Brecht and Muller's Experiments with Lehrstiicke
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Die Premieren Von August Bis Februar*
fotografiert von Ute Mahler und Werner Mahler Die Premieren von August bis Februar* 2014/15 * with English summaries Die Zeit There ist aus den is no Fugen Carolin Emcke und Thomas Ostermeier im Gespräch Wie lässt sich von Krieg und Gewalt erzählen? Gibt es dabei Grenzen des Verstehens? Ist es nicht nur möglich, sondern auch nötig, vom Leid anderer zu erzählen? Diesen Fragen geht Carolin Emcke in ihrem neuesten Buch »Weil es sagbar ist. Über Zeugenschaft und Gerechtigkeit« nach. Ihre Essays sind der Ausgangspunkt für ein Gespräch mit dem Künstlerischen Leiter der Schaubühne, Thomas need Ostermeier, über den Einbruch der Wirklichkeit in die Fiktion, blinde Flecken in Theater und Journa- lismus, tabuisierte gesellschaftliche Konflikte und die Möglichkeit, die Welt erzählend zu verändern. Carolin Emcke ist freie Publizistin und als Reporterin häufig in Krisengebieten unterwegs. Ihre jour- nalistische Arbeit wurde mit zahlreichen Preisen ausgezeichnet. Seit 2004 kuratiert und moderiert sie die monatliche Diskussionsreihe »Streitraum« an der Schaubühne. TO: Bei der Lektüre deines letzten Buches »Weil es am Ende des Stücks mit dem Gift umbringen, an dem bereits sagbar ist«, kamen mir drei Assoziationen in den Sinn. Die Hamlet und seine Mutter und alle anderen gestorben sind. Da erste war das Stück »Zerbombt«. Darin zeigt Sarah Kane eine sagt Hamlet voller Verzweiflung: Du darfst dich nicht umbringen. Paarbeziehung zwischen einem Journalisten und einer jungen Du musst doch meine Geschichte erzählen. Das ist gewisserma- Frau, die offenbar minderjährig ist, noch dazu etwas sprachbe- ßen die einzige Hoffnung, die hier bei Shakespeare bleibt. to be hindert, und von diesem Journalisten missbraucht wird. Damals Das Dritte, was mir einfiel, war »Die Perser« von Aischylos. -
1 the Berlin Mission Society and Its Theology: the Bapedi Mission
The Berlin Mission Society and its Theology: the Bapedi Mission Church and the independent Bapedi Lutheran Church. By Karla Poewe and Ulrich van der Heyden. This paper appeared in: South African Historical Journal 40 May, 1999, pp.21-50. Abstract The task of this paper is to understand how some Berlin missionaries portrayed the formation of the Bapedi Lutheran Church, an independent church, in what was north Transvaal, South Africa. To that end, we should be clear about three things: (1) the inner logic of missionary endeavours; (2) the impact of African spirituality and thinking on missionary narrative; and (3) the appropriation by Africans of missionary teachings to shape their own institutions and politics despite mission resistance. The different genres of missionary narratives, especially those of the Berlin mission director Hermann Theodor Wangemann (1818-1894), were deeply affected by African initiatives and thinking at the same time that African thinking was an accommodation to the Christian metanarrative learned from missionaries. The irony is that, while Berlin missionaries taught indigenisation in order to avoid independency, their narratives are a portrayal of precisely that which they wanted to avoid. My story you will hear from others, for this story will be talked about in the whole world, in Africa and in Europe. The work that I started in 1856 I have now completed (Martinus Sebusane, 1890, Historische Angaben n.d.:36, Berliner Missionswerk). It was the wish of the first heroes who came to us, and who were our benefactors that the natives were not always to be supported by the societies in Europe, but should learn to stand on their own feet. -
Lehrstücke Von Brecht Im Daf-Unterricht Diplomski Rad
Sveučilište u Zagrebu Filozofski fakultet Odsjek za germanistiku Nastavnički smjer Bojana Tkalčec Lehrstücke von Brecht im DaF-Unterricht Diplomski rad Mentorica: dr. sc. Maja Häusler Zagreb, rujan 2016. Inhaltsverzeichnis 1. Einleitung ............................................................................................................................................ 2 2. Bertolt Brecht ...................................................................................................................................... 3 2.1 Sein Leben und Werk .................................................................................................................... 3 2.2 Brecht heute ................................................................................................................................... 6 2.3 Brecht in Kroatien ......................................................................................................................... 7 3. Lehrstücke von Brecht......................................................................................................................... 9 3.1 Entstehung und Bedeutung ............................................................................................................ 9 4. Schauspiel und Schülertheater im Fremdsprachenunterricht ............................................................ 11 5. Unterrichtsvorschläge zum Thema: Lehrstücke von Bertolt Brecht ................................................. 13 5.1 Zielgruppe .................................................................................................................................. -
UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Ambivalence of Resistance: West German Antiauthoritarian Performance after the Age of Affluence Permalink https://escholarship.org/uc/item/2c73n9k4 Author Boyle, Michael Shane Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Ambivalence of Resistance West German Antiauthoritarian Performance after the Age of Affluence By Michael Shane Boyle A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Shannon Jackson, Chair Professor Anton Kaes Professor Shannon Steen Fall 2012 The Ambivalence of Resistance West German Antiauthoritarian Performance after the Age of Affluence © Michael Shane Boyle All Rights Reserved, 2012 Abstract The Ambivalence of Resistance West German Antiauthoritarian Performance After the Age of Affluence by Michael Shane Boyle Doctor of Philosophy in Performance Studies University of California, Berkeley Professor Shannon Jackson, Chair While much humanities scholarship focuses on the consequence of late capitalism’s cultural logic for artistic production and cultural consumption, this dissertation asks us to consider how the restructuring of capital accumulation in the postwar period similarly shaped activist practices in West Germany. From within the fields of theater and performance studies, “The Ambivalence of Resistance: West German Antiauthoritarian Performance after the Age of Affluence” approaches this question historically. It surveys the types of performance that decolonization and New Left movements in 1960s West Germany used to engage reconfigurations in the global labor process and the emergence of anti-imperialist struggles internationally, from documentary drama and happenings to direct action tactics like street blockades and building occupations. -
Sonya Loftis
SHAKESPEAREAN SURROGATIONS: MODERN DRAMATISTS REWRITE RENAISSANCE DRAMA by SONYA FREEMAN LOFTIS (Under the Direction of Frances Teague) ABSTRACT This study uses performance theory to examine modern dramatic adaptations of Renaissance plays, arguing that modern and postmodern dramatists rewrite the literary past in an act of cultural and theatrical surrogation. The first chapter addresses modern playwrights’ need to destroy and replace their Renaissance forbearers. Presenting the human body, especially the body of the actor or playwright as an “effigy of flesh” that contains cultural memory and embodies the literary canon, these playwrights work metaphorical violence on corpses that represent the literary corpus. The second chapter focuses on Bernard Shaw’s life-long struggle to present himself as a cultural surrogate for Shakespeare, through the performance of his public persona as G.B.S., through his Shakespearean criticism, and through his appropriation of King Lear in Heartbreak House. Shaw’s need to destroy Shakespeare’s corpse and corpus leads to a battle against aestheticism and pessimistic passivity. The third chapter examines Brecht’s adaptation of Marlowe’s Edward II and argues that the alienation effect can be understood as a “surrogation effect,” focusing on images of violent skinning in Brecht’s play, as his characters enact surrogation by tearing the flesh from both corpse and corpus. The fourth chapter explores surrogation as cannibalism in Müller’s Hamletmachine and Shakespeare’s Hamlet, interpreting the father’s corpse and the mother’s womb as symbols for literary adaptation in Müller’s play. The fifth chapter deals with Beckett’s Endgame and Happy Days, reading Endgame as an adaptation of The Tempest and arguing that the disembodied characters in Happy Days represent the erasure of the Shakespearean past. -
Saying Yes: Collaboration and Scenography of Man Equals Man Degroot, Anton Degroot, A
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2016 Saying Yes: Collaboration and Scenography of Man Equals Man deGroot, Anton deGroot, A. (2016). Saying Yes: Collaboration and Scenography of Man Equals Man (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/27708 http://hdl.handle.net/11023/3189 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Saying Yes: Collaboration and Scenography of Man Equals Man by Anton deGroot A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS GRADUATE PROGRAM IN DRAMA CALGARY, ALBERTA MAY 2016 © Anton deGroot 2016 Abstract The following artist’s statement discusses the early inspirations, development, execution of, and reflections upon the scenographic treatment of Bertolt Brecht’s Man Equals Man, directed by Tim Sutherland and produced by the University of Calgary in February of 2015. It details the processes of the set, lights, and properties design, with a focus on the director / scenographer relationship, and an examination of the outcomes. ii Preface It is critical that I mention something at the beginning of this artist’s statement to provide some important context for the reader. -
