{"id":17502,"date":"2025-10-27T13:27:22","date_gmt":"2025-10-27T12:27:22","guid":{"rendered":"https:\/\/operazuid.nl\/confrontation-and-entertainment-in-die-dreigroschenoper\/"},"modified":"2025-10-31T12:40:09","modified_gmt":"2025-10-31T11:40:09","slug":"confrontation-and-entertainment-in-die-dreigroschenoper","status":"publish","type":"post","link":"https:\/\/operazuid.nl\/en\/confrontation-and-entertainment-in-die-dreigroschenoper\/","title":{"rendered":"Confrontation and entertainment in\u00a0Die Dreigroschenoper"},"content":{"rendered":"\n<p><strong>Dramaturgy.\u00a0What does it involve, what do dramaturgs actually do, and what role do they play in\u00a0<em>The Threepenny Opera<\/em>?<br>Toneelgroep Maastricht dramaturg Ludo Costongs and Opera Zuid dramaturg Joep Hupperetz are collaborating on this iconic work by Bertolt Brecht and Kurt Weill. The result is a fascinating conversation about their craft, epic theatre, and sharp social criticism wrapped in toe-tapping jazzy music.<\/strong><br><br><em>What exactly does dramaturgy involve, and what are your roles in\u00a0The Threepenny Opera?<\/em><br><strong>Joep:<\/strong>\u00a0\u2018A dramaturg researches the background of the piece being performed. After that, we\u2019re essentially the first audience member.\u2019<br><strong>Ludo:<\/strong>\u00a0\u2018Exactly. A dramaturg checks whether the action fits the text, whether it\u2019s clear what we\u2019re seeing and whether it matches what the director wants to convey. We make sure the actor\u2019s line of thought makes sense and is understandable for the audience. I\u2019ve also been involved in translating and shortening\u00a0<em>The Threepenny Opera<\/em>.\u2019<br><strong>Joep:<\/strong>\u00a0\u2018In the original\u00a0<em>Dreigroschenoper<\/em>, the roles were written for actors and just one classical singer. We\u2019ve turned that around: our\u00a0<em>Threepenny Opera<\/em>\u00a0is performed by one actor who can also sing, alongside opera singers. That allows us to perform\u00a0<em>all<\/em>\u00a0the musical numbers \u2013 including those that were originally cut because the actors couldn\u2019t manage them vocally. As a result, our version actually contains\u00a0<em>more<\/em> (original!) music than the &#8216;standard&#8217; <em>Threepenny Opera<\/em>.\u2019<br><br><em>What did Brecht and Weill want to convey with\u00a0The Threepenny Opera?<\/em><br><strong>Ludo:<\/strong>\u00a0\u2018Brecht\u2019s work is an adaptation of\u00a0<em>The Beggar\u2019s Opera<\/em>\u00a0by John Gay from 1728. In his new version, he put the lives of beggars at the centre. In 1928, Brecht wanted to draw attention to an important social issue: how society treated the victims of industrialisation and the First World War. Brecht and Weill wanted audiences to look critically at the darker sides of capitalism. The message, however, wasn\u2019t always received as they\u2019d hoped.\u2019<br><strong>Joep:<\/strong>\u00a0\u2018Indeed.\u00a0<em>The Threepenny Opera<\/em> was a success, but not necessarily because of its social criticism. The songs, for instance, became popular as pop and jazz hits\u2026 whereas Brecht and Weill had actually thought that the combination of harsh, critical lyrics &#8211; the <em>Ballad of Mack the Knife<\/em> is an indictment of unsolved murders and crimes! &#8211; with cheerful, danceable tunes would create a sense of alienation for the audience.\u2019<br><br><em>What\u2019s the purpose of that alienation?<\/em><br><strong>Joep:<\/strong> \u2018The audience should feel a certain distance from what happens on stage\u00a0 they shouldn\u2019t be swept away emotionally, as in Romantic opera. Brecht called this\u00a0<em>epic theatre<\/em>. He thought opera was an excellent medium for that, because the moment someone starts singing, it\u2019s automatically far removed from reality. After all, no one argues in song in real life.\u2019<br><strong>Ludo:<\/strong>\u00a0\u2018The\u00a0<em>Verfremdungseffekt<\/em> &#8211; or alienation effect &#8211; is a technique to make the audience aware that they\u2019re watching theatre, with the aim of encouraging them to reflect on their own situation or the world around them. You can create that effect, for instance, through a sudden change of lighting, or by having singers address the audience directly. Through such a stylistic break \u2013 that moment of alienation \u2013 a character or an action is suddenly seen in a new light. Brecht and Weill force the people in the auditorium to think about what they\u2019re seeing.\u2019<br><strong>Joep:<\/strong>\u00a0\u2018In our production, the surtitles strengthen that effect. Especially in the sung numbers, where the music sounds light and rhythmic, reading the text in your own language adds another layer, a sense of immediacy. The message hits harder that way.\u2019<br><br><em>Why stage\u00a0The Threepenny Opera\u00a0now?<\/em><br><strong>Ludo:<\/strong>\u00a0\u2018In recent years, we\u2019ve given free rein to hyper-capitalist thinking. As a result, social discontent has grown.\u00a0<em>The Threepenny Opera<\/em> shows, in a simple yet sharp way, what happens when you push that thinking to the extreme, that it\u2019s hardly surprising when unrest follows. The piece doesn\u2019t offer a solution, but it certainly provokes thought. Brecht believed society is man-made: we\u2019ve shaped it into what it is today, so we can also steer it in another direction. See it, recognise it\u2026 do something about it!\u2019<br><strong>Joep:<\/strong> \u2018And what better sounds to do that to than Weill\u2019s jazzy, cabaret-like music? That contrast &#8211; that tension between confrontation and entertainment &#8211; <em>that\u2019s<\/em>\u00a0the essence of\u00a0<em>The Threepenny Opera<\/em>: it rubs up against itself on every level.\u2019<\/p>\n\n\n\n<p>Interview: Kyra Bertram<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Dramaturgy. What does it involve, what do dramaturgs actually do, and what role do they play in The Threepenny Opera?<br \/>\nToneelgroep Maastricht dramaturg Ludo Costongs and Opera Zuid dramaturg Joep Hupperetz are collaborating on this iconic work by Bertolt Brecht and Kurt Weill. The result is a fascinating conversation about their craft, epic theatre, and sharp social criticism wrapped in toe-tapping jazzy music.<\/p>\n","protected":false},"author":3,"featured_media":17490,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"ghostkit_customizer_options":"","ghostkit_custom_css":"","ghostkit_custom_js_head":"","ghostkit_custom_js_foot":"","ghostkit_typography":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[37],"tags":[],"class_list":["post-17502","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Confrontation and entertainment in Die Dreigroschenoper<\/title>\n<meta name=\"description\" content=\"Interview: Dramaturgy. What does it involve, what do dramaturgs actually do, and what role do they play in The Threepenny Opera? Toneelgroep Maastricht dramaturg Ludo Costongs and Opera Zuid dramaturg Joep Hupperetz are collaborating \u2013 each from his own artistic discipline \u2013 on this iconic work by Bertolt Brecht and Kurt Weill. The result is a fascinating conversation about their craft, epic theatre, and sharp social criticism wrapped in toe-tapping jazzy music.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/operazuid.nl\/en\/confrontation-and-entertainment-in-die-dreigroschenoper\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Confrontation and entertainment in Die Dreigroschenoper\" \/>\n<meta property=\"og:description\" content=\"Interview: Dramaturgy. What does it involve, what do dramaturgs actually do, and what role do they play in The Threepenny Opera? Toneelgroep Maastricht dramaturg Ludo Costongs and Opera Zuid dramaturg Joep Hupperetz are collaborating \u2013 each from his own artistic discipline \u2013 on this iconic work by Bertolt Brecht and Kurt Weill. 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