Lenin, Vladimir Ilyich Ulyanov (1870-1924) -one of the leaders of the Bolshevik party since its formation in 1903- led the Bolsheviks to power in October, 1917. Elected to the head of the Soviet government until 1922, when he retired due to ill health. Lenin, born in 1870, was committed to revolutionary struggle from an early age - his elder brother was hanged for the attempted assassination of Czar Alexander III. In 1891 Lenin passed his Law exam with high honors, whereupon he took to representing the poorest peasantry in Samara. After moving to St. Petersburg in 1893, Lenin's experience with the oppression of the peasantry in Russia, coupled with the revolutionary teachings of G V Plekhanov, guided Lenin to meet with revolutionary groups. In April 1895, his comrades helped send Lenin abroad to get up to speed with the revolutionary movement in Europe, and in particular, to meet the Emancipation of Labour Group, of which Plekhanov head. After five months abroad, traveling from Switzerland to France to Germany, working at libraries and newspapers to make his way, Lenin returned to Russia, carrying a brief case with a false bottom, full of Marxist literature. On returning to Russia, Lenin and Martov created the League for the Struggle for the Emancipation of the Working Class, uniting the Marxist circles in Petrograd at the time. The group supported strikes and union activity, distributed Marxist literature, and taught in workers education groups. In St. Petersburg Lenin begins a relationship with Nadezhda Krupskaya. In the night of December 8, 1895, Lenin and the members of the party are arrested; Lenin sentenced to 15 months in prison. By 1897, when the prison sentence expired, the autocracy appended an additional three year sentence, due to Lenin's continual writing and organising while in prison. Lenin is exiled to the village of Shushenskoye, in Siberia, where he becomes a leading member of the peasant community. Krupskaya is soon also sent into exile for revolutionary activities, and together they work on party organising, the monumental work: The Development of Capitalism in Russia, and the translating of Sidney and Beatrice Webb's Industrial Democracy. After his term of exile ends, Lenin emigrates to Münich, and is soon joined by Krupskaya. Lenin creates Iskra, in efforts to bring together the Russian Social Democratic Labour Party, which had been scattered after the police persecution of the first congress of the party in 1898. [...:] After leading the October Revolution, Lenin served as the first and only chairman of the R.S.F.S.R.. In 1919 Lenin founded the Communist International. In 1921 Lenin instituted the NEP. During 1922 Lenin suffered a series of strokes that prevented active work in government. While in his final year – late 1922 to 1923 – Lenin wrote his last articles where he outlined a programme to fight against the bureaucratization of the Commmunist Party and the Soviet state. Lenin died on January 21, 1924, as a result of multiple strokes.

Karl Marx, Ph.D. (University of Jena, 1841) was a social scientist who was a key contributor to the development of Communist theory. Marx was born in Trier, a city then in the Kingdom of Prussia's Province of the Lower Rhine. His father, born Jewish, converted to Protestantism shortly before Karl's birth in response to a prohibition newly introduced into the Rhineland by the Prussian Kingdom on Jews practicing law. Educated at the Universities of Bonn, Jena, and Berlin, Marx founded the Socialist newspaper Vorwärts! in 1844 in Paris. After being expelled from France at the urging of the Prussian government, which "banished" Marx in absentia, Marx studied economics in Brussels. He and Engels founded the Communist League in 1847 and published the Communist Manifesto. After the failed revolution of 1848 in Germany, in which Marx participated, he eventually wound up in London. Marx worked as foreign correspondent for several U.S. publications. His Das Kapital came out in three volumes (1867, 1885 and 1894). Marx organized the International and helped found the Social Democratic Party of Germany. Although Marx was not religious, Bertrand Russell later remarked, "His belief that there is a cosmic force called Dialectical Materialism which governs human history independently of human volitions, is mere mythology" (Portraits from Memory, 1956). Marx once quipped, "All I know is that I am not a Marxist" (according to Engels in a letter to C. Schmidt; see Who's Who in Hell by Warren Allen Smith). D. 1883. Marx began co-operating with Bruno Bauer on editing Hegel's Philosophy of Religion in 1840. Marx was also engaged in writing his doctoral thesis, The Difference Between the Democritean and Epicurean Philosophy of Nature, which he completed in 1841. It was described as "a daring and original piece of work in which Marx set out to show that theology must yield to the superior wisdom of philosophy": the essay was controversial, particularly among the conservative professors at the University of Berlin. Marx decided, instead, to submit his thesis to the more liberal University of Jena, whose faculty awarded him his PhD in April 1841. As Marx and Bauer were both atheists, in March 1841 they began plans for a journal entitled Archiv des Atheismus (Atheistic Archives), but it never came to fruition. Marx has been described as one of the most influential figures in human history. Marx is typically cited, with Émile Durkheim and Max Weber, as one of the three principal architects of modern social science. More: http://en.wikipedia.org/wiki/Karl\_Marx http://plato.stanford.edu/entries/marx/ http://www.econlib.org/library/Enc/bi... http://www.marxists.org/archive/marx/... http://www.historyguide.org/intellect... http://www.bbc.co.uk/history/historic... http://www.spartacus.schoolnet.co.uk/... http://www.britannica.com/EBchecked/t...

