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In Greek mythology, the Gorgon's head of Medusa is a symbol of deathly terror. With sharp teeth and a tongue stretched far out of its gaping jaw, it aims its penetrating, wide-eyed gaze directly at the viewer. In place of hair, poisonous snakes, ready to attack, coil about the head. Any mortal who looks upon it immediately turns to stone. To ensure the death of the Greek hero Perseus, his rival, King Polydectes, orders him to bring back the decapitated head of Medusa. However, Athena, the Goddess of Wisdom, comes to his aid and gives him a silvery, reflecting shield. This allowed Perseus—using the shield as a mirror—to cut off Medusa's horrific head while she slept. Triumphantly, he brought the Gorgon head to Athena, who from that time onwards took custody of it. From the blood of Medusa arose new demons and creatures, among which was also a winged horse named Pegasus, the symbol of poetry. So goes the myth.
Notable in Bertolt Brecht's dramas is his highly restrained depiction of physical violence on stage. There are no battles like those in Shakespeare's plays, no graphic scenes of bloody tortures and murders, and few shootings. No direct portrayal of violence could serve to enrich his plays—although for Brecht, death is always present, and one of his main concerns is violence in society, the cold-heartedness among people. Perhaps for this reason, too, many of Brecht's plays are considered harmless