The Threepenny Opera: Analysis of Setting
"The Threepenny Opera" is a compelling critique of society set in Soho, a district in central London characterized by its historical reputation for crime and moral decay. The rapid changes in locations within Soho throughout the play symbolize the transient nature of both the setting and the characters' experiences. Bertolt Brecht, the playwright, intentionally chose this environment to reflect the hypocrisy that pervades all social strata, illustrating that the criminal behaviors of the impoverished are not fundamentally different from those of the wealthy, who often evade consequences for their actions. This juxtaposition serves to highlight the economic disparities that exist in society, while also prompting reflection on broader issues of morality and justice. The dark and dingy atmosphere of Soho acts as a metaphor for societal flaws, encouraging audiences to confront uncomfortable truths about their world. Brecht’s socialistic ideals are woven into the narrative, with the setting reinforcing the themes of depravity, disappointment, and the enduring nature of social inequalities. This analysis of setting in "The Threepenny Opera" provides valuable insight into how location can enhance thematic depth and social commentary in literature.
The Threepenny Opera: Analysis of Setting
First published: 1929 as Die Dreigroschenoper (English translation, 1949)
First produced: 1928, at the Theater am Schiffbauerdamm, Berlin
Type of work: Drama
Type of plot: Social satire
Time of work: 1837
Asterisk denotes entries on real places.
Places Discussed
*Soho
*Soho. District of central London in which all the action of the play is confined. However, locations within Soho change rapidly as the plot moves. Soho historically was infamous as an area devoted to crime, poverty, dissolution, and moral depravity. Interested in criticizing society at large, Brecht chose to set his commentary in a removed place and time, making a point about how little society changes and the universality of his themes.
Dark, dirty, and dingy, Soho is a metaphor for the hypocrisy that exists within all strata of society. Its sordid settings and characters reflect the world around them and add to the sense of depravity and disappointment with a world that allows such hypocrisy to exist. Within the context of the drama, the criminal element proves to be no worse than the middle or upper classes, the major differences being found in economics rather than morality or honor. The rich and powerful can perform illegal and immoral acts and escape detection, while the poor receive a separate justice. Brecht’s socialistic idealism is propagated by the play, and the setting enhances his message.
Bibliography
Brecht, Bertolt. The Threepenny Opera. Translated by Ralph Manheim and John Willett. New York: Vintage Books, 1977. In addition to a new translation of the play, this volume contains an appendix with Brecht’s extensive notations on how the play should be produced, proposed lyric changes and additional stanzas for the songs, and a letter from Kurt Weill, the composer.
Ewen, Frederic. Bertolt Brecht: His Life, His Art, and His Times. New York: The Citadel Press, 1967. Exhaustive examination of Brecht’s total oeuvre in chronological sequence. Also examines personages and theories that influenced Brecht’s work.
Hayman, Ronald. Bertolt Brecht. Totowa, N.J.: Barnes & Noble, 1984. Contains an excellent analysis of major themes and sources for Brecht’s plays.
Morley, Michael. Brecht: A Study. Totowa, N.J.: Rowman and Littlefield, 1977. Contains a complete discussion of The Threepenny Opera. Details how the play was written and analyzes its themes.
Speirs, Ronald. Bertolt Brecht. New York: St. Martin’s Press, 1987. Contains an analysis of Brecht’s evolution as a playwright and charts the evolution of epic theater.