Betrayal and Moral Corruption
Much like the narrative of Jesus in the "greatest story ever told," The Threepenny Opera features a protagonist who is betrayed by someone once close to him. However, the similarities end there, as the story diverges into stark contrasts. Unlike Jesus, Macheath is not a savior but a corrupter of morals, not a symbol of virtue but a source of sin. He is driven by base desires rather than idealism. While Jesus was born to a chaste woman in a stable, Macheath harms a woman he has been intimate with in such a setting. The wedding attire and gifts are not modest or sacred but rather stolen items.
Despite being a stark contrast to one of the most recognized symbols of purity, Macheath is not entirely evil. He possesses a certain charm, especially towards prostitutes and women of dubious virtue. He displays a form of gallantry by scolding his gang for not being courteous enough to his new wife. He shows courage, or perhaps indifference to his fate, and maintains a loyal friendship with his military comrade, Jackie Brown. His roguish appeal is portrayed not as something to aspire to but as a cautionary example against the allure of a deceitful existence.
Macheath is not the only false idol in the story. Peachum profits by training beggars to earn more through deceit, all under the pretense of charity. He exploits public generosity, justifying his use of fake injuries and prosthetic limbs with a twisted interpretation of the biblical phrase, "Give and it shall be given unto you." Peachum argues that people have become apathetic and need to be shocked into charity by increasingly grotesque depictions of poverty. However, he takes a substantial fifty percent of his beggars' earnings, undermining the genuine purpose of their begging with his deceit.
Peachum also betrays his own daughter by arranging for the arrest of her new husband. The prostitutes serve as the play's chorus and are as corrupt as the main characters. Low-dive Jenny (J as in Judas), a former lover of Macheath's, betrays him for a small reward, which she does not receive when Macheath escapes. In reality, Macheath's escape is made possible by the betrayal of the jail guard, whom he has bribed. Additionally, the prostitutes are aware of Macheath's escape and effectively betray Peachum by demanding payment for an uncompleted task. The series of betrayals extends to Jackie Brown, who grapples with the moral conflict between remaining loyal to Macheath and safeguarding his own reputation and livelihood. The pervasive corruption and betrayal in The Threepenny Opera go beyond social critique, offering a dark, macabre humor.
Art and Experience
Brecht's original staging of his plays was designed to provoke audiences into reconsidering their traditional perceptions of bourgeois theater, which they often viewed merely as entertainment. His works were intended to spark a yearning for social change. As a result, Brecht's plays acted as tools for moral and social influence. Interestingly, they lack a typical feature of most propaganda: a vision of a utopian society that social reform could achieve. Brecht's plays are often pessimistic, presenting what biographer Martin Esslin referred to as a "Choice of Evils" in his book's subtitle, rather than providing a clear delineation between right and wrong ways of living.
This aspect of Brecht's work has garnered considerable critical attention and warrants further contemplation. In The Threepenny Opera , the opera format—which already pushes the limits of realism—is made even more unfamiliar by constant reminders of the play's artificiality. Signs announcing scenes and songs, direct interactions with the audience, and lyrics that contradict the action disrupt and tarnish any positive emotions being...
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conveyed. For example, when Brown and Macheath reminisce about their military service, the song they sing cynically underscores the inevitable fate of soldiers being turned into tartar (ground meat). When Peachum laments his misfortunes, he sings that God has trapped humanity in a "load of crap." In both instances, what could be meaningful social commentary becomes a dark joke. At times, Brecht seriously addresses the social issues he wants his audience to confront and feel motivated to change. However, he does not offer solutions or a clear course of action. Instead of presenting straightforward answers to complex social problems, Brecht urges the audience to deeply consider these issues and discover their own solutions.
Bourgeois Values and Hypocrisy
The Threepenny Opera delves into the contradictions of bourgeois values, exposing the inherent hypocrisy within this socio-economic class. Brecht’s work illuminates how criminals mimic the behaviors and standards of the middle class, blurring the lines between legality and illegality. Activities such as prostitution, begging, and theft are not merely acts of desperation or deviance but are portrayed as structured businesses.
Central to this narrative is the character of Macheath, a cunning thief and gang leader whose operations reflect the mechanized efficiency of a legitimate enterprise. His connections with the High Sheriff underscore the insidious relationship between crime and law enforcement, suggesting a complicity that undermines societal norms.
Additionally, the Peachums manage the business of begging with a meticulous organization, categorizing their endeavors by types of begging and geographical districts. This structured approach parallels the bureaucratic efficiency found in "respectable" middle-class enterprises, further blurring distinctions between the two worlds.
Brecht overlays this critique with the sentimentality of melodrama, a technique that amplifies the striking resemblance between the criminal underworld and conventional society. Through comedic ceremonies and dramatic scenarios, the play mirrors a "respectable" middle-class existence, challenging the audience to question the authenticity and morality of societal values.
Satire of Capitalism
Bertolt Brecht's adaptation of "The Threepenny Opera" transcends the typical boundaries of a musical revue, deploying popular music not just for entertainment, but as a sharp critique of capitalist society. Unlike John Gay's original work, which playfully mocked middle-class pretensions, Brecht's version takes a bolder approach by satirizing the very values of its audience. His mock-opera serves as a vehicle for propaganda against the perceived moral decay of capitalism, using irony and subversion to challenge societal norms.
In doing so, Brecht cleverly assigns the clichéd sentiments of the bourgeoisie to the melodramatic villains, thus blurring the lines between respectable society and criminal underworld. Despite these provocative themes, Brecht's works do not advocate for any specific political action. This stance, however, did not shield him from scrutiny. As a refugee from Nazi Germany who had taken shelter in the United States, Brecht once faced interrogation by the House Committee on Un-American Activities. His art, laden with satire, interrogated the complacency and contradictions of capitalist values, daring audiences to reflect on their own complicity within the societal structure it critiqued.