In this two-part master thesis, we first focus on the theoretical definition of the political musical theatre of composer Kurt Weill and poet and playwright Bertolt Brecht in the social and artistic context of the early twentieth century. We are interested in the new audience that emerged for twentieth-century political theatre and the transformative role of music theatre in a wider social context. We further analyse the duo's famous musical drama The Threepenny Opera and what its protagonists have to tell us about structures of power and violence.
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