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The Good Person of Szechwan
''The Good Person of Szechwan'' ((ドイツ語:Der gute Mensch von Sezuan), first translated less literally as ''The Good Woman of Setzuan'')〔The title of the play is translated as ''The Good Person of Szechwan'' by John Willett in vol. 6 of ''Brecht's Plays, Poetry and Prose'' series edited by John Willett and Ralph Manheim. The play first appeared in English as ''The Good Woman of Setzuan'' (1948; revised 1961) by Eric Bentley and has been translated as ''The Good Person of Sichuan'' (1990) by Michael Hofmann, and more recently as ''The Good Soul of Szechuan'' (2008) by David Harrower. Tony Kushner adapted the play as ''The Good Person of Szechwan'' (1997). See Willett and Manheim (1994), Bentley (2007), Hofmann (1990), and Harrower (2008).〕 is a play written by the German theatre practitioner Bertolt Brecht, in collaboration with Margarete Steffin and Ruth Berlau.〔Willett (1967, 50–1).〕 The play was begun in 1938 but not completed until 1943, while the author was in exile in the United States. It was first performed in 1943 at the Zürich Schauspielhaus in Switzerland, with a musical score and songs by Swiss composer Huldreich Georg Früh.〔Willett (1967, 51).〕 Today, Paul Dessau's composition of the songs from 1947–48, also authorized by Brecht, is the better-known version. The play is an example of Brecht's "non-Aristotelian drama", a dramatic form intended to be staged with the methods of epic theatre. The play is a parable set in the Chinese "city of Sichuan".〔Brecht seems to have become aware that Sichuan was actually a province over the course of several drafts (appended in Willet 1994) and the version eventually published by Suhrkamp has "The capital of Sezuan" (though there are no details that suggest the action might take place in Chengdu). Bentley introduced the spelling Setzuan as a transcription of the German 'Sezuan' (and defends it in the forward to the 1999 printing); other translators have used the names Szechuan or Szechwan.〕
==Themes==
Originally, Brecht planned to call the play ''The Product Love'' (''Die Ware Liebe''), meaning "love as a commodity". This title was a play on words, since the German term for "true love" (''Die wahre Liebe'') is pronounced the same way.〔Willett (1967, 51) and Thomson & Sacks (1994, 121).〕
The play follows a young prostitute, Shen Te, as she struggles to lead a life that is "good" according to the terms of the morality taught by the gods and to which her fellow citizens of Szechwan (Sichuan) pay no regard, without allowing herself to be abused and trod upon by those who would accept and, more often than not, abuse her goodness. Her neighbors and friends prove so brutal in their filling of their bellies that Shen Te is forced to invent an alter ego to protect herself: a male cousin named Shui Ta, who becomes a cold and stern protector of Shen Te's interests. The theme of qualitative "goodness" (which seemed so simple and obvious in the title of the play) is rendered unstable by application to ''both'' genders, as Shen Te realizes she must operate under the guise of both in order to live a good life.
Brecht's interest in historical materialism is evident in the play's definition of contemporary morality and altruism in social and economic terms. Shen Te's altruism conflicts with Shui Ta's capitalist ethos of exploitation. The play implies that economic systems determine a society's morality.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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