Brecht in Ethiopia
The “Brecht in Pictures” exhibition is now available online.
To mark this occasion, we are pleased to share a research paper by Dr. Paulos Aemero, PhD, from the African Arts, Media, and Culture within the College of Social Sciences, Arts and Humanities at Addis Ababa University, which was presented at the opening of the “Brecht in Pictures” exhibition on 26 February 2026 at the Goethe-Institut.
Entitled “Beyond the Stage: A Critical Analysis of Emotion and Meaning in Brecht’s Masterpieces—Cultural, Humanitarian and Political Connections in Ethiopian Theatre,” Dr. Aemero’s presentation sparked a lively and thought provoking discussion with audience. In his research, he explores how Brechtian theatrical principles have been absorbed into the Ethiopian theatrical tradition, with particular emphasis on the transformation of audiences from passive viewers into active participants in the democratic process of meaning making.
Below, you will find a short summary of the paper.
Beyond the Stage: Brecht’s Epic Theatre and Its Ethiopian Re-Imagining
Bertolt Brecht’s theatrical philosophy marks one of the most radical transformations in 20th Century performance history. Rejecting Aristotelian catharsis and passive spectatorship, Brecht conceptualized Epic Theatre as a space of critical inquiry—a theatre that does not reproduce reality but exposes it as historically constructed and therefore changeable. Central to this vision is the “Verfremdungseffekt” (Alienation or Distancing Effect), a technique designed to interrupt emotional immersion and provoke intellectual judgment.
In Ethiopia, Brechtian theatre did not arrive as an imported aesthetic formula but found a natural structural resonance with very known modes of expression. Most notably, it aligned with the poetic and philosophical tradition of Sem‑enna‑Worq (Wax and Gold), wherein surface meaning conceals deeper political or moral critique. This linguistic duality provided Ethiopian playwrights and directors with a powerful mechanism for adapting Brecht’s ideas within a local cultural grammar shaped by oral storytelling, allegory, and social critique.
Brecht and Ethiopian Modern Theatre
The encounter between Brechtian theory and Ethiopian theatre gained momentum during the decades of the 1960s and 1970s, particularly amid the “Land to the Tiller” student movements. During this period, Ethiopian dramatists such as Tsegaye Gebre‑Medhin and Debebe Seifu translated and adapted works like Mother Courage and Her Children not merely as literary exercises but as acts of political intervention.
Their translations demonstrate a sophisticated process of literarization, maintaining the rhythmic and tonal integrity of Amharic while preserving the analytical sharpness of Brecht’s original texts. Through Sem‑enna‑Worq, these adaptations embedded subversive political critique beneath recognizable historical or allegorical narratives, enabling theatre to function as a vehicle of resistance even under conditions of surveillance and censorship.
In Mother Courage, for instance, the Ethiopian stage deemphasized sentimental suffering in favor of an examination of war as an economic system. The audience is not invited to weep for the mother but to scrutinize the social conditions that entangle survival with exploitation. Emotion is not eliminated; it is redirected toward rational judgment and political consciousness.
The Director as Mediator: Manyazewal Endeshaw
The most compelling contemporary realization of this Ethiopian–Brechtian synthesis can be found in the directorial praxis of Manyazewal Endeshaw since 2018/2019. Manyazewal moves beyond textual adaptation toward a physical and visual translation of Brechtian principles, emphasizing Social Gestus—the bodily expression of social relationships—as the primary carrier of meaning.
His productions are marked by symbolic minimalism. Decorative scenography is stripped away, technical elements remain visible, and the illusion of theatrical “reality” is continuously disrupted. This aesthetic refusal of “culinary theatre” forces the spectator to focus on power relations articulated through posture, spatial hierarchy, and movement. A landlord’s elevated stance, a peasant’s constrained body, or Mother Courage’s relentless attachment to her wagon become legible political signs rather than emotional prompts.
In his staging of The Caucasian Chalk Circle at Hager Fikir Theatre, the narrator plays a pivotal role—not as a storyteller seeking empathy, but as an analytical guide who positions the audience as judges of history and justice. The chalk circle itself becomes a legal and moral experiment reflecting Ethiopia’s ongoing debates around land, ownership, and responsibility.
Similarly, in Emiy Bertewa (Mother Courage) at the National Theatre, Manyazewal dismantles the romantic image of maternal sacrifice. The protagonist is presented as a rational actor within an irrational system, compelling the audience to confront the contradictions of war, survival, and profit.
Humanity, Politics, and the Active Spectator
Ethiopian Brechtian theatre reconstructs the concept of humanity not as individual psychological interiority but as a historically situated condition shaped by material realities—land, food, power, and justice. This perspective resonates deeply with Brecht’s rejection of a fixed “human nature” and with Ethiopian communal ethics rooted in collective memory.