Bertolt Brecht (born Eugen Berthold Friedrich Brecht) was a German poet, playwright, and theatre director. A seminal theatre practitioner of the twentieth century, Brecht made equally significant contributions to dramaturgy and theatrical production, the latter particularly through the seismic impact of the tours undertaken by the Berliner Ensemble—the post-war theatre company operated by Brecht and his wife and long-time collaborator, the actress Helene Weigel—with its internationally acclaimed productions. From his late twenties Brecht remained a life-long committed Marxist who, in developing the combined theory and practice of his 'epic theatre', synthesized and extended the experiments of Piscator and Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism. Brecht's modernist concern with drama-as-a-medium led to his refinement of the 'epic form' of the drama (which constitutes that medium's rendering of 'autonomization' or the 'non-organic work of art'—related in kind to the strategy of divergent chapters in Joyce's novel Ulysses, to Eisenstein's evolution of a constructivist 'montage' in the cinema, and to Picasso's introduction of cubist 'collage' in the visual arts). In contrast to many other avant-garde approaches, however, Brecht had no desire to destroy art as an institution; rather, he hoped to 're-function' the apparatus of theatrical production to a new social use. In this regard he was a vital participant in the aesthetic debates of his era—particularly over the 'high art/popular culture' dichotomy—vying with the likes of Adorno, Lukács, Bloch, and developing a close friendship with Benjamin. Brechtian theatre articulated popular themes and forms with avant-garde formal experimentation to create a modernist realism that stood in sharp contrast both to its psychological and socialist varieties. "Brecht's work is the most important and original in European drama since Ibsen and Strindberg," Raymond Williams argues, while Peter Bürger insists that he is "the most important materialist writer of our time." As Jameson among others has stressed, "Brecht is also ‘Brecht’"—collective and collaborative working methods were inherent to his approach. This 'Brecht' was a collective subject that "certainly seemed to have a distinctive style (the one we now call 'Brechtian') but was no longer personal in the bourgeois or individualistic sense." During the course of his career, Brecht sustained many long-lasting creative relationships with other writers, composers, scenographers, directors, dramaturgs and actors; the list includes: Elisabeth Hauptmann, Margarete Steffin, Ruth Berlau, Slatan Dudow, Kurt Weill, Hanns Eisler, Paul Dessau, Caspar Neher, Teo Otto, Karl von Appen, Ernst Busch, Lotte Lenya, Peter Lorre, Therese Giehse, Angelika Hurwicz, and Helene Weigel herself. This is "theatre as collective experiment [...] as something radically different from theatre as expression or as experience." There are few areas of modern theatrical culture that have not felt the impact or influence of Brecht's ideas and practices; dramatists and directors in whom one may trace a clear Brechtian legacy include: Dario Fo, Augusto Boal, Joan Littlewood, Peter Brook, Peter Weiss, Heiner Müller, Pina Bausch, Tony Kushner and Caryl Churchill. In addition to the theatre, Brechtian theories and techniques have exerted considerable sway over certain strands of film theory and cinematic practice; Brecht's influence may be detected in the films of Joseph Losey, Jean-Luc Godard, Lindsay Anderson, Rainer Werner Fassbinder, Nagisa Oshima, Ritwik Ghatak, Lars von Trier, Jan Bucquoy and Hal Hartley. During the war years, Brecht became a prominent writer of the Exilliteratur. He expressed his opposition to the National Socialist and Fascist movements in his most famous plays.