Weill, Kurt (Julian)
Weill, Kurt (Julian) (b Dessau, 2 March 1900; d New York, 3 April 1950). German composer, American citizen from 1943. He was one of the outstanding composers in the generation that came to maturity after World War I, and a key figure in the development of modern forms of musical theatre. His successful and innovatory work for Broadway during the 1940s was a development in more popular terms of the exploratory stage works that had made him the foremost avant- garde theatre composer of the Weimar Republic. 1. Life. Weill‟s father Albert was chief cantor at the synagogue in Dessau from 1899 to 1919 and was himself a composer, mostly of liturgical music and sacred motets. Kurt was the third of his four children, all of whom were from an early age taught music and taken regularly to the opera. Despite its strong Wagnerian emphasis, the Hoftheater‟s repertory was broad enough to provide the young Weill with a wide range of music-theatrical experiences which were supplemented by the orchestra‟s subscription concerts and by much domestic music-making. Weill began to show an interest in composition as he entered his teens. By 1915 the evidence of a creative bent was such that his father sought the advice of Albert Bing, the assistant conductor at the Hoftheater. Bing was so impressed by Weill‟s gifts that he undertook to teach him himself. For three years Bing and his wife, a sister of the Expressionist playwright Carl Sternheim, provided Weill with what almost amounted to a second home and introduced him a world of metropolitan sophistication. -
Navell Gazing As Critical Practice" class="text-overflow-clamp2"> How Can We Know the Dancer from the Dance?"> Navell Gazing As Critical Practice
UvA-DARE (Digital Academic Repository) The Locus of Looking - Dissecting Visuality in the Theatre Bleeker, M.A. Publication date 2002 Link to publication Citation for published version (APA): Bleeker, M. A. (2002). The Locus of Looking - Dissecting Visuality in the Theatre. Eigen Beheer. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:01 Oct 2021 —— Chapter 5 > "How Can We Know the Dancer from the Dance?"> Navell Gazing as Critical Practice 113 3 —— 0 chestnut-tree, great-rooted blossomer, Aree you the leaf, the blossom or the bole? OO body swayed to music, O brightening glance, Howw can we know the dancer from the dance? —— Yeats: Among School Children Thee last line of Yeats' famous poem has been interpreted as a rhetorical question,, which states the potential unity between sign and referent. -
Affective Acting: an Appraisal-Based Architecture for Agents As Actors
DIPLOMARBEIT Affective Acting: An Appraisal-based Architecture for Agents as Actors ausgefuhrt¨ am Institut fur¨ Medizinische Kybernetik und Artificial Intelligence der Medizinischen Universitat¨ Wien sowie am Osterreichischen¨ Forschungsinstitut fur¨ Artificial Intelligence unter Anleitung von o. Univ.-Prof. Ing. Dr. Robert Trappl und Dipl.-Ing. Dr. Paolo Petta als verantwortlich mitwirkendem Universitatsassistenten¨ durch Stefan Rank Sonnenuhrgasse 1 A-1060 Wien Wien, Februar 2004 Zusammenfassung Emotion spielt eine zentrale Rolle fur¨ fesselndes Drama. Konflikte zwischen den Charakteren in einem Stuck¨ und die Emotionen, die bei der Losung¨ be- teiligt sind, sind die Bausteine einer dramatischen Struktur, einer Handlung. Diese Pramisse¨ fuhrt¨ zu der Annahme, dass eine Gruppe von Charakteren ausreicht, um dramatische Strukturen nur durch ihre Interaktion in einer kon- fliktgeladenen Umgebung zu erzeugen, falls sie mittels einer Simulation des Prozesses, den die Appraisal Theory of Emotion beschreibt, gesteuert wer- den. Das sollte auch ohne eine zentrale Einheit, die die Charaktere kontrolliert, moglich¨ sein. Der Einsatz einer appraisal-basierten Architektur wird demnach als Schlussel¨ zur Konstruktion von emotional und dramatisch glaubwurdigen¨ Charakteren fur¨ interaktives Drama gesehen. Diese Diplomarbeit prasentiert¨ das ActAffAct Projekt: ein Versuch, diese Ideen anhand einer Implementierung auf die Probe zu stellen, um Erfahrun- gen bezuglich¨ Machbarkeit und Komplexitat¨ zu sammeln. Als Grundlage fur¨ die Implementierung der Appraisal -
Operas Performed in New York City in 2013 (Compiled by Mark Schubin)