Through the strategic use of distancing, narration, episodic structure, and gestural performance, Ethiopian theatre has transformed the spectator into an active participant in meaning‑making. The audience is no longer positioned as a consumer of emotion but as a critical agent invited to ask: Why is this happening? Who benefits? What can change?
In this sense, Ethiopian adaptations of Brecht align with the broader trajectory of political performance in the Global South, where theatre functions as a “rehearsal for social transformation.” The stage becomes a shadow public sphere—a space where political realities can be examined, interrupted, and reimagined.
Conclusion
The Ethiopian engagement with Bertolt Brecht’s Epic Theatre represents far more than stylistic influence. It is a cultural synthesis in which European avant‑garde theory encounters indigenous aesthetics to produce a theatre that is analytically rigorous, politically potent, and deeply rooted in local experience. Through the work of practitioners such as Tsegaye Gebre‑Medhin, Debebe Seifu, and Manyazewal Endeshaw, Ethiopian theatre asserts itself not as a peripheral receiver of theory, but as a dynamic site of innovation.
Moving beyond the stage, this tradition demonstrates that theatre can function as both cultural memory and political instrument—not a mirror of suffering, but a tool capable of shaping a more just social reality.
You can read the complete research paper here:
"የመጨረሻው ፍርድ - The Caucasian Chalk Circle"
Bertolt Brecht's timeless masterpiece, adapted into Amharic and directed by Manyazewal Endeshaw together with dramaturge Dr. Laura Olivi, unfolds its full power on the stage of the Hager Fikir Theatre – emotional, political and topical, with musical accompaniment that lingers long after the curtain falls.
The portrayal of Tiringo (Grusche) in particular touches the audience deeply and makes her a symbol of courage, humanity and self-sacrifice.
The play forces the audience to question their own ideas of law, order and authority.
"The Caucasian Chalk Circle" is a theatrical event not to be missed.
Thanks to the partnership between Addis Ababa Theatre Houses Enterprise, Hager Fikir Theatre and the Goethe-Institut Ethiopia, the play is performed every Sunday at 5:30 p.m. at the Hager Fikir Theatre.
Experience theatre that moves you.
***
“On Thursday, 18 December 2025, I had the opportunity to see the premiere of the Ethiopian adaptation of Bertolt Brecht's work The Caucasian Chalk Circle in Amharic at the Hager Fikir Theatre. What I particularly liked about this adaptation were the numerous elements of Ethiopian culture and a variety of humorous moments. In short, the convincing performance of the actors and actresses, together with the atmosphere of Ethiopia's oldest theatre, made the evening an unforgettable cultural experience for me. Jiri Kaftan, intern at the Goethe-Institut in Ethiopia.
***
“Brecht's theatrical concepts into the context of Ethiopian modern theater, creating a balanced fusion of global dramatic theory and local stage practice, the collaboration between Manyazewal and Dr. Laura made the production both compelling and intellectually engaging for audiences.” The Ethiopian Herald, Sunday Edition 21 December 2025.
***
“The Caucasian Chalk Circle. Adapted and directed by Manyazewal Endeshaw in collaboration with Dr. Laura Olivi, the play was fantastic clever, lively, and genuinely funny. The adaptation spoke beautifully to an Ethiopian audience, especially younger generations. The space was filled with laughter and joy, and the actresses delivered outstanding performances. A truly memorable and engaging theatrical experience.” Henok Brhanu, Artist.
Bertolt Brecht (stage name since July 1916; also Bert Brecht), born Eugen Berthold Friedrich Brecht (10 February 1898 in Augsburg – 14 August 1956 in East Berlin), was an influential German playwright, librettist and poet of the 20th century. His works are still performed worldwide today. Brecht founded and implemented epic theatre or ‘dialectical theatre’. He was one of the most formative figures in German-language theatre in the 20th century.
Deutsche Biographie - Brecht, Bertolt
Literatur: Bertolt Brecht
Bertolt Brecht Biography
Why is Bertolt Brecht still important?
Mother Courage and her children
Tsegaye's Mother Courage
Tsegaye Gebremedhin
Manyazewal's Mother Courage
Manyazewal Endeshaw
The Caucasian Chalk Circle
Dr. Laura Olivi
Brecht at Addis Ababa University
Brecht's works in the Onleihe
Brecht's works in our library
Media about “የመጨረሻው ፍርድ – The Caucasian Chalk Circle”
Brecht in Pictures
Brecht in Pictures Online Exhibition
