Brecht on Magic 4

IAN: No, look - if you're not interested in magic - is there anything I do that you might be at all interested in?

BRECHT: Well, there is one thing. I don't know if you do it ...

IAN: What?

BRECHT: Well, it's this thing where they talk from here. What do they call it ...?

IAN: I don't know ...

BRECHT: Ventriloquism. I'm quite interested in that.

IAN: Really?

BRECHT: Yes. That fascinates me.

IAN: Actually, I can see that. I can see why ventriloquism would fascinate you. Because a ventriloquist is, in a way, an actor playing two parts at the same time, so the audience isn't drawn into the character, but sees the process of performance, so that the audience doesn't just respond on an emotional level, but makes a critical response ...

BRECHT: In your case very critical.

IAN: ... a critical response to the ideas. Like in some of your plays the central character is split into two parts, and you could do that with ventriloquism. Is that what fascinates you?

BRECHT: No.

IAN: Well, what is it that fascinates you about ventriloquists?

BRECHT: It's the way they can speak without moving their lips.

IAN: Well, could you help me become a better ventriloquist?

BRECHT: Oh yes. I could help you become a better ventriloquist. Straight away. Easy.

IAN: How?

(Brecht puts hand over Ian's mouth)

BRECHT: There you are. Nobody can see your lips moving. "My name is Bertolt Brecht". I'm speaking much more clearly.

IAN: No, you're just making fun of me now. I'll tell you what. I'll lend you my book on ventriloquism, if you give me some advice on how to do socialist magic.

BRECHT: All right, all right. I'll take pity on you. I'll tell you what's wrong with your act.

IAN: What?

BRECHT: You talk too much. Too much theory, not enough practice. Too many abstract ideas. You're supposed to be a magician?

IAN: Yes.

BRECHT: Well do magic tricks. Do good magic tricks. Don't just stand talking about it. The truth is concrete.

IAN: Yes, I like that. "The truth is concrete". But where do I get the truth?

BRECHT: From the classic texts. Study the classic texts.

IAN: You mean classic marxist texs?

BRECHT: Well, I'm not talking about Romeo and Juliet. Also look a the world around you, and put all this into your tricks.

IAN: So you're saying I should adapt a classic marxist text into a magic trick?

BRECHT: Well, you can if you want. I'm not saying ...

IAN: Yes, that's a brilliant idea. I'll do that!

And so it was, after fifteen hours criticism and self-criticism, under the unblinking gaze of Bertolt Brecht ...

BRECHT: Actually, I can blink.

IAN: Can you? How?

BRECHT: It's the little ring at the back there.

IAN: What, this one?

BRECHT: No, that's winking, not blinking. Here, let me do it. (puts his hand up his own back) There you are. If you want anything done properly around here, you've got to do it yourself.

IAN: ... And so it was that under the ... gaze of Bertolt Brecht, I worked out my next trick, which is an adaptation of Karl Marx and Friedrich Engels' Communist Manifesto. Though I think you'll find that Karl Marx suggests you use slightly thicker rope...

Brecht on Magic continues with more magic tricks, a ventriloquial 3-way discussion between Ian Saville, Bertolt Brecht and Karl Marx (with Brecht operating the Karl Marx cut-out), and the answers to the other two questions that people ask a socialist magician. Obviously, the script offers only a hint of the flavour of the show. It’s still available for booking...