Finance          Automotive          Computers          Health          Shopping          Sports         News          Reference           Print Facts in English - BCUZ.COMlos hechos en Español

Bertolt Brecht



  • [Anon.] 1952. "Brecht Directs". In Directors on Directing: A Source Book to the Modern Theater. Ed. Toby Cole and Helen Krich Chinoy. Rev. ed. Boston, MA: Allyn & Bacon, 1963. ISBN 0023233001. p.291- [Account of Brecht in rehearsal from anonymous colleague published in Theaterarbeit]
  • Banham, Martin, ed. 1998. "Brecht, Bertolt" In The Cambridge Guide to Theatre. Cambridge: Cambridge University Press. ISBN 0521434378. p.129.
  • Benjamin, Walter. 1983. Understanding Brecht. Trans. Anna Bostock. London and New York: Verso. ISBN 0902308998.
  • Brooker, Peter. 1994. "Key Words in Brecht's Theory and Practice of Theatre." In Thomson and Sacks (1994, 185-200).
  • Bürger, Peter. 1984. Theory of the Avant-Garde. Trans. of Theorie der Avantgarde (2nd ed., 1980). Theory and History of Literature Ser. 4. Trans. Michael Shaw. Minneapolis: University of Minnesota Press. ISBN 0816610681.
  • Calandra, Denis. 2003. "Karl Valentin and Bertolt Brecht." In Popular Theatre: A Sourcebook. Ed. Joel Schechter. Worlds of Performance Ser. London and New York: Routledge. p.189-201. ISBN 0415258308.
  • Counsell, Colin. 1996. Signs of Performance: An Introduction to Twentieth-Century Theatre. London and New York: Routledge. ISBN 0415106435.
  • Demetz, Peter, ed. 1962. "From the Testimony of Berthold Brecht: Hearings of the House Committee on Un-American Activities, October 30, 1947." Brecht: A Collection of Critical Essays. Twentieth Century Views Ser. Eaglewood Cliffs, NJ: Prentice Hall. ISBN 0130817600. p.30-42.
  • Diamond, Elin. 1997. Unmaking Mimesis: Essays on Feminism and Theater. London and New York: Routledge. ISBN 0415012295.
  • Eagleton, Terry. 1985. "Brecht and Rhetoric." New Literary History 16.3 (Spring). p.633-638.
  • Eddershaw, Margaret. 1982. "Acting Methods: Brecht and Stanislavski." In Brecht in Perspective. Ed. Graham Bartram and Anthony Waine. London: Longman. ISBN 058249205X. p.128-144.
  • Fuegi, John. 2002. "Brecht and Company: Sex, Politics, and the Making of the Modern Drama" (Grove Press). ISBN-13: 9780802139108 ISBN: 0802139108.
  • Fuegi, John. 1994. "The Zelda Syndrome: Brecht and Elizabeth Hauptmann." In Thomson and Sacks (1994, 104-116).
  • Giles, Steve. 1998. "Marxist Aesthetics and Cultural Modernity in Der Dreigroschenprozeß." Bertolt Brecht: Centenary Essays. Ed. Steve Giles and Rodney Livingstone. German Monitor 41. Amsterdam and Atlanta, GA: Rodopi. ISBN 904200309X. p.49-61
  • Jameson, Fredric. 1998. Brecht and Method. London and New York: Verso. ISBN 1859848095.
  • Kolocotroni, Vassiliki, Jane Goldman and Olga Taxidou, eds. 1998. Modernism: An Anthology of Sources and Documents. Edinburgh: Edinburgh University Press. ISBN 0748609733.
  • Krause, Duane. 1995. "An Epic System." In Acting (Re)considered: Theories and Practices. Ed. Phillip B. Zarrilli. 1st ed. Worlds of Performance Ser. London: Routledge. ISBN 0415098599. p.262-274.
  • Leach, Robert. 1994. "Mother Courage and Her Children". In Thomson and Sacks (1994, 128-138).
  • Meech, Tony. 1994. "Brecht's Early Plays." In Thomson and Sacks (1994, 43-55).
  • Mitter, Schomit. 1992. "To Be And Not To Be: Bertolt Brecht and Peter Brook". Systems of Rehearsal: Stanislavsky, Brecht, Grotowski and Brook. London: Routledge. ISBN 0415067847. p.42-77.
  • McDowell, W. Stuart. 1977. "A Brecht-Valentin Production: Mysteries of a Barbershop", in Performing Arts Journal, Vol. 1, No. 3 (Winter, 1977), pp. 2-14.
