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The Life of Galilei is perhaps Brecht’s most personal work for the stage. Why? Because Galilei was himself the embodiment of curiosity. “I must know,” he says, a bit ashamed, a bit defensive, as he destroys his daughter’s happiness and begins to undertake experiments again, the prohibition issued by the Inquisition notwithstanding, in order to prove that the earth does indeed revolve around the sun. This torturous and at the same time joyous “must know,” this ever-present sense of doubt even with regards to his own findings, the day-to-day work of experimentation, with all its frustrations and setbacks, all these things were personal for Brecht, as were the risks taken with one’s own life and the lives of others, the many disappointments, the compromises, and the painful confrontations with compromises. Respect for the joys of life was also personal, the joys of eating, drinking, a good book, a captivating poem, a new idea, humor, shrewd irony, and even bitter self-irony.
Since 1998, Sándor Zsótér has been directing plays by Brecht. He has always been fascinated by Brecht’s sagacity, common sense, and insight into the riddle of life and, most importantly, the complexities of people. He is also captivated by Brecht’s freedom and the modest sentimentality of his poetry, as well as his openness and unsparing quest for truth. (Júlia Ungár, dramaturge)
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