DOCSLIB.ORG

{DOWNLOAD} Brecht Collected Plays: Baal, Drums in the Night, In

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

BRECHT COLLECTED PLAYS: BAAL, DRUMS IN THE NIGHT, IN THE JUNGLE OF CITIES, LIFE OF EDWARD II OF ENGLAND, AND FIVE ONE ACT PLAYS V.1 PDF, EPUB, EBOOK Bertolt Brecht,John Willett,Ralph Manheim,Eva Geiser,Jean Benedetti,Ernest Borneman,Richard Grunberger,Michael Hamburger,Gerhard Nellhaus,Peter Tegel | 480 pages | 01 Jul 2003 | Bloomsbury Publishing PLC | 9780413685704 | English | London, United Kingdom Brecht Collected Plays: Baal, Drums in the Night, In the Jungle of Cities, Life of Edward II of England, and Five One Act Plays v.1 PDF Book "Nein, das gibt's nicht!", sagt Frau Lizzi, als sie einen winzigkleinen Vampir in ihrer Wohnung entdeckt. Hansebooks ist Herausgeber von Literatur zu unterschiedlichen Themengebieten wie Forschung und Wissenschaft, Reisen und Expeditionen, Kochen und Ernährung, Medizin und weiteren Genres. Dazu wurden insgesamt 6 Währungen eingeführt und wieder abgelöst sowie 6 Wirtschaftspläne zur Stabilisierung der Wirtschaft und zur Bekämpfung der Inflation umgesetzt, der letzte davon 1993, der Plano Real. Unbemerkt für ihn verfällt der Realitätssinn und seine psychische Stabilität. In den "Überlieferungen" werden (nach Fassungen getrennt) in chronologischer Folge die handschriftlichen und gedruckten Textzeugen verzeichnet. Er beginnt, tiefsinniger, leidenschaftlicher und lebensfroher zu leben, die Welt neu zu bestaunen, zu begreifen, zu reifen. Philippe Fuchs stellt in seiner Arbeit heraus, dass viele Verwaltungsorganisationen lediglich einen kleinen Ausschnitt aus jedem einzelnen Verwaltungsprozess kennen, da sie im Rahmen der Aufgabenverteilung nur fur einen fur sie relevanten Prozessschritt innerhalb eines Gesamtprozesses verantwortlich sind. 000 Hauptstichwörtern den Wortschatz, für den es im klassischen Latein Entsprechungen gibt. Essay aus dem Jahr 2011 im Fachbereich Politik - Politische Theorie und Ideengeschichte, Note: 1,7, Georg-August-Universität Göttingen (Seminar für mittlere und neuere Geschichte), Veranstaltung: Diskurs, Bio-Macht, Gouvernementalität - "Geschichte schreiben mit Foucault"?- Theorie und Methoden, Sprache: Deutsch, Abstract: In der Geschichtswissenschaft hat es immer wieder Entwicklungsschübe gegeben, die das Fach revolutioniert haben. Auflage dieses Erfolgsbuches. Die Erfahrung, in einer Klasse bzw. Das Alte Testament erzahlt uns das Leben des Samuel in einem weiten Bogen, der von seiner Geburt bis zu seiner Erscheinung aus der Unterwelt nach seinem Tod reicht. Dies geschieht mit Hilfe einer Testung die an vier verschiedenen Schulen durchgeführt wurde. Was Sie wissen wollen Malen macht nicht nur Kindern Spaß. Excerpt from Der Deutsche Pferd-Arzt Gin fthmer3ltillenbeä aitr mirb bereitet am. Madita Berg lebt in Wiesbaden und betreut privat an drei Vormittagen in der Woche einen zehnjährigen Jungen mit ADHS. German description: Die antike Kultur der Selbstsorge lebt im christlichen Mittelalter und in der fruhen Neuzeit in transformierter Form fort. Während Primo und Kolle Priester Magolus zu einem Besuch im Wüstendorf begleiten, übt der böse Enderman Artrax schreckliche Rache an dem kleinen Dorf am Rande der Schlucht. Er wird zur Zentralfigur im ersten Minneapolis-Thriller. Dieses Buch bietet Antworten auf diese Frage. Doch mit der Gabe geht ein schrecklicher Fluch einher, weshalb ihnen kein Liebesglück vergönnt ist. Durch Zufall sind die Menschen in ein bestehendes Transmitter-System eingedrungen. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. Der Autor betrachtet das komplexe Thema aus verschiedenen Blickwinkeln und macht sich das Wissen antiker und moderner Rhetorik ebenso zunutze, wie die Erkenntnisse von Textlinguistik, Pragmatik und generativer Grammatik. Am Ende des dritten Kapitels werden die Vorteile eines Blockchain basierten Zahlungsverkehrs erörtert. Egal ob als Einführungslektüre oder als Nachschlagewerk in Form eines Handbuchs, werden Sie von der Verwendung bis hin zu allen Einstellungen von Google Kalender fündig. Willensfreiheit 3. Diese für ihn sehr wichtige Aufgabe setzt er bis zum heutigen Tag ehrenamtlich als Dolmetscher und Übersetzer für mehrere Sprachen fort. Vorbei ist es dann mit der beruhigenden Musik, die uns für einige Minuten aus dem anstrengendem Alltag holt, ist sie doch nun der größte Stressfaktor. The HISTORY OF EUROPE collection includes books from the British Library digitised by Microsoft. Der Zauber hatte mich an die Schwelle der Festung des Totenkönigs gebracht. Doch ihre Liebe ist aussichtslos, denn er ist wie Emanuele Jesuit. Hansebooks verlegt diese Bücher neu und trägt damit zum Erhalt selten gewordener Literatur und historischem Wissen auch für die Zukunft bei. Sind ihr etwa die Probleme aus der Grossstadt in die Berge gefolgt. Gesammelte Werke von Otto Ruppius - Fünfter Band ist ein unveränderter, hochwertiger Nachdruck der Originalausgabe aus dem Jahr 1874. Brecht Collected Plays: Baal, Drums in the Night