Adorno and Horkheimer returned the abuse: they regarded Brecht as a petit-bourgeois poseur and apologist for Stalinism
the Institute for Social Research as it evolved in the 1930s. It was Brechtian in its inverse relationship between scabrous critique and changing that which it critiqued
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Brecht’s libretto, too, sought to make it clear that the bourgeois world was absurd and anarchic.
Monopoly capitalism and the fascist state could not tolerate this autonomous sphere of life that represented a potential threat to the existing order, so they did to rarefied bourgeois culture what they did to the family
what Brecht and Weill dramatised on stage was not the traditional Marxist hell of exploitative production relations, but one of unfettered consumerism
on City of Mahoganny
