DOCSLIB.ORG

Bertolt Brecht (1898-1956)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bertolt Brecht (1898-1956) 1/57 Data Bertolt Brecht (1898-1956) Pays : Allemagne (République démocratique) (1949-1990) Langue : Allemand Sexe : Masculin Naissance : Augsbourg, Allemagne, 10-02-1898 Mort : Berlin-Est, 14-08-1956 Note : Poète et auteur dramatique Domaines : Littératures Autres formes du nom : Bertold Brecht (1898-1956) Eugen Berthold Friedrich Brecht (1898-1956) ISNI : ISNI 0000 0001 2117 8009 (Informations sur l'ISNI) Bertolt Brecht (1898-1956) : œuvres (1 024 ressources dans data.bnf.fr) Œuvres textuelles (391) Der Tui-Roman Die Kleinbürgerhochzeit (1973) (1968) Me-ti, Buch der Wendungen Flüchtlingsgespräche (1965) (1961) Die Tage der Commune Antigonemodell 1948 (1956) (1955) Buckower Elegien Kalendergeschichten (1954) (1948) Furcht und Elend des Dritten Reiches Der gute Mensch von Sezuan (1945) (1943) Hollywood-Elegien Der aufhaltsame Aufstieg des Arturo Ui (1942) (1941) Leben des Galilei Svendborger Gedichte (1939) (1939) data.bnf.fr 2/57 Data Das Verhör des Lukullus Die Trophäen des Lukullus (1939) (1939) Mutter Courage und ihre Kinder Rundköpfe und Spitzköpfe (1938) (1936) Koloman Wallisch Kantate Dreigroschenroman (1935) (1934) Die Heilige Johanna der Schlachthöfe Die Mutter (1931) (1931) Fatzer Die Massnahme (1930) (1930) Aufstieg und Fall der Stadt Mahagonny Der Jasager und der Neinsager (1930) (1930) Sonett Nr. 1 Kalkutta, 4. Mai (1927) (1927) Hauspostille Geschichten vom Herrn Keuner (1927) (1926) Mann ist Mann Im Dickicht der Städte (1926) (1923) Trommeln in der Nacht Der kaukasische Kreidekreis (1922) Voir plus de documents de ce genre Œuvres musicales (295) "Lieder der Vergänglichkeit" "Al gran sole carico d'amore" (2004) (1975) de Krzysztof Penderecki de Luigi Nono avec Bertolt Brecht (1898-1956) comme Auteur du texte avec Bertolt Brecht (1898-1956) comme Auteur du texte "Children's crusade. BTC 1141" "Lenin. Voix, piano" (1969) (1950) de Benjamin Britten de Hanns Eisler avec Bertolt Brecht (1898-1956) comme Auteur du texte avec Bertolt Brecht (1898-1956) comme Auteur du texte data.bnf.fr 3/57 Data "Zwei Propagandagedichte" An den kleinen Radioapparat (1943) (1942) de Theodor Wiesengrund Adorno avec Bertolt Brecht (1898-1956) comme Auteur du texte "Deutsches Kriegslied" Das Einheitsfrontlied (1937) (1934) de Hanns Eisler avec Bertolt Brecht (1898-1956) comme Auteur du texte "Vom Frühjahr, Öltank und vom Fliegen" "Die Massnahme. Op. 20" (1931) (1930) de Carl Orff de Hanns Eisler avec Bertolt Brecht (1898-1956) comme Auteur du texte avec Bertolt Brecht (1898-1956) comme Voix parlée Der Jasager "Happy end" (1930) (1929) de Kurt Weill avec Bertolt Brecht (1898-1956) comme Auteur du texte Der Lindberghflug Die Dreigroschenoper (1929) (1928) "Das Berliner Requiem" "Aufstieg und Fall der Stadt Mahagonny" (1928) (1927) de Kurt Weill de Kurt Weill avec Bertolt Brecht (1898-1956) comme Auteur du texte avec Bertolt Brecht (1898-1956) comme Auteur du texte "Vom Tod im Wald. Op. 23" "Concertos. Violon, orchestre. Ré majeur. Op. 61" (1927) (1806) de Kurt Weill de Ludwig van Beethoven avec Bertolt Brecht (1898-1956) comme Auteur du texte avec Bertolt Brecht (1898-1956) comme Auteur du texte "Sérénades. Vents. Si bémol majeur. KV 370a" "Lieder. Voix, piano" (1781) de Hanns Eisler de Wolfgang Amadeus Mozart avec Bertolt Brecht (1898-1956) comme Éditeur scientifique avec Bertolt Brecht (1898-1956) comme Auteur du texte "Lieder. Voix, piano" de Hanns Eisler avec Bertolt Brecht (1898-1956) comme Préfacier Voir plus de documents de ce genre data.bnf.fr 4/57 Data Manuscrits et archives (31) "Journal