In 1923 Brecht's marriage to Zoff began to break down (though they did not divorce until 1927).
Brecht had become involved with both Elisabeth Hauptmann and Helene Weigel.
Brecht and Weigel's son, Stefan, was born in October 1924.

In his role as dramaturg, Brecht had much to stimulate him but little work of his own.
Reinhardt staged Shaw's Saint Joan, Goldoni's Servant of Two Masters (with the improvisational approach of the commedia dell'arte in which the actors chatted with the prompter about their roles), and Pirandello's Six Characters in Search of an Author in his group of Berlin theatres.
A new version of Brecht's third play, now entitled Jungle: Decline of a Family, opened at the Deutsches Theater in October 1924, but was not a success.

At this time Brecht revised his important "transitional poem", "Of Poor BB".
In 1925, his publishers provided him with Elisabeth Hauptmann as an assistant for the completion of his collection of poems, Devotions for the Home (Hauspostille, eventually published in January 1927).
She continued to work with him after the publisher's commission ran out.

In 1925 in Mannheim the artistic exhibition Neue Sachlichkeit ("New Objectivity") had given its name to the new post-Expressionist movement in the German arts.
With little to do at the Deutsches Theater, Brecht began to develop his Man Equals Man project, which was to become the first product of "the 'Brecht collective'—that shifting group of friends and collaborators on whom he henceforward depended."
This collaborative approach to artistic production, together with aspects of Brecht's writing and style of theatrical production, mark Brecht's work from this period as part of the Neue Sachlichkeit movement.
The collective's work "mirrored the artistic climate of the middle 1920s," Willett and Manheim argue:
with their attitude of Neue Sachlichkeit (or New Matter-of-Factness), their stressing of the collectivity and downplaying of the individual, and their new cult of Anglo-Saxon imagery and sport.
Together the "collective" would go to fights, not only absorbing their terminology and ethos (which permeates Man Equals Man) but also drawing those conclusions for the theatre as a whole which Brecht set down in his theoretical essay "Emphasis on Sport" and tried to realise by means of the harsh lighting, the boxing-ring stage and other anti-illusionistic devices that henceforward appeared in his own productions.

In 1925, Brecht also saw two films that had a significant influence on him: Chaplin's The Gold Rush and Eisenstein's Battleship Potemkin.
Brecht had compared Valentin to Chaplin, and the two of them provided models for Galy Gay in Man Equals Man.
Brecht later wrote that Chaplin "would in many ways come closer to the epic than to the dramatic theatre's requirements."
They met several times during Brecht's time in the United States, and discussed Chaplin's Monsieur Verdoux project, which it is possible Brecht influenced.

In 1926 a series of short stories was published under Brecht's name, though Hauptmann was closely associated with writing them.
Following the production of Man Equals Man in Darmstadt that year, Brecht began studying Marxism and socialism in earnest, under the supervision of Hauptmann. "
When I read Marx's Capital", a note by Brecht reveals, "I understood my plays."
Marx was, it continues, "the only spectator for my plays I'd ever come across."
Inspired by the developments in USSR Brecht wrote a number of agitprop plays, praising the bolshevik collectivism (replaceability of each member of the collective in Man Equals Man) and red terror (The Decision).

In 1927 Brecht became part of the "dramaturgical collective" of Erwin Piscator's first company, which was designed to tackle the problem of finding new plays for its "epic, political, confrontational, documentary theatre".
Brecht collaborated with Piscator during the period of the latter's landmark productions, Hoppla, We're Alive!
by Toller, Rasputin, The Adventures of the Good Soldier Schweik, and Konjunktur by Lania.
Brecht's most significant contribution was to the a
In 1923 Brecht's marriage to Zoff began to break down (though they did not divorce until 1927). Brecht had become involved with both Elisabeth Hauptmann and Helene Weigel. Brecht and Weigel's son, Stefan, was born in October 1924.
In his role as dramaturg, Brecht had much to stimulate him but little work of his own. Reinhardt staged Shaw's Saint Joan, Goldoni's Servant of Two Masters (with the improvisational approach of the commedia dell'arte in which the actors chatted with the prompter about their roles), and Pirandello's Six Characters in Search of an Author in his group of Berlin theatres. A new version of Brecht's third play, now entitled Jungle: Decline of a Family, opened at the Deutsches Theater in October 1924, but was not a success.
At this time Brecht revised his important "transitional poem", "Of Poor BB". In 1925, his publishers provided him with Elisabeth Hauptmann as an assistant for the completion of his collection of poems, Devotions for the Home (Hauspostille, eventually published in January 1927). She continued to work with him after the publisher's commission ran out.
In 1925 in Mannheim the artistic exhibition Neue Sachlichkeit ("New Objectivity") had given its name to the new post-Expressionist movement in the German arts. With little to do at the Deutsches Theater, Brecht began to develop his Man Equals Man project, which was to become the first product of "the 'Brecht collective'—that shifting group of friends and collaborators on whom he henceforward depended." This collaborative approach to artistic production, together with aspects of Brecht's writing and style of theatrical production, mark Brecht's work from this period as part of the Neue Sachlichkeit movement. The collective's work "mirrored the artistic climate of the middle 1920s," Willett and Manheim argue:
with their attitude of Neue Sachlichkeit (or New Matter-of-Factness), their stressing of the collectivity and downplaying of the individual, and their new cult of Anglo-Saxon imagery and sport. Together the "collective" would go to fights, not only absorbing their terminology and ethos (which permeates Man Equals Man) but also drawing those conclusions for the theatre as a whole which Brecht set down in his theoretical essay "Emphasis on Sport" and tried to realise by means of the harsh lighting, the boxing-ring stage and other anti-illusionistic devices that henceforward appeared in his own productions.
In 1925, Brecht also saw two films that had a significant influence on him: Chaplin's The Gold Rush and Eisenstein's Battleship Potemkin. Brecht had compared Valentin to Chaplin, and the two of them provided models for Galy Gay in Man Equals Man. Brecht later wrote that Chaplin "would in many ways come closer to the epic than to the dramatic theatre's requirements." They met several times during Brecht's time in the United States, and discussed Chaplin's Monsieur Verdoux project, which it is possible Brecht influenced.
In 1926 a series of short stories was published under Brecht's name, though Hauptmann was closely associated with writing them. Following the production of Man Equals Man in Darmstadt that year, Brecht began studying Marxism and socialism in earnest, under the supervision of Hauptmann. "When I read Marx's Capital", a note by Brecht reveals, "I understood my plays." Marx was, it continues, "the only spectator for my plays I'd ever come across." Inspired by the developments in USSR Brecht wrote a number of agitprop plays, praising the bolshevik collectivism (replaceability of each member of the collective in Man Equals Man) and red terror (The Decision).
In 1927 Brecht became part of the "dramaturgical collective" of Erwin Piscator's first company, which was designed to tackle the problem of finding new plays for its "epic, political, confrontational, documentary theatre". Brecht collaborated with Piscator during the period of the latter's landmark productions, Hoppla, We're Alive! by Toller, Rasputin, The Adventures of the Good Soldier Schweik, and Konjunktur by Lania. Brecht's most significant contribution was to the a
Bertolt Brecht