as visa application, asylum status and the Geneva convention

Question 25

the bridge - design

Answer 25

The cyclorama should be illuminated with a video of the sea lapping and a crowded rubber boat in the distance slowly making its way across the horizon. This should be alluded to on stage as the ensemble hold out a blue linen sheet underneath the bridge, symbolic of the sea. Furthermore, the bridge should be constructed out of the flimsy and bloodied stretchers used earlier in the play.

Question 26

the wedding - design

Answer 26

props and set details relevant to a traditional Greek wedding, for example wheeling on a large white bed, adorned with flower petals, coins, and rice to illustrate the Greek tradition of ‘making the bed’. The ensemble should throw flower petals over Grusha who would be dressed in a modern wedding dress and veil, and the motionless Jessup.

Question 27

Azdak’s court and the chalk circle

Answer 27

chaotic court like setting. Azdak’s law book that he sits on should be an EU law book, painted with the 12 stars of the EU. Furthermore, the stage should be littered with documents and administrative papers alluding to the many legislations put in place to control immigrants – disputing whose responsibility they are. Such as the Dublin accords, the Schengen agreement or the Geneva convention

Question 28

the dance and Azdak’s disappearance

Answer 28

the traditional Arabic line and circle dance ‘dabke’ putting the cloth into a long strip and weaving it over their shoulders, connecting them