de bord et notes manuscrites de Jacques Le "Croquis comparatifs des systèmes de Ptolémée et de Marquet (4-COL-53(102,1))" Copernic et photographies de Jean-Pierre Leloir (4- avec Bertolt Brecht (1898-1956) comme Auteur du texte COL-53(120,3))" avec Bertolt Brecht (1898-1956) comme Auteur du texte "Photographie de la carriole avec note manuscrite de "Maquette en volume / [d'après Teo Otto ?] (VOL- Jean Vilar à Claude Planson, premier secrétaire général MAQ-361)" du TNP (4-COL-53(9,3))" avec Bertolt Brecht (1898-1956) comme Auteur du texte avec Bertolt Brecht (1898-1956) comme Auteur du texte "Journal de bord, notes de Jacques Le Marquet pour un "Dessins originaux d'André Acquart pour la création du article à paraître dans la revue Écran (4-COL-53(101,1))" 1 novembre 1960, reprise le 18 février 1961 puis en avec Bertolt Brecht (1898-1956) comme Auteur du texte novembre 1962, distribution de la création (4- COL-53(151,4))" avec Bertolt Brecht (1898-1956) comme Auteur du texte "Notes de service de Jacques Le Marquet, 1969, à A. "Le commerce du pain (My-454)" Bataille et M. Blancheteau, concernant la salle et avec Bertolt Brecht (1898-1956) comme Auteur du texte l'éclairage (4-COL-53(151,2))" avec Bertolt Brecht (1898-1956) comme Auteur du texte "Le commerce du pain (My-454)" "Jean-Louis Barrault, Maurice Béjart, M. Blanchot, avec Bertolt Brecht (1898-1956) comme Auteur du texte Pierre Boulez, Bertolt Brecht… (4-JV-195(2))" avec Bertolt Brecht (1898-1956) comme Auteur de lettres "La bonne âme du Sé-Tchouan, de Bertold Brecht. "Recherche d'un décor nouveau par Jacques Le Récamier, 2 décembre 1960 (COL-53)" Marquet : plans calque, croquis de plantations (4- avec Bertolt Brecht (1898-1956) comme Auteur du texte COL-53(151,1))" avec Bertolt Brecht (1898-1956) comme Auteur du texte "[Sartre, une vie], Interviews, extraits de pièces et "Planches contact de Roger Pic de la création (4- documents d'archives / Jean-Paul Sartre, texte ; COL-53(151,5))" Frédéric Mitterrand (enregistré au café de Flore, avec Bertolt Brecht (1898-1956) comme Auteur du texte 1990-04-15 ; A 2). [La Vie de Galilée] : interviews et extraits / Antoine Vitez, mise en scène ; Bertolt Brecht, texte ; Dominique Poncet, réalisation ; Eloi Recoing ; Antoine Vitez ; Roland Bertin ; Yannis Kokkos (enregistré à la Comédie-Française, 1990-04-15 ; Journal télévisé, FR3 ; Journal de 13 heures) (ASPVID_010306)" avec Bertolt Brecht (1898-1956) comme Auteur du texte "Galilée, de Bertold Brecht. Chaillot, 24 janvier 1963 "Planche contact de la maquette du décor, croquis (COL-53)" original d'Alfred Manessier (4-COL-53(120,2))" avec Bertolt Brecht (1898-1956) comme Auteur du texte avec Bertolt Brecht (1898-1956) comme Auteur du texte data.bnf.fr 5/57 Data "Documentation : "Sept photos-modèles de Mère "C'est pas facile... / spectacle de Didier Bezace courage" par Roland Barthes in : Théâtre populaire, réunissant des oeuvres de Brecht, Bove, Tabucchi ; reproductions de photographies de la carriole du Charles Picq, réalisation ; production Agat films & cie, Berliner Ensemble (4-COL-53(9,2))" La Sept-Arte, théâtre de l'Aquarium, Mikros image avec Bertolt Brecht (1898-1956) comme Auteur du texte (ASPVID_010832)" avec Bertolt Brecht (1898-1956) comme Auteur du texte "BRECHT, Bertold (COL-49)" "L'opéra de quatre sous (My-711)" avec Bertolt Brecht (1898-1956) comme Auteur du texte avec Bertolt Brecht (1898-1956) comme Autre "Brecht, Bertolt (1898-1956). Schweyk im zweiten "Arturo Ui, de Bertold Brecht. Chaillot, 8 novembre 1960 Weltkrieg (ASPBAN 2496)" (COL-53)" avec Bertolt Brecht (1898-1956) comme Auteur du texte avec Bertolt Brecht (1898-1956) comme Auteur du