Брехтовият ефект между предателството и предаването на завета: Опера за три гроша между театъра, киното и антимюзикъла
The Brechtian Effect Between Betrayal and the Transmission of the Legacy: The Threepenny Opera Between Theatre, Cinema, and Anti-Musical

Summary/Abstract: This article examines how Brecht’s Verfremdungseffekt, developed in The Threepenny Opera (1928), travels beyond theatre into cinema and the contemporary American musical. Taking The Threepenny Opera as a prototype anti-musical, born alongside the escapist Broadway musicals of the Depression era, the study argues that both the classical and the anti-musical remain captive to their era’s commercial mechanisms. Three film adaptations are compared (Pabst (1931), Staudte (1963), Golan (1989)) showing gradual dilution of Brecht’s social critique as commercial aesthetics absorb it, while the theme often survives. Two anti-musicals, Company and Fun Home, show Brecht’s method persisting in works that subvert musical-theatre conventions, even as their success echoes the 1928 premiere’s absorption of protest into triumph. The distinction between preserved theme and transformed method is proposed as key to judging whether an adaptation betrays Brecht’s legacy or transmits it.

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