  • McDowell, W. Stuart. 2000. “Acting Brecht: The Munich Years," in The Brecht Sourcebook, Carol Martin, Henry Bial, editors (Routledge, 2000) p. 71 - 83
  • Müller, Heiner. 1990. Germania. Trans. Bernard Schütze and Caroline Schütze. Ed. Sylvère Lotringer. Semiotext(e) Foreign Agents Ser. New York: Semiotext(e). ISBN 0936756632.
  • Pabst, G.W. 1984. The Threepenny Opera. Classic Film Scripts Ser. London: Lorrimer. ISBN 0856470066.
  • Reinelt, Janelle. 1990. "Rethinking Brecht: Deconstruction, Feminism, and the Politics of Form." The Brecht Yearbook 15. Ed. Marc Silberman et al. Madison, Wisconsin: The International Brecht Society-University of Wisconsin Press. p.99-107.
  • ---. 1994. "A Feminist Reconsideration of the Brecht/Lukács Debate." Women & Performance: A Journal of Feminist Theory 7.1 (Issue 13). p.122-139.
  • Rouse, John. 1995. "Brecht and the Contradictory Actor." In Acting (Re)considered: A Theoretical and Practical Guide. Ed. Phillip B. Zarrilli. 2nd ed. Worlds of Performance Ser. London: Routledge. ISBN 041526300X. p.248-259.
  • Sacks, Glendyr. 1994. "A Brecht Calendar." In Thomson and Sacks (1994, xvii-xxvii).
  • Schechter, Joel. 1994. "Brecht's Clowns: Man is Man and After". In Thomson and Sacks (1994, 68-78).
  • Smith, Iris. 1991. "Brecht and the Mothers of Epic Theater." Theatre Journal 43. p.491-505.
  • Szondi, Peter. 1965. Theory of the Modern Drama. Ed. and trans. Michael Hays. Theory and History of Literature Ser. 29. Minneapolis: University of Minnesota Press, 1987. ISBN 0816612854.
  • Taxidou, Olga. 1995. "Crude Thinking: John Fuegi and Recent Brecht Criticism." New Theatre Quarterly XI.44 (Nov. 1995). p.381-384.
  • ---. 2007. Modernism and Performance: Jarry to Brecht. Basingstoke, Hampshire: Palgrave Macmillan. ISBN 1403941017.
  • Thomson, Peter. 1994. "Brecht's Lives". In Thomson and Sacks (1994, 22-39).
  • ---. 2000. "Brecht and Actor Training: On Whose Behalf Do We Act?" In Twentieth Century Actor Training. Ed. Alison Hodge. London and New York: Routledge. ISBN 0415194520. p.98-112.
  • Thomson, Peter and Glendyr Sacks, eds. 1994. The Cambridge Companion to Brecht. Cambridge Companions to Literature Ser. Cambridge: Cambridge University Press. ISBN 0521414466.
  • Willett, John. 1967. The Theatre of Bertolt Brecht: A Study from Eight Aspects. Third rev. ed. London: Methuen, 1977. ISBN 041334360X.
  • ---. 1978. Art and Politics in the Weimar Period: The New Sobriety 1917-1933. New York: Da Capo Press, 1996. ISBN 0306807246.
  • ---. 1998. Brecht in Context: Comparative Approaches. Rev. ed. London: Methuen. ISBN 0413723100.
  • Willett, John and Ralph Manheim. 1970. Introduction. In Collected Plays: One by Bertolt Brecht. Ed. John Willett and Ralph Manheim. Bertolt Brecht: Plays, Poetry and Prose Ser. London: Methuen. ISBN 041603280X. p.vii-xvii.
  • Weber, Carl. 1984. "The Actor and Brecht, or: The Truth Is Concrete: Some Notes on Directing Brecht with American Actors." The Brecht Yearbook-Das Brecht Jahrbuch 13. Madison, WI: BrechtJ. p.63-74.
  • ---. 1994. "Brecht and the Berliner Ensemble - the Making of a Model." In Thomson and Sacks (1994, 167-184).
  • Williams, Raymond. 1993. Drama from Ibsen to Brecht. London: Hogarth. ISBN 0701207930. p.277-290.
  • Witt, Hubert, ed. 1975. Brecht As They Knew Him. Trans. John Peet. London: Lawrence and Wishart; New York: International Publishers. ISBN 0853152853.
  • Wright, Elizabeth. 1989. Postmodern Brecht. Critics of the Twentieth Century Ser. London and New York: Routledge. ISBN 0415023300.
  • Youngkin, Stephen D. 2005. The Lost One: A Life of Peter Lorre University Press of Kentucky. ISBN 0813123607. [Contains a detailed discussion of the personal and professional friendship between Brecht and classic film actor Peter Lorre.]