texte "Croquis sur calque de la carriole par Camille "Le marché d'amour (Lux in tenebris) (MY-784)" Demangeat (4-COL-53(9,1))" avec Bertolt Brecht (1898-1956) comme Auteur du texte avec Bertolt Brecht (1898-1956) comme Auteur du texte "Arturo Ui, de Bertold Brecht. Re-création, Chaillot, avril "43 clichés par Pic des représentations du Berliner 1969 (COL-53)" Ensemble (4-COL-53(101,4))" avec Bertolt Brecht (1898-1956) comme Auteur du texte avec Bertolt Brecht (1898-1956) comme Auteur du texte "Brecht, Bertolt (1898-1956)" "Adaptation du dispositif Vilar à la salle des fêtes- avec Bertolt Brecht (1898-1956) comme Auteur du texte marché de Clichy (Seine), plan général et coupes, par Camille Demangeat, 25 novembre 1951, commandes de matériel, pour Le Cid (d'après une note manuscrite de Jacques Le Marquet) (4-COL-53(9,5))" avec Bertolt Brecht (1898-1956) comme Auteur du texte "Planches contact de Sabine Weiss de la création (4- "Échanges de billets avec Agnès Varda qui ne veut pas COL-53(151,7))" prêter ses planches contact, 1969 (4-COL-53(151,6))" avec Bertolt Brecht (1898-1956) comme Auteur du texte avec Bertolt Brecht (1898-1956) comme Auteur du texte Voir plus de documents de ce genre Spectacles (307) "Baal" "Des années 70 à nos jours... triptyque" (2017) (2016) de Christine Letailleur de Julie Deliquet avec Bertolt Brecht (1898-1956) comme Auteur du texte avec Bertolt Brecht (1898-1956) comme Auteur du texte "Cabaret Brecht" "Cabaret brise-jour et autres manivelles" (2013) (2013) de Guy-Pierre Couleau de L'Orchestre d'hommes-orchestres avec Bertolt Brecht (1898-1956) comme Auteur du texte avec Bertolt Brecht (1898-1956) comme Auteur du texte data.bnf.fr 6/57 Data "La bonne âme du Se-Tchouan" "La bonne âme du Se-Tchouan" (2013) (2012) de Jean Bellorini de Stuart Seide avec Bertolt Brecht (1898-1956) comme Auteur du texte avec Bertolt Brecht (1898-1956) comme Auteur du texte "Jean la chance" "Très nombreux, chacun seul" (2012) (2012) avec Bertolt Brecht (1898-1956) comme Auteur du texte avec Bertolt Brecht (1898-1956) comme Auteur du texte "Baal" "Grandeur et décadence de la ville de Mahagonny" (2010) (2010) de François Orsoni de Laurent Pelly avec Bertolt Brecht (1898-1956) comme Auteur du texte avec Bertolt Brecht (1898-1956) comme Librettiste "L'importance
Load more

Recommended publications
  • Perceptive Intent in the Works of Guenter Grass: an Investigation and Assessment with Extensive Bibliography
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 Perceptive Intent in the Works of Guenter Grass: an Investigation and Assessment With Extensive Bibliography. George Alexander Everett rJ Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Everett, George Alexander Jr, "Perceptive Intent in the Works of Guenter Grass: an Investigation and Assessment With Extensive Bibliography." (1971). LSU Historical Dissertations and Theses. 1980. https://digitalcommons.lsu.edu/gradschool_disstheses/1980 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 71-29,361 EVERETT, Jr., George Alexander, 1942- PRECEPTIVE INTENT IN THE WORKS OF GUNTER GRASS: AN INVESTIGATION AND ASSESSMENT WITH EXTENSIVE BIBLIOGRAPHY. The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1971 Language and Literature, modern University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PRECEPTIVE INTENT IN THE WORKS OF GUNTER GRASS; AN INVESTIGATION AND ASSESSMENT WITH EXTENSIVE BIBIIOGRAPHY A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Foreign Languages by George Alexander Everett, Jr. B.A., University of Mississippi, 1964 M.A., Louisiana State University, 1966 May, 1971 Reproduced with permission of the copyright owner.
