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"Bertolt Brecht"
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Philosophizing Brecht : critical readings on art, consciousness, social theory and performance
\"This anthology unites scholars from varied backgrounds with the notion that the theories and artistic productions of Bertolt Brecht are key missing links in bridging diverse discourses in social philosophy, theatre, consciousness studies, and aesthetics. It offers readers interdisciplinary perspectives that create unique dialogues between Brecht and important thinkers such as Althusser, Anders, Bakhtin, Benjamin, Godard, Marx, and Plato. While exploring salient topics such as consciousness, courage, ethics, political aesthetics, and representations of race and the body, it penetrates the philosophical Brecht seeing in him the never-ending dialectic--the idea, the theory, the narrative, the character that is never foreclosed. This book is an essential read for all those interested in Brecht as a socio-cultural theorist and for theatre practitioners. Contributors: Kevin S. Amidon, Josâe Marâia Durâan, Felix J. Fuch, Philip Glahn, Jim Grilli, Wolfgang Fritz Haug, Norman Roessler, Jeremy Spencer, Anthony Squiers, Peter Zazzali.\" -- Provided by publisher.
BOOK
The Craft of Theatre
The Craft of Theatre is a first-hand account by one of the greatest actors and directors of the Berliner Ensemble, whose work with the company spanned over forty years. It offers an unparalleled insight to working on Brecht's texts and in some of the great Brechtian roles and will appeal to actors, directors and students of theatre. Ekkehard Schall's life was devoted to the theatre. In this autobiographical memoir, he offers a lifetime of experience, expertise and memories of working with some of the great German writers, actors and directors of the twentieth century. A member of the Berliner Ensemble established by Bertolt Brecht and his wife Helene Weigel in 1949, Ekkehard Schall worked on numerous productions of Brecht's plays and others with the Ensemble between 1952 and 1995. In the 1970s and 80s he combined the roles of leading actor and deputy director of the Ensemble. In all he played over sixty roles and achieved greatest success in the role as Arturo Ui, a role he played over 500 times. The Craft of Theatre: Seminars and Discussions in Brechtian Theatre offers the reader a lively account of Schall's work, of his insights and his appreciation of the Brechtian roles he assumed, and of the work of Germany's most important theatre. The Craft of Theatre is an important addition to Brechtian studies and to the biography of Germany's most totemic theatre. 'When you see Schall at work during his two-hour performance, it's as if you were watching Brecht himself on stage. Schall's technical skills embody all of Brechtian dramatic theory and practice, just as Brecht's thoughts and opinions infuse his performances.' NewYork City Tribune
eBook
An Introduction to the Social and Political Philosophy of Bertolt Brecht
This book presents Brecht's thought in the context of a revolutionary Marxist aesthetic and explores his vision of consciousness as it relates to historical materialism, the dialectic of enlightenment, social ontology, epistemology and ethics.
eBook
Bertolt Brecht
Known for his experimental, modernist Epic Theatre and its 'alienation effect', Bertolt Brecht (1898 - 1956) sought to break down the division between high art and popular culture. The Threepenny Opera, his collaboration with composer Kurt Weill, was a milestone in musical theatre, and plays like Mother Courage and Galileo changed the course of modern drama and aesthetic theory. Philip Glahn looks at Brecht's life and works through his plays and stories, poems and political essays in order to illustrate how they trace a lifelong attempt to relate to specific social, economic and political circumstances.
Book
Brecht and Political Theatre
This production history of The Mother provides substantial new insights into Bertolt Brecht’s theatre and drama, his impact on political theatre, and the relationship between text, performance, and politico-cultural context. As the only play which Brecht staged in the Weimar Republic, during his exile, and in the GDR, The Mother offers a unique opportunity to compare his theatrical practice in contrasting settings and at different points in his career. Through detailed analysis of original archival evidence, Bradley shows how Brecht became far more sensitive to his spectators’ political views and cultural expectations, even making major tactical concessions in his 1951 production at the Berliner Ensemble. These compromises indicate that his ‘mature’ staging should not be regarded as definitive, for it was tailored to a unique and delicate situation. The Mother has appealed strongly to politically committed theatre practitioners both in and beyond Germany. By exploiting the text’s generic hybridity and the interplay between Brecht’s ‘epic’ and ‘dramatic’ elements, directors have interpreted it in radically different ways. So although Brecht’s 1951 production stagnated into an affirmative GDR heritage piece, post-Brechtian directors have used The Mother to promote their own political and theatrical concerns, from anti-authoritarian theatre to reflections on the legacies of state Socialism. Their ideological and theatrical subversion have helped Brecht’s text to outlive the political system that it came to uphold.
eBook
Bertolt Brecht's Dramatic Theory
As an integral part of his work as a political playwright and dramaturge, Bertolt Brecht concerned himself extensively with the theory of drama. He was convinced that the Aristotelian ideal of audience catharsis through identification with a hero and the
eBook
The Brecht-brand and German Theatre in South Korea
When German-language drama reached colonial Korea via Japan in the early twentieth century, reception first adhered to then common notions of “Western civilization.” Bertolt Brecht was first mentioned amongst other authors of German literature in newspaper articles in the 1930s. Along with his plays and theories, Brecht, then, experienced an interesting career in post-war South Korea, from countercultural idol of academics and forbidden fruit of theatre practitioners to modern classic, on the one hand, inspiration for experimentation, on the other. This essay explores Korean-German theatre relations by tracing the twists and turns in the reception of Brecht. The image of a distant yet timely author worth studying was cemented by scholars of German literature amidst Cold War censorship, decades before the first officially sanctioned production in 1988. Headed by a German guest-conductor and billed as a musical, this Korean premiere of the Threepenny Opera reached wider audiences but let down Brecht scholars. Responses to this and other productions showed that the newly attained liberty to stage, adapt and appropriate Brecht’s work had limits, imposed by the overarching “brand” Brecht had become. Recently, works by directors of different backgrounds show attempts of rebranding and reclaiming Brecht, though, from combinations with Korean tradition to playful remixes commenting on post-COVID society. Their implications, put in perspective with discourses on “German” culture at large, contribute to a mapping of performative exchanges between Korea and Germany, including the underlying imaginaries. The changing Brecht-brand, focal point of this essay, furthermore, offers a critical perspective on the cultural capital attached to his name, the use-value of his writings and the aspirations of his affiliates.
Journal Article