Brecht, Weigel and the Berliner Ensemble 1949-1971

集体作品，不仅有几个发起人，而且还汇集了不同的独立艺术（文学、音乐及其表演、戏剧艺术、舞台设计、舞蹈、装饰和服装等）。只有集体才能实现，需要一种新的科学，它考虑到并承认作品的所有方面。布雷希特作为戏剧的组织者、策划者、导演者和实践者，站在集体工作的中心。也就是说，在执行之前，每个脚本都必须重新检查，并在必要时重写。在那里，布雷希特以作者（发起人）的身份退居二线，并将很大一部分剧本留给年轻的合作者。布雷希特去世后的困难：民主德国声称要取消布雷希特的继承权，并废除版权，魏格尔顽固地阻止了这一点;相反，她建立了BBA（Bertolt布雷希特档案馆），并由苏尔坎普出版社负责可靠的、未经审查的作品版本。

Collective works, which do not only have several initiators, but also bring together different independent arts (literature, music and its performance, dramatic art, stage design, choreography, decor and costumes etc.) and is only collectively realizable, require a new science, which takes into account and recognizes all aspects of works. Brecht stands in the center of the collective work as organizer, planner, director and practical person of theatre. I.e. before performing, each script must be newly checked and - if necessary - rewritten. there, Brecht stands back as author (initiator) and leaves a good part of the scriptworks to the young collaborators.Difficulties after the death of Brecht: The GDR claimed to quash Brecht’s inheritance and to abolish the copyright, what Weigel prevented obstinately; instead she built up the BBA (Bertolt Brecht archive) and took care of a reliable, uncensored edition of the works by the Suhrkamp publisher.