    [Show full text]
  • Children in Opera
    Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls .................................................................................
    [Show full text]
  • Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 73-20,631
    THE EFFORT TO ESCAPE FROM TEMPORAL CONSCIOUSNESS AS EXPRESSED IN THE THOUGHT AND WORK OF HERMAN HESSE, HANNAH ARENDT, AND KARL LOEWITH Item Type text; Dissertation-Reproduction (electronic) Authors Olsen, Gary Raymond, 1940- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 18:13:22 Link to Item http://hdl.handle.net/10150/288040 INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Paga(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame.
    [Show full text]
  • World Theatre Day 2018
    World Theatre Day 2018 Tuesday 27 March, 19h30 | Maison de l‘UNESCO, Salle 1 Musical performance by Jean-Jacques Lemêtre Theatrical Surprise directed by Simon McBurney with Serge Nicolai, Olivia Corsini, Jacques Martial actors of the Théâtre du Soleil company Evening hosted by the clown duo „Les Diptik“ avec Isabelle Huppert With the presence of: Journée Mondiale du Théâtre 2017 Asia PacificAvec la présence d‘Isabelle Huppert, Ram Gopalauteure BAJAJ, du message India de la Journée Mondiale du Théâtre 2017 Arab countries Maya ZBIB, Lebanon Europe Simon MCBURNEY, United Kingdom The Americas Sabina BERMAN, Mexico Africa Werewere-Liking GNEPO, Ivory Coast 3 Content Welcome to the World Theatre Day Celebration 2018 Welcome to the World Theatre Day Celebration 2018 3 UNESCO and ITI 5 International Theatre Institute 6 World Theatre Day 7 Message from the Director-General of UNESCO 8 Message Authors 10 Message Authors 2018 Simon McBurney, United Kingdom 12 Werewere-Liking GNEPO, Ivory Coast 15 Sabina BERMAN, Mexico 16 Ram Gopal BAJAJ, Indie 17 Maya ZBIB, Lebanon 18 Dear message authors, of the creation of a cultural organization whose Ladies and gentlemen; focus was on artistic, educational and humanistic World Theatre Day Message 2018 by Simon McBurney 20 values. It was created to build bridges between all World Theatre Day Message 2018 by Werewere-Liking GNEPO 22 Welcome to the World Theatre Day Celebration nations, especially over the Iron Curtain. Under the World Theatre Day Message 2018 by Sabina BERMAN 26 2018 at UNESCO. leadership of Sir Huxley and the British playwright World Theatre Day Message 2018 by Ram Gopal BAJAJ 28 and novelist J.B.
    [Show full text]
  • 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 ..................................................................................................................................
    [Show full text]
  • Georgian Country and Culture Guide
    Georgian Country and Culture Guide მშვიდობის კორპუსი საქართველოში Peace Corps Georgia 2017 Forward What you have in your hands right now is the collaborate effort of numerous Peace Corps Volunteers and staff, who researched, wrote and edited the entire book. The process began in the fall of 2011, when the Language and Cross-Culture component of Peace Corps Georgia launched a Georgian Country and Culture Guide project and PCVs from different regions volunteered to do research and gather information on their specific areas. After the initial information was gathered, the arduous process of merging the researched information began. Extensive editing followed and this is the end result. The book is accompanied by a CD with Georgian music and dance audio and video files. We hope that this book is both informative and useful for you during your service. Sincerely, The Culture Book Team Initial Researchers/Writers Culture Sara Bushman (Director Programming and Training, PC Staff, 2010-11) History Jack Brands (G11), Samantha Oliver (G10) Adjara Jen Geerlings (G10), Emily New (G10) Guria Michelle Anderl (G11), Goodloe Harman (G11), Conor Hartnett (G11), Kaitlin Schaefer (G10) Imereti Caitlin Lowery (G11) Kakheti Jack Brands (G11), Jana Price (G11), Danielle Roe (G10) Kvemo Kartli Anastasia Skoybedo (G11), Chase Johnson (G11) Samstkhe-Javakheti Sam Harris (G10) Tbilisi Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Workplace Culture Kimberly Tramel (G11), Shannon Knudsen (G11), Tami Timmer (G11), Connie Ross (G11) Compilers/Final Editors Jack Brands (G11) Caitlin Lowery (G11) Conor Hartnett (G11) Emily New (G10) Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Compilers of Audio and Video Files Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Irakli Elizbarashvili (IT Specialist, PC Staff) Revised and updated by Tea Sakvarelidze (Language and Cross-Culture Coordinator) and Kakha Gordadze (Training Manager).
    [Show full text]
  • 25.Format.Hum-SHAKESPEARE's TYRANTS from TEXT to STAGE
    IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347-4564; ISSN (E): 2321-8878 Vol. 5, Issue 11, Nov 2017, 197-202 © Impact Journals SHAKESPEARE’S TYRANTS: FROM TEXT TO STAGE MANANA GELASHVILI 1 & KHATIA GAGNIDZE 2 1Professor, Institute of West European Languages and Literature, Faculty of Humanities, IvaneJavakhishviliTbilisi State University, Tbilisi, Georgia 2Research Scholar, Institute of West European Languages and Literature, Faculty of Humanities, IvaneJavakhishvili Tbilisi State University, Tbilisi, Georgia ABSTRACT The aim of the present article is to study the transformation, which Shakespeare's text undergoes from original into translation and finally for the stage adaptation; namely the interpretation of Shakespeare’s famous tyrants (Richard III, Claudius, King Lear, Julius Caesar) by an acclaimed Georgian theatre director Robert Sturua (b. 1938) at The Rustaveli Theatre, Tbilisi. For this purpose four plays by Shakespeare “King Lear”, “Richard III”,“Hamlet” and “Julius Caesar” have been studied. A comparative analysis of the original text and the translation as well as the text of the staged performance reveals the main tendencies apparent in the interpretation. The scenic adaptations of the Shakespeare's plays show that Shakespeare’s highly suggestive text often becomes a means to discuss political problems and represent the currents issues of the Soviet and Post-Soviet period: the dictatorial state, the perversion of power. At the same time stage directing endeavours
    [Show full text]
  • Die Dreigroschenoper Kurt Weill (1900-1950) Hauptmann (1897-1973), Bertolt Brecht (1898-1956)
    1/14 Data Livret de : Elisabeth Die Dreigroschenoper Kurt Weill (1900-1950) Hauptmann (1897-1973), Bertolt Brecht (1898-1956) Langue : Allemand Genre ou forme de l’œuvre : Œuvres musicales Date : 1928 Note : Pièce avec musique en 3 actes. - Livret de Bertolt Brecht et Elisabeth Hauptmann, d'après "The beggar's opera" de John Gay. - 1re exécution : Berlin, Theater am Schiffbauerdamm, le 31 août 1928, avec Lotte Lenya (soprano) Le compositeur en a tiré une suite pour instruments à vent intitulée "Kleine Dreigroschenmusik" Domaines : Musique Autres formes du titre : L'opéra de quat'sous (français) The threepenny opera (anglais) Détails du contenu (4 ressources dans data.bnf.fr) Contient (2) Die Dreigroschenoper. 1. , Kurt Weill (1900-1950) Die Dreigroschenoper. Die , Kurt Weill (1900-1950) Aufzug. Barbara Song Moritat von Mackie Messer (1928) (1928) Voir aussi (1) Die Dreigroschenoper : film , Georg Wilhelm Pabst (1931) (1885-1967) data.bnf.fr 2/14 Data Voir l'œuvre musicale (1) Kleine Dreigroschenmusik , Kurt Weill (1900-1950) (1928) Éditions de Die Dreigroschenoper (175 ressources dans data.bnf.fr) Enregistrements (136) DIE DREIGROSCHENOPER = , Kurt Weill (1900-1950), extrait : DE L'OPERA DE , Kurt Weill (1900-1950), L'Opéra de Quat' sous S.l. : s.n. , s.d. QUAT'SOUS A SEPTEMBER S.l. : s.n. , s.d. SONG extrait : GUITARE PARTY , C. Gray, D. Bennett, Ted choix : Chanson pour le , Mertens, J. Paris, J. Snyder [et autre(s)], S.l. : théâtre Sundstrom [et autre(s)], S.l. s.n. , s.d. : s.n. , s.d. extrait : LES GRANDES , Kurt Weill (1900-1950), extrait : JULIETTE GRECO : , Kurt Weill (1900-1950), CHANSONS DE JULIETTE Hubert Giraud (1920-2016), JE SUIS COMME JE SUIS Stéphane Golmann GRECO René-Louis Lafforgue (1921-1987), Jacques (1928-1967) [et autre(s)], Prévert (1900-1977) [et S.l.
