the life of galileo play
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وعليكم السلام ورحمة الله وبركاته
Life of Galileo (Leben des Galilei), also known as Galileo, is a play by the twentieth-century German dramatist Bertolt Brecht. The first version of the play was written between 1937 and 1939; the second (or 'American') version was written between 1945-1947, in collaboration with Charles Laughton. The play received its first theatrical production at the Zurich Schauspielhaus, opening on 9 September 1943. This production was directed by Leonard Steckel, with set-design by Teo Otto. The cast included Steckel himself (as Galileo), Karl Paryla and Wolfgang Langhoff. The second version opened at the Coronet Theatre in Los Angeles on 30 July 1947. This was directed by Joseph Losey and Brecht, with set-design by Robert Davison. Laughton played Galileo, with Hugo Haas as Barberini and Frances Heflin as Virginia. This production opened at the Maxine Elliott's Theatre in New York on 7 December of the same year. A third production, by the Berliner Ensemble with Ernst Busch in the title role, opened in January 1957 at the Theater am Schiffbauerdamm and was directed by Erich Engel, with set-design by Caspar Neher.[1] The play was first published in 1940. A screen adaptation of the play, directed by Joseph Losey for American Film Theatre, was produced in 1975 under the title Galileo with Topol in the title role. The plot of the play concerns the latter period of the life of Galileo Galilei, the great Italian Renaissance natural philosopher, who was persecuted by the Roman Catholic Church for the promulgation of his scientific discoveries. The play embraces such themes as the conflict between dogmatism and scientific evidence, as well as interrogating the values of constancy in the face of oppression
Versions of the play
After emigrating to the United States from Hitler's Germany (with stopovers in various other countries in between, among them the USSR), Brecht translated and re-worked the first version of his play in collaboration with the actor Charles Laughton. The result of their efforts was the second 'American version' of the play, entitled simply Galileo, which to this day remains the most widely-staged version in the English-speaking world. The same version formed the basis for Losey's 1975 film adaptation as part of the American Film Theatre series. In September 1947, Brecht was subpoenaed in the US by the House Un-American Activities Committee for alleged communist connections. He testified before HUAC on 30 October 1947, and flew to Europe on 31 October. He chose to return to East Germany and continued to work on the play, now once again in the German language. He felt that the optimistic portrait of the scientific project present in the first two versions required revision in a post-Hiroshima world, where science's irrational and harmful potential had become far more apparent. The final German version premiered at Cologne in April 1955. Matej Danter offers a readily-accessible and detailed comparison of the early, the American, and the final German versions.[2]
Rough outline of the plot
Galileo is short of money. A prospective student tells Galileo about a novel invention, the telescope ("a queer tube thing"), being sold in Amsterdam. Galileo replicates it, but then sells it to the Venetian Republic as his own creation. Galileo uses the telescope to substantiate Copernicus' heliocentric model of our solar system, which is highly incompatible with both popular belief and church doctrine. His daughter's marriage to a well-off young man (with whom she is genuinely in love) fails because of Galileo's reluctance to distance himself from his unorthodox teachings. Galileo is brought to the Vatican for questioning. Upon being threatened with torture, he recants his teachings. His students are shocked by his surrender in the face of pressure from the church authorities. Galileo, old and broken, living under house arrest, is visited by one of his former pupils, Andrea. Galileo gives him a book containing all his scientific discoveries, asking him to smuggle it out of Italy for dissemination abroad. Andrea now believes Galileo's actions were heroic and that he just recanted to fool the ecclesiastical authorities. However, Galileo insists his actions had nothing to do with heroism but were merely the result of self-interest.
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