A Parable of Morality in an Immoral World

What happens when being good is a direct path to self-destruction? Bertolt Brecht’s “The Good Person of Szechwan” (Der gute Mensch von Sezuan) poses this deceptively simple question, then unravels its complexities through a fascinating theatrical experiment. In a world where virtue seems incompatible with survival, can true goodness exist?

Quick Facts

• First performed: 1943 at the Schauspielhaus Zürich, Switzerland
• Written: 1938-1940 during Brecht’s exile from Nazi Germany
• Original language: German
• Structure: Prologue, 10 scenes, epilogue
• Runtime: Approximately 3 hours
• Notable productions: Royal National Theatre (1989), Public Theater NYC (2013)
• Key innovation: Features a protagonist who splits into two personas to survive

Just want to read the play?

John Willett translation

This student edition includes a plot summary, discussion of the context, themes, characters, style and language

Edited by John Willett and Ralph Manheim

Includes The Good Person of Szechwan, The Resistable Rise of Arturo Ui and Mr Puntila and his Man Matti.

David Harrower translation

This new translation was published to accompany the 2008 production at the Young Vic theatre in London.

Free version? Try the John Willett translation on the Internet Archive: https://archive.org/details/goodpersonofszec0000brec_c2r6/page/n5/mode/2up

Historical Context

Written during Brecht’s exile from Nazi Germany, “The Good Person of Szechwan” emerged from a period of global economic crisis and moral uncertainty. The play’s setting in China’s Szechwan province (modern-day Sichuan) serves as a deliberate distancing device, allowing Western audiences to examine their own society’s contradictions from a safe remove. Brecht wrote this work during the rise of fascism, when moral compromises were becoming daily currency, and questions of individual goodness versus systemic evil were far from theoretical.

Plot Overview

Three gods descend to Earth searching for a truly good person. They find only Shen Te, a poor prostitute who offers them shelter despite her poverty. Impressed, they reward her with money, which she uses to buy a small tobacco shop. However, her goodness attracts parasitic neighbors and relatives who begin to take advantage of her generosity.

To protect herself and her business, Shen Te creates an alternate persona: a male cousin named Shui Ta, who is ruthlessly practical and business-savvy. As she oscillates between these two identities, the play explores whether it’s possible to be both good and successful in a capitalist society.

Themes & Analysis

The Paradox of Goodness

At its heart, the play presents goodness as an almost impossible ideal in a world driven by economic necessity. Shen Te’s natural impulse to help others consistently leads her toward financial ruin, while her alter ego Shui Ta’s practical ruthlessness brings material success but moral compromise.

Gender and Power

Brecht’s decision to have his protagonist switch between female and male identities serves multiple purposes. Beyond the theatrical alienation effect, it starkly illustrates how gender affects one’s ability to operate successfully in society. Shen Te must literally become a man to protect her interests and be taken seriously in business.

Capitalism and Morality

The play’s central conflict between goodness and survival serves as a critique of capitalist society. Brecht suggests that the system itself makes true virtue impossible, as survival requires some degree of exploitation or moral compromise.

Revolutionary Elements

Brecht’s famous “alienation effect” (Verfremdungseffekt) finds perhaps its most accessible expression in this play. The dual identity of Shen Te/Shui Ta, the direct addresses to the audience, and the deliberately artificial Chinese setting all work to prevent emotional immersion and promote critical thinking.

The play also innovates in its use of genre-blending, combining elements of parable, comedy, tragedy, and epic theater into a unique theatrical experience.

Cultural Impact

“The Good Person of Szechwan” has influenced theater practitioners and social critics alike. Its central question about the possibility of moral behavior in an immoral system resonates particularly strongly in our current era of late capitalism. The play has been adapted countless times, often updated to reflect contemporary economic crises and moral dilemmas.

Staging & Performance

The play presents unique challenges and opportunities for production. The dual role of Shen Te/Shui Ta offers actors a tour-de-force opportunity, while the minimal set requirements (Brecht advocated for simple, non-realistic staging) make it accessible for smaller theaters.

Reading Guide

Best Translations

• John Willett (most faithful to Brecht’s style)
• Tony Kushner (most poetic and accessible for modern readers)
• Eric Bentley (historically significant translation)

Reading Tips

• Pay attention to the songs and poems – they often provide commentary on the action
• Notice how Brecht uses interruptions and breaks in the narrative
• Consider how the play might be staged as you read
• Watch for moments when characters directly address the audience

Contemporary Relevance

In an era of increasing wealth inequality and moral uncertainty, the play’s central questions feel more relevant than ever. Modern productions often draw parallels to gig economy workers, ethical consumption under capitalism, and the moral compromises required by modern life.

Discussion Questions

1. Is Shen Te truly “good,” or is her goodness a form of weakness?
2. Does the creation of Shui Ta represent corruption or necessary adaptation?
3. What is Brecht suggesting about the relationship between gender and power?
4. How does the play’s ending challenge audience expectations?
5. What solutions, if any, does the play propose for its central dilemma?

Fun Facts & Trivia

• The play was written during Brecht’s exile, moving between Denmark, Sweden, and Finland
• The original title uses “Sezuan,” an older German spelling of Szechwan
• Brecht wrote multiple versions of the ending before settling on the current open-ended conclusion
• The play was initially conceived as a much shorter work but grew in scope during development

Conclusion

“The Good Person of Szechwan” earns its place among the 100 plays to read before you die through its brilliant combination of accessibility and complexity. It poses eternal questions about morality while remaining thoroughly entertaining. Its innovative structure, compelling characters, and central moral dilemma continue to resonate with modern audiences, making it not just a historical artifact but a living, breathing work of theater that speaks directly to contemporary concerns.

Additional Resources

• “Brecht on Theatre” by Bertolt Brecht
• “Understanding Brecht” by Walter Benjamin
• The Berliner Ensemble’s archived productions
• Tony Kushner’s introduction to his translation
• Various recorded productions available through Digital Theatre Plus

Whether you’re a theater practitioner, a social critic, or simply someone interested in the intersection of morality and economics, “The Good Person of Szechwan” offers rich material for thought and discussion. Its questions about the possibility of goodness in an imperfect world remain as relevant today as when they were first posed.