Overview
Synopsis
A trio of gods have come to Earth on a fact-finding mission to see if there are any good people left in existence, or if they will need to re-write their commandments and re-make the world. Their journey brings them to the city of Szechuan, where they meet the kind-hearted prostitute Shen Te. As a reward for her goodness, the gods gift her with money that she uses to buy a small tobacco shop, and which sends her life into a spiral of moral ambiguity. As her neighbours seek to take advantage of her generous nature and new-found fortune, Shen Te invents an alter ego: the ruthless Shui Ta. While she masquerades as Shui Ta, Shen Te can protect her life and her business, while also protecting her reputation as a good and charitable person. However, even this persona cannot protect her from her infatuation with a malcontent pilot named Yang Sun, who is determined to use her money to his advantage, even if it ruins her. In the end, it seems that only a literal Deus Ex Machina can save Shen Te from both her good and bad deeds.
One of Brecht’s most challenging “Parable Plays,” The Good Person of Szechuan is a cutting critique of Capitalism and the ways in which money and power impact a society’s morality. Shen Te’s struggle to be good in the face of economic and personal hardship is no less meaningful today than when the play was first performed in 1944.
Show Information
- Book
- Bertolt Brecht
- Category
- Play
- Age Guidance
- Mature Audiences (M)
- Number of Acts
- 1
- First Produced
- 1943
- Genres
- Drama
- Settings
- Contemporary, Simple/No Set, Multiple Settings
- Time & Place
- Szechuan, China, 20th Century
- Cast Size
- large
- Orchestra Size
- None
- Dancing
- None
- Licensor
- Concord Theatricals
- Ideal For
- College/University, Diverse Cast, Large Cast, Mature Audiences, Professional Theatre, Regional Theatre, Mostly Male Cast, Includes Young Adult, Adult, Mature Adult, Elderly, Child, Early Teen, Late Teen Characters
Context
One of Brecht’s more challenging “parable plays,” The Good Person of Szechuan was written between 1938 and 1941 - just as Europe was on the brink of the second world war. Brecht’s plays were invariably political, and driven by the idea that theatre could be used as a tool for social change. As a result, Good Person gives us a snapshot of the political anxieties of the historical moment in which it was written: the growing tensions between upper and lower classes, between Communism and
to read the context for The Good Person of Szechuan and to unlock other amazing theatre resources!Plot
Prelude
The play opens on a street in the city of Szechuan where Wang, a water-seller, addresses the audience. He explains his line of work and complains that his business is inconsistent - when there is rain, he makes no money, and when there is drought, he needs to travel long distances to collect water and bring it back for sale. He goes on to say that he has heard a rumour that three gods will be visiting the city on a “fact-finding mission” to see if there are any good people left on
to read the plot for The Good Person of Szechuan and to unlock other amazing theatre resources!Characters
| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Female |
Non-singer |
|
|
Supporting |
Male |
Non-singer |
|
|
Supporting |
Either Gender |
Non-singer |
|
|
Supporting |
Female |
Non-singer |
|
|
Supporting |
Male |
Non-singer |
|
|
Featured |
Male |
Non-singer |
|
|
Featured |
Female |
Non-singer |
|
|
Ensemble |
Male |
Non-singer |
|
|
Ensemble |
Female |
Non-singer |
|
|
Ensemble |
Female |
Non-singer |
|
|
Ensemble |
Male |
Non-singer |
|
|
Ensemble |
Either Gender |
Non-singer |
|
|
Ensemble |
Male |
Non-singer |
|
|
Ensemble |
Either Gender |
Non-singer |
|
|
Old Prostitute, Waiter, Priest, Passers-By, Citizens of Szechuan (8) |
Ensemble |
Either Gender |
Non-singer |
Songs
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
Monologues
Scenes
Key Terms
An alter ego is a second self or alternate personality that differs from a character’s outward persona. In drama, it can be used as a dramatic device to explore internal conflict or duality.
Relating to the theatrical style of Bertolt Brecht, emphasizing social critique and distancing the audience from emotional immersion.
An economic system often critiqued in epic and protest theatre, examining exploitation, class, and power structures.
A political ideology often depicted or explored in 20th-century epic or protest theatre for social critique.
A dramatic style associated with Bertolt Brecht that encourages critical thinking rather than emotional involvement.
Morality refers to the principles and values that guide a person’s sense of right and wrong behavior. It shapes decisions, actions, and judgments based on cultural, personal, or societal standards. In drama, morality often drives character motivations and conflicts, revealing deeper themes about ethics and human nature.
Allegorical dramas from the Medieval period that taught moral lessons through personified virtues and vices.
Brecht's alienation effect designed to prevent emotional identification and provoke critical thought.
Videos
Quizzes
Themes, Symbols & Motifs
Sorry! We do not currently have learning modules for this guide.
Quote Analysis
Sorry! We do not currently have learning modules for this guide.
Guide Written By:
