INFLUENCES BRECHT AND CAROLE BURNETT
Updated: Mar 30
Brecht had the knowledge about making art during revolutionary times and he advanced the art form fully into the 20th century. And that body of work includes such amazing music – being both entertaining and enlightening.
Carole Burnett was the only female role model I could find at the time (late 60’s) that I resonated with. Her and Lily Tomlin. It is interesting to note that the ‘fool’ is often the role taken by the one that carries what is not accepted by the status quo. Fools are frequently the rejects of the court. You can beat a fool with a stick. Women of power, at that time, were the fools because that was pretty much as high up the ladder as you could get, from what I could tell. From them, I learnt how to be a fool and also that you also had to be a producer, not only a fool, if you wanted to be effective.
Laughter is a great healer. Carole Burnett would heal me with laughter. Both Brecht and Burnett used song, dance and humour. Brecht used these things to help him expose very challenging things and Burnett’s challenge was simply that she existed, producing a show and taking the lead like that in a man’s world.
There were a few women back then who were performer/producers and that is what I wanted to become.
Music, song, dance and humour – these elements are very important ingredients in a show.
They have a power and magic in them. That is why in most of STO Union’s shows, someone always sings a song and someone always dances a dance.