The new couple also had a daughter, Barbara, who was born shortly after the wedding and who, like Brecht's other daughter, would go on to become an actress (she would also inherit the copyrights to all of Brecht's literary work).
During this period, he also formed an influential writing collective which aspired to create a new theatre for participants rather than for passive audiences.
In 1932 he worked on a script for a semi-documentary feature-length film about the suffering caused by the then-rampant mass unemployment that was plaguing Germany.
This film, Kuhle Wampe was effective in its subversive humor and still provides a vivid insight into the final years of the Weimar Republic.
Another Brecht/Weill collaboration, The Rise and Fall of the City of Mahagonny, caused an uproar when it premiered in Leipzig in 1930 with Nazis protesting in the audience.
In 1929, Brecht married Helene Weigel (he had divorced Marianne Zoff in 1927) who had already borne him a son, Stefan.
In 1927, he had begun to study Karl Marx's Das Kapital, and by 1929 he had embraced Communism.
His solidifying political beliefs would soon become evident in his plays as well.
He went so far as to harshly criticize one of the instructor's favorite plays, Hanns Johst's The Lonely One, a biographical drama about the life of nineteenth century dramatist C. The result was Brecht's first play, Baal, an effort that Kutscher considered vile and nauseating.
In 1918, Brecht's studies were temporarily interrupted when he was conscripted and had to serve as a medical orderly in World War I.