In the undergraduate thesis we are trying to get closer to Brecht's theatrical position, in which he followed the Marx's statement that the philosophers have only interpreted the world, in various ways. The point, however, is to change it. By taking that position, Brecht in a way opened the doors of theater for philosophers and philosophy. Even more, he was convinced that philosophy has its place among theater theory and practice, and by doing that, he followed his theatrical and philosophical teacher, Denis Diderot, after who Brecht took nickname philosopher in theater. This is why The LehrStücke (The Learning Plays) have a special place among Brecht's artistic oeuvre. The LehrStücke represents side way of Epic theatre (Brecht's main theatrical concept) and are at the same time probably the most politically and didactically colored Brecht's plays. In particularly, we focus on two plays: The Measures Taken, which Brecht himself said to be the most technically perfected LehrStück (we can also see how the general motives of The LehrStücke like victim and consent are presented in the most visually and technically perfected way, while also witnessing sophisticated Brecht's didactic pose) and named it form of the theater of future; and The Exception and the Rule in which, with the help of Walter Benjamin (who was by far Brecht's best critic) and his theses on the history, we take into observation the form of class struggle as shown in aformentioned LehrStück.
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