[

Notes

  1. ^ On 'autonomization' see Jameson (1998, 43-58); on 'non-organic work of art' see Bürger (1984, 87-92). Willett observes: "With Brecht the same montage technique spread to the drama, where the old Procrustean plot yielded to a more 'epic' form of narrative better able to cope with wide-ranging modern socio-economic themes. That, at least, was how Brecht theoretically justified his choice of form, and from about 1929 on he began to interpret its penchant for 'contradictions', much as had Eisenstein, in terms of the dialectic. It is fairly clear that in Brecht's case the practice came before the theory, for his actual composition of a play, with its switching around of scenes and characters, even the physical cutting up and sticking together of the typescript, shows that montage was the structural technique most natural to him. Like Hašek and Joyce he had not learnt this scissors-and-paste method from the Soviet cinema but picked it out of the air" (1978, 110).
  2. ^ The introduction of this article draws on the following sources: Banham (1998, 129); Bürger (1984, 87-92); Jameson (1998, 43-58); Kolocotroni, Goldman and Taxidou (1998, 465-466); Williams (1993, 277-290); Wright (1989, 68-89; 113-137). The quotation from Raymond Williams is on page 277 of his book and that from Peter Bürger on page 88 of his.
  3. ^ Jameson (1998, 10-11). See also the discussions of Brecht's collaborative relationships in the essays collected in Thomson and Sacks (1994). John Fuegi's take on Brecht's collaborations, detailed in Brecht & Co. (New York: Grove, 1994; also known as The Life and Lies of Bertolt Brecht) and summarized in his contribution to Thomson and Sacks (1994, 104-116), offers a particularly negative perspective; Jameson comments "his book will remain a fundamental document for future students of the ideological confusions of Western intellectuals during the immediate post-Cold War years" (1998, 31); Olga Taxidou offers a perspicuous account of Fuegi's project from a feminist perspective in "Crude Thinking: John Fuegi and Recent Brecht Criticism" in New Theatre Quarterly XI.44 (Nov. 1995), p.381-384.
  4. ^ ↑ Jan Bucquoy, La vie est belge; Le paradis, là, maintenant, tout de suite!, 2007, p. 98. Sans illusion car j'avoue que mon but dans la vie c'était de monter Mère Courge de Berthold Brecht au théâtre de l'Odéon à Paris. Au lieu de ça ce sont les escaliers du Dolle Mol que j'ai plutôt bien descendus. C'est le destin.. English translation: It was my destiny that I never would bring Mother Courage and her Children at the theatre of the Odéon In Paris.
  5. ^ a b c d Thomson (1994).
  6. ^ Thomson (1994, 22-23). See also Smith (1991).
  7. ^ See Brecht's poem "Of Poor B.B." (first version, 1922), in Brecht (2000b, 107-108).
  8. ^ Thomson (1994, 24) and Sacks (xvii).
  9. ^ Thomson (1994, 24). In his Messingkauf Dialogues, Brecht cites Wedekind, along with Büchner and Valentin, as his "chief influences" in his early years: "he," Brecht writes of himself in the third person, "also saw the writer Wedekind performing his own works in a style which he had developed in cabaret. Wedekind had worked as a ballad singer; he accompanied himself on the lute." (1965, 69). Kutscher was "bitterly critical" of Brecht's own early dramatic writings (Willet and Manheim 1970, vii).
  10. ^ Thomson (1994, 24) and Willett (1967, 17).
  11. ^ Willett and Manheim (1970, vii).
  12. ^ Brecht wrote that he "wältze mich fast vor Lachen." Brecht Chronik, Werner Hecht. (Suhrkamp Verlag, 1998), p. 87.
  13. ^ ref name="calendar" Sacks (1994).
  14. ^ a b McDowell, W. Stuart. "A Brecht-Valentin Production: Mysteries of a Barbershop", Performing Arts Journal, Vol. 1, No. 3 (Winter, 1977), pp. 2-14.
  15. ^ Willett and Manheim 1970, x.
  16. ^ Brecht (1965, 69-70).
  17. ^ Quoted in Thomson (1994, 25).
  18. ^ It was during this year that many of Brecht's one-act plays were probably composed (The Beggar, A Wedding, Driving Out a Devil, Lux in Tenebris, The Catch).
