translated by Wolfgang Sauerlander
He Who Says No forms a pair with He Who Says Yes, relating two different versions of a fable about consenting to a cause. The Boy demands to be taken by his teacher on a dangerous journey into the mountains, so that he can bring back medicine for his ill mother. The teacher acquiesces reluctantly, but when the boy can’t go on, either he or the journey will have to be sacrificed.
The didactic Lehrstücke (or ‘learning-plays’) lie at the heart of Brechtian theatre. Written during 1929 and 1930, years of far-reaching political and economic upheaval in Germany and the period of Brecht’s most sharply Communist works, these short plays show an abrupt rejection of most of the trappings of conventional theatre. The Lehrstücke are spare and highly formalized pieces intended for performance by amateurs, on the principle that the moral and political lessons contained in them can be best taught by participation in the actual production. There is nothing in the drama of this century to match the precision of their language and the economy of their theatrical technique.
He Who Says Yes and He Who Says No were inspired by the Japanese Noh play Taniko.