You’ve got to bring up Brecht here: Brecht is entirely about denying the connection of sympathy and politics.
Also, the narrative structures are exactly resonant of 3-Penny Opera’s Pirate Jenny. These stories may be political, but it’s primarily theatrical: there’s a wealth of narratives we’re already carrying with us when we hear this kind of scene – and those associations come first in our response.
Levine: that’s a great point but, strangely, Brecht never comes up in our first round of questions when we’re asking people for examples. While Brecht may still be actively discussed in the art world, it feels like it’s very rare that theatre people think of him at all.