David Bowie (Feb.–Mar. 1982) Bowie Plays Brecht

A Radio Times feature previewing Bowie’s BBC adaptation of Bertolt Brecht’s *Baal*. The article positions Bowie as a modern embodiment of Brecht’s anarchic poet — a figure of self‑destruction and artistic defiance.

Writer: Geoffrey Wansell

Artist: David Bowie

Date: February 27 – March 5, 1982

Length: 5 min read

This *Radio Times* feature, published to coincide with the BBC2 broadcast of *Baal*, explores Bowie’s portrayal of Brecht’s doomed poet‑singer. Wansell contrasts Bowie’s performance with John Mortimer’s *A Voyage Round My Father*, aired the same week, noting how both dramas reflect the tension between genius and self‑destruction. The article describes Bowie’s Baal as “amoral, anarchic, and self‑programmed to implode,” highlighting his transformation from pop icon to avant‑garde actor. Two photographs accompany the piece: one of Bowie performing as Baal with a guitar, and another referencing his *Aladdin Sane* persona — a visual juxtaposition of theatrical extremes. The feature situates Bowie’s *Baal* within Britain’s tradition of televised literary drama, underscoring his ability to merge Brechtian alienation with rock‑star charisma.

PUBLICATION

Publication: Radio Times

Date: February 27 – March 5, 1982

Country: United Kingdom

Section / Pages: Feature Preview Article

Title: Bowie Plays Brecht’s Poet Programmed  to Self‑Destruct

FEATURE HIGHLIGHTS

Event: BBC2 broadcast of *Baal* and Radio  Times preview

Era: Early 1980s / Post‑Berlin period

Tone: Analytical, literary, dramatic

Photography: Performance portrait and  *Aladdin Sane* reference

Audience: British television readers and Bowie collectors

“Busker Bowie: David Bowie is an amoral, anarchic poet‑singer, at large in early twentieth‑century Germany.”

THE STORY BEHIND IT

The *Radio Times* preview marked Bowie’s return to British television after years of international touring. Wansell’s piece frames *Baal* as a study in moral collapse and creative obsession, with Bowie embodying Brecht’s anti‑hero through song and performance.

The article’s tone blends admiration with unease, reflecting the cultural fascination with Bowie’s ability to inhabit destructive characters. The inclusion of Mortimer’s *A Voyage Round My Father* in the same issue underscores the BBC’s commitment to literary drama, positioning Bowie’s *Baal* as its darker counterpart — a meditation on art, alienation, and mortality.

WHAT THE CLIPPING SHOWS

Event: Radio Times feature on Bowie’s role in

 *Baal*

Era: 1982 / BBC television drama season

Tone: Reflective, intellectual, provocative

Photography: Dual images of Bowie as Baal

 and *Aladdin Sane*

Audience: British TV viewers and cultural 

press readers

CONTEXT & NOTES

This feature exemplifies *Radio Times*’ editorial balance between mainstream entertainment and cultural commentary. The juxtaposition of Bowie’s theatrical and musical identities mirrors his ongoing dialogue between art and persona. The article’s language — “programmed to self‑destruct” — captures the existential tone of Brecht’s work and Bowie’s fascination with doomed creativity. The layout, with its dual imagery and dense text columns, reflects early‑1980s magazine design, where television listings doubled as cultural essays.

“On the very same evening BBC2 presents David Bowie in Brecht’s play *Baal*, directed by Alan Clarke.”

SOURCES

Radio Times (February 27 – March 5, 1982)

Publication verified from archival issue records

Context cross‑checked with BBC *Baal*

 production documentation

External anchors: Discogs / Wikipedia

 (where applicable)

RELATED MATERIAL

• David Bowie – Glam Slam Guide

• BAAL – Single (Feb. 1982)

• Bowie Has a Baal – Feature (Mar. 1982)

COPYRIGHT NOTICE

All magazine scans, photographs, and original text excerpts remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

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