  19. ^ Herbert Ihering's review for Drums in the Night in the Berliner Börsen-Courier on the 5th October, 1922. Quoted in Willett and Manheim (1970, viii-ix).
  20. ^ See Thomson and Sacks (1994, 50) and Willett and Manheim (1970, viii-ix).
  21. ^ Herbert Ihering, quoted in Willett and Manheim (1970, ix).
  22. ^ Historical Journal of Film, Radio and Television, by David Culbert, (Louisiana State University, Carfax Publishing) March, 1995.
  23. ^ a b McDowell, W. Stuart. "Acting Brecht: The Munich Years," The Brecht Sourcebook, Carol Martin, Henry Bial, editors (Routledge, 2000) p. 71 - 83.
  24. ^ Thomson (1994, 26-27) and Meech (1994, 54-55).
  25. ^ Meech (1994, 54-55) and Benjamin (1983, 115). See the article on Edward II for details of Brecht's germinal 'epic' ideas and techniques in this production.
  26. ^ Brecht was recommended for the job by Erich Engel; Carl Zuckmayer was to join Brecht in the position. See Sacks (1994, xviii), Willett (1967, 145), and Willett and Manheim (1970, vii).
  27. ^ Thomson (1994, 28).
  28. ^ According to Willett, Brecht was disgruntled with the Deutsches Theater at not being given a Shakespeare production to direct. At the end of the 1924-1925 season, both his and Carl Zuckmayer's (his fellow dramaturg) contracts were not renewed. (Willett 1967, 145). Zuckmayer relates how: "Brecht seldom turned up there; with his flapping leather jacket he looked like a cross between a lorry driver and a Jesuit seminarist. Roughly speaking, what he wanted was to take over complete control; the season's programme must be regulated entirely according to his theories, and the stage be rechristened 'epic smoke theatre', it being his view that people might actually be disposed to think if they were allowed to smoke at the same time. As this was refused him he confined himself to coming and drawing his pay." (Quoted by Willett 1967, 145).
  29. ^ Willett (1967, 145).
  30. ^ Willett and Manheim (1979, viii).
  31. ^ Willett and Manheim point to the significance of this poem as a marker of the shift in Brecht's work towards "a much more urban, industrialized flavour" (1979, viii).
  32. ^ Willett and Manheim (1979, viii, x).
  33. ^ Willett and Manheim (1979, viii); Joel Schechter writes: "The subjugation of an individual to that of a collective was endorsed by the affirmations of comedy, and by the decision of the coauthors of Man is Man (Emil Burri, Slatan Dudow, Caspar Neher, Bernhard Reich, Elisabeth Hauptmann) to call themselves 'The Brecht Collective'." (1994, 74).
  34. ^ Willett (1978).
  35. ^ Willett and Manheim (1979, viii-ix).
  36. ^ Willett and Manheim (1979, xxxiii).
  37. ^ Schechter (1994, 68).
  38. ^ Brecht (1964, 56).
  39. ^ Schechter (1994, 72).
  40. ^ Sacks (1994, xviii).
  41. ^ Thomson (1994, 28-29).
  42. ^ Brecht (1964, 23-24).
  43. ^ Erwin Piscator, "Basic Principles of a Sociological Drama" in Kolocotroni, Goldman and Taxidou (1998, 243).
  44. ^ Willett (1998, 103) and (1978, 72). In his book The Political Theatre, Piscator wrote: "Perhaps my whole style of directing is a direct result of the total lack of suitable plays. It would certainly not have taken so dominant form if adequate plays had been on hand when I started" (1929, 185).
  45. ^ Willett (1978, 74).
  46. ^ See Brecht's Journal entry for 24th June, 1943. Brecht claimed to have written the adaptation (in his Journal entry), but Piscator contested that; the manuscript bears the names "Brecht, Gasbarra, Piscator, G. Grosz" in Brecht's handwriting (Willett 1978, 110). See also Willett (1978, 90-95). Brecht wrote a sequel to the novel in 1943, Schweik in the Second World War.
  47. ^ Willett (1998, 104). In relation to his innovations in the use of theatre technology, Piscator wrote: "technical innovations were never an end in themselves for me. Any means I have used or am currently in the process of using were designed to elevate the events on the stage onto a historical plane and not just to enlarge the technical range of the stage machinery. This elevation, which was inextricably bound up with the use of Marxist dialectics in the theatre, had not been achieved by the plays themselves. My technical devices had been developed to cover up the deficiencies of the dramatists' products" ("Basic Principles of a Sociological Drama" [1929]; in Kolocotroni, Goldman and Taxidou [1998, 243]).
