Abstract
The author examines the only production of Maxim Gorky’s novel “Mother” in the USA, which was adapted by Bertolt Brecht and staged by the leading Left-wing theatre of New York — Theatre Union. The history of artistic confrontation of American authors of the production and German playwright, who arrived from over the ocean to supervise it is considered in the paper. As a result of the research of how the production was being made, as well as how it was perceived by Broadway spectators it is possible to conclude that the realistic aesthetics and psychological insight of Gorky was more recognizable to the American producers than the Brecht’s epic theatre.
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