    [Show full text]
  • View Work Across the Sector
    PROF ROSS BROWN BA Job title Emeritus Professor of Sound Orcid ID 0000-0002-7918-9867 <img width="510" height="638" alt="Portrait of Professor Ross Brown" typeof="foaf:Image" class="img u-w-full" decoding="async"/> PROFILE I am best known for my books on the dramaturgy of sound and theatre aurality. I was a professional sound designer, theatre musician and composer in the 1980s/90s and founded the sound design course at Central, one of the first of its kind in the world. I was one of the first to reframe professional artistic practice as research and submit to the Research Assessment Exercise (1996), thus helping to lay the foundation for the establishment of Central’s research department. I was also part of Central’s senior academic leadership team from 2002 in a number of roles, including Dean and, most recently, Interim Principal (2020). I retired at the end of 2020 and was honoured to be made Emeritus Professor in March 2021. I am married to a primary school headteacher and live in South London with a dog called Badger and a record collection that is getting out of control. I was a home-counties, state grammar schoolboy in the 1970s. I played in bands, read the New Musical Express avidly, spent my school dinner money on gigs and vinyl and was good at art. I was supposed to aspire to Oxbridge but my heroes went to art college, so after a foundation at Farnham I went to Newcastle Poly, because it was as far away from Guildford as you could get.
    [Show full text]
  • Brechtian Theory
    GUTES TUN 1,3: BRECHTIAN THEORY AND CONTEMPORARY DIDACTIC THEATER by ERICA MARIE HAAS (Under the Direction of Martin Kagel) ABSTRACT The play Gutes Tun 1,3 (2005), written and performed by Anne Tismer and Rahel Savoldelli, lends to comparison to the works of Bertolt Brecht: Tismer and Savoldelli aim to educate the audience about social issues, using Brechtian performance techniques such as Verfremdung to relay their ideas. However, upon closer examination, it is clear that Gutes Tun 1,3 ultimately diverges from Brechtian theory, especially with regard to the way that social messages are conveyed. INDEX WORDS: Gutes Tun, Off-Theater, German theater, Modern theater, Anne Tismer, Rahel Savoldelli, Ballhaus Ost, Bertolt Brecht GUTES TUN 1,3: BRECHTIAN THEORY AND CONTEMPORARY DIDACTIC THEATER by ERICA MARIE HAAS B.A., New College of Florida, 2005 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2009 ©2009 Erica Marie Haas All Rights Reserved iv DEDICATION This thesis is dedicated to my friends, especially my best friend, Jessica, for all of her love, support, and silly text messages from across the miles. Priya, Beau, Matt, Amy the Brit, Kristie, JP, Med School Amy, Mike, Alia, Fereshteh, Sam, Lea, and Sarah the Zwiebel are some of the best cheerleaders that a girl could ever hope for. Finally, this thesis is dedicated to my friends from Joe Brown Hall, who have made the past two years in Athens so memorable. Life would not have been as much fun without the basement camaraderie and YouTube prowess of Will, Zachary, Carlos, Justin, Caskey, Monika, Hugh, Flo, Ulla, Boris, Keith, Janith, Antje, Marcie, Lena, Susa, Cassie, Sarah, Katie, and Paulina.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]