Operas Performed in New York City in 2013 (compiled by Mark Schubin) What is not included in this list: There are three obvious categories: anything not performed in 2013, anything not within the confines of New York City, and anything not involving singing. Empire Opera was supposed to perform Montemezzi’s L'amore dei tre re in November; it was postponed to January, so it’s not on the list. Similarly, even though Bard, Caramoor, and Peak Performances provide bus service from midtown Manhattan to their operas, even though the New York City press treats the excellent but four-hours-away-by-car Glimmerglass Festival like a local company, and even though it’s faster to get from midtown Manhattan to some performances on Long Island or in New Jersey or Westchester than to, say, Queens College, those out-of-city productions are not included on the main list (just for reference, I put Bard, Caramoor, and Peak Performances in an appendix). And, although the Parterre Box New York Opera Calendar (which includes some non-opera events) listed A Rite, a music-theatrical dance piece performed at the BAM Opera House, I didn’t because no performer in it sang. I did not include anything that wasn’t a local in-person performance. The cinema transmissions from the Met, Covent Garden, La Scala, etc., are not included (nor is the movie Metallica: Through the Never, which Owen Gleiberman in Entertainment Weekly called a “grand 3-D opera”). I did not include anything that wasn’t open to the public, so the Met’s workshop of Scott Wheeler’s The Sorrows of Frederick is not on the list. -
Qt0m64w57q.Pdf
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Ideologies of Pure Abstraction Permalink https://escholarship.org/uc/item/0m64w57q Author Kim, Amy Chun Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Ideologies of Pure Abstraction By Amy Chun Kim A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Whitney Davis, Chair Professor Todd Olson Professor Robert Kaufman Spring 2015 Ideologies of Pure Abstraction © 2015 Amy Chun Kim Abstract Ideologies of Pure Abstraction by Amy Chun Kim Doctor of Philosophy in History of Art University of California, Berkeley Professor Whitney Davis, Chair This dissertation presents a history of the development of abstract art in the 1920s and 1930s, the period of its expansion and consolidation as an identifiable movement and practice of art. I argue that the emergence of the category of abstract art in the 1920s is grounded in a voluntaristic impulse to remake the world. I argue that the consolidation of abstract art as a movement emerged out of the Parisian reception of a new Soviet art practice that contained a political impetus that was subsequently obscured as this moment passed. The occultation of this historical context laid the groundwork for the postwar “multiplication” of the meanings of abstraction, and the later tendency to associate its early programmatic aspirations with a more apolitical mysticism. Abstraction has a long and varied history as both a conceptual-aesthetic practice and as an ideal. -
What to Do with Gestus Today Version II
Abstract This thesis explores the common and dialectical features of pedagogy, Bertolt Brecht’s Gestus, and identity construction. It speaks from the perspectives of pedagogue, actor and subject. It argues that in each of these modes the subject is necessarily engaged in both an ontological dilemma and opportunity, which is performative. It exposes embodiment as an oscillatory process of absence and presence. This is predicated on the impossibility of arriving at a fixed notion of being in the world. The thesis is set within an autobiographical frame. First because each mode marks an encounter in the life of Rob Vesty, and second because the practice-based-research uses autobiographical performance. It advances by constructing a piece of performative writing, an autobiographical timeline, to affect an experience of the practice, which informs this thesis. This piece introduces a montage of three juxtaposing studies. The first draws on Rob Vesty’s work in TIE with Splendid Productions and uses the company’s 2007/2008 performance and workshop tour of Brecht’s The Good Woman of Szechuan. It argues that a dialectic, rather than didactic, process must occur in the pedagogic setting and that this is dependent on the presence of a creative gap produced by a strong aesthetic. The second study then argues that the Gestic actor embodies and ‘writes’ this creative gap in a parodic way and that a virtue is made of showing its construction. The final study turns to Rob Vesty’s (2008) solo theatre show – One Man Good Woman – to chart the way identity impacts upon autobiography. It argues that the ‘written’ nature of autobiography and identity renders the subject both absent and present and retains dialectical features in its construction.