  48. ^ Willett (1978, 109-110). The similarities between Brecht's and Piscator's theoretical formulations from the time indicate that the two agreed on fundamentals; compare Piscator's summation of the achievements of his first company (1929), which follows, with Brecht's Mahagonny Notes (1930): "In lieu of private themes we had generalisation, in lieu of what was special the typical, in lieu of accident causality. Decorativeness gave way to constructedness, Reason was put on a par with Emotion, while sensuality was replaced by didacticism and fantasy by documentary reality." From a speech given by Piscator on 25th March, 1929, and reproduced in Schriften 2 p.50; Quoted by Willett (1978, 107). See also Willett (1998, 104-105).
  49. ^ Willett (1998, 104-105).
  50. ^ Willett (1978, 76).
  51. ^ The two first met in March 1927, after Weill had written a critical introduction to the broadcast on Berlin Radio of an adaptation of Brecht's Man Equals Man. When they met, Brecht was 29 years old and Weill was 27. Brecht had experience of writing songs and had performed his own with tunes he had composed; at the time he was also married to an opera singer (Zoff). Weill had collaborated with Georg Kaiser, one of the few Expressionist playwrights that Brecht admired; he was married to the actress Lotte Lenya. Willett and Manheim (1979, xv).
  52. ^ Willet and Manheim (1979, xv-xviii). In Munich in 1924 Brecht had begun referring to some of the stranger aspects of life in post-putsch Bavaria under the codename 'Mahagonny'. The Amerikanismus imagery appears in his first three 'Mahagonny Songs', with their Wild West references. With that, however, the project stalled for two and a half years. With Hauptmann, who wrote the two English-language 'Mahagonny Songs', Brecht had begun work on an opera to be called Sodom and Gomorrah or The Man from Manhattan and a radio play called The Flood or 'The Collapse of Miami, the Paradise City', both of which came to underlie the new scheme with Weill. See Willett and Manheim (1979, xv-xvi). The influence of Amerikanismus is most clearly discernible in Brecht's In The Jungle of Cities.
  53. ^ In this respect, the creative process for Mahagonny was quite different from The Threepenny Opera, with the former being durchkomponiert or set to music right through, whereas on the latter Weill was brought at a late stage to set the songs. See Willett and Manheim (1979, xv).
  54. ^ Willett and Manheim (1979, xvii) and Brecht (1964, 37-38).
  55. ^ http://www.transformatorlyd.com/sounds/stonxy_teeth.mp3
  56. ^ a b http://commons.wikimedia.org/wiki/Image:Brecht_HUAC_hearing_(1947-10-30).ogg
  57. ^ http://www.usc.edu/isd/archives/arc/libraries/feuchtwanger/exhibits/Brecht/HUAC.html
  58. ^ GradeSaver: ClassicNote: Biography of Bertolt Brecht
  59. ^ The translations of the titles are based on the standard of the Brecht Collected Plays series (see bibliography, primary sources). Chronology provided through consultation with Sacks (1994) and Willett (1967), preferring the former with any conflicts.
  60. ^ Willett, John "Brecht on Theatre", page 180. Hill and Wang, 1992
  61. ^ Willett, John "Brecht on Theatre", page 138. Hill and Wang, 1992
  62. ^ [Sorrel Carson The Stage features]

[

External links

Wikiquote has a collection of quotations related to:



BCUZ.com FACTS Encyclopedia content is licensed under the GFDL as approved by Wikipedia.
For more information review our copyright contact and privacy policy.
© 1996 - BCUZ.COM - We have all the FACTS you need about Small Business Financing, Behavior Disorder, Having Too Many Bills, Needing Cash Fast, Structured Settlements, Frequent Flier Programs, Top Steak Houses, The Mayan Indians, Norfolk and Suffolk England, Growing Longer Hair and a full reference English Encyclopedia and Spanish Encyclopedia.Privacy Policy