Question: Who produce 80 to 90 percent of the text to the opera at which Timothy Meyers has a role of Bertolt Brecht's? 

Context articles: Bertolt-Brecht-Literaturpreis
Let No One Deceive You
Coriolanus (Brecht)
The Days of the Commune
The Elephant Calf
The Tutor (Brecht)
Timothy Meyers
The Threepenny Opera
Baal (EP)
Complex seeing

Bertolt-Brecht-Literaturpreis (English: "Bertolt Brecht Literature Prize" ) is a literary award in Augsburg, Germany, birthplace of Bertolt Brecht.
 It has been awarded every three years since 1995.
 With a prize of €15,000, it is considered one of the most prestigious literary awards in Germany.
 It is awarded to writers and personalities "who have distinguished themselves through the critical analysis of the present day in their literary works."
 The 2006 edition marked the 50th anniversary of the death of Brecht.
Let No One Deceive You: Songs of Bertolt Brecht (or simply Let No One Deceive You) is an album by American folk and blues singer Dave Van Ronk and vocalist Frankie Armstrong, released in 1992.
 It consists completely of songs by Bertolt Brecht.
Coriolanus is an unfinished German adaptation by the modernist playwright Bertolt Brecht of the English 17th-century tragedy by William Shakespeare.
 Brecht wrote it sometime between 1951 and 1953.
 This adaptation reveals the influence of Mao Tse-tung on Brecht's social thought especially the idea of primary and secondary contradictions which Mao discussed in his treatise On Contradiction.
 Brecht alluded to this text and discusses his development on the original and his ideas for its staging in an essay entitled "Study of the First Scene of Shakespeare's "Coriolanus"", which is written in the form of a dialogue with his collaborators at the Berliner Ensemble theatre company.
 The play was first staged by Heinrich Koch at the Frankfurt Schauspielhaus theatre, where it opened on 22 September 1962.
 It was later staged by the Berliner Ensemble in September 1964.
 Ruth Berghaus became famous for her staging of the slaughter scenes in this production.
 The play was published in an English translation by Ralph Manheim in volume nine of Brecht's "Collected Plays".
The Days of the Commune is a play by the twentieth-century German dramatist Bertolt Brecht.
 It dramatises the rise and fall of the Paris Commune in 1871.
 The play is an adaptation of the 1937 play "The Defeat" by the Norwegian poet and dramatist Nordahl Grieg.
 Brecht's collaborator Margarete Steffin translated the play into German in 1938 and Brecht began working on his adaptation in 1947.
 The process was driven by another Brecht collaborator, Ruth Berlau, who had introduced Brecht to Grieg in 1931.
The Elephant Calf (Das Elefantenkalb), also known as The Baby Elephant, is an early one-act surrealistic prose farce written by the German modernist playwright Bertolt Brecht.
 It originally formed the penultimate scene of Brecht's full-length play "Man Equals Man", but by 1926 Brecht had separated it to an appendix to the published text.
 It was performed as part of "Man Equals Man" that same year.
 It is an interlude form of play within a play and in a later note Brecht suggests that it is "to be played in the foyer".
 He has also given it the subtitle "or The provability of any and every contention".
The Tutor is the 1950 adaptation, by 20th century German dramatist Bertolt Brecht, of an 18th-century play by Lenz.
 The original Lenz play was produced in 1774 and is also known by the title "The Advantages of a Private Education".
 Brecht contributed few additions to the plot of the original work, but made many cuts and alterations.
 Brecht's work is two thirds the length of the original play and over half the material is new.
 The play was Brecht's first production which featured work from the German Classical Era for the Berliner Ensemble.
 Overall, it was the third production the Berliner Ensemble performed.
 Brecht himself directed this production.
 'The Tutor' was translated by Ralph Manheim and Wolfgang Sauerlander.
Timothy Meyers (August 31, 1945—March 14, 1989) was an American actor famous for originating the role of Kenickie in Grease and was a 1972 nominee for Tony Award Best Featured Actor in a Musical.
 His first stage role was in 1970 as Crookfinger Jake in Kurt Weill and Bertolt Brecht's "The Threepenny Opera".
 His other stage roles include the 1980s musical "Sidewalkin" (Oscar), "HotGrog" (Blackbeard), "The Foursome" (Tim), "No Place to be Somebody" (Shanty), "Rock Island" (Wally), "The Sugar Bowl" (Pinky), "Romeo and Jeanette" (Lucien), "Jack the Ripper" (Lusk), "Wait Until Dark" (Harry Roat), "Cabaret" (Ernst Ludwig), "The Fantasticks" (Henry), "Terra Nova" (Bowers), "The Dresser" (Geoffrey Thornton), "True West" (Saul Kimmer), "Curse of the Starving Class" (Weston), "One Flew Over the Cuckoo's Nest" (Scanlon), "Lady of the Diamond" (Sportscaster), "Write Me a Murder" (Charles Sturrock), "She Stoops to Conquer" (Stingo), "Ah, Wilderness!
" (David McComber), "Loot" (Meadows), "Tartuffe" (Damis), "The Caretaker" (Mick), "Steambath" (Morty), "Comedians" (Phil Murray), "King Lear" (Oswald), "A Midsummer Night's Dream" (Puck), "Measure for Measure" (Pompey), and "The Greeks" (Odysseus).
The Threepenny Opera (Die Dreigroschenoper ) is a "play with music" by Bertolt Brecht and Elisabeth Hauptmann, adapted from John Gay's 18th-century English ballad opera, "The Beggar's Opera", with music by Kurt Weill and insertion ballads by François Villon and Rudyard Kipling.
 Although Hauptmann produced 80 to 90 percent of the text, Brecht suppressed this and assumed sole credit, and is usually listed as sole author in printed versions.
Baal is an EP by David Bowie, comprising recordings of songs written for Bertolt Brecht’s play "Baal".
 It is sometimes referred to as David Bowie in Bertolt Brecht’s Baal, as credited on the sleeve.
The English term Complex Seeing is taken from Bertolt Brecht's writing on theatre and opera.
 First found in Brecht's notes to the "Threepenny Opera", a subsequently edited and updated version was published.
 This text can be found in English translation as "The Literarization of Theatre" from 1931, in Brecht on Theatre, where the key passage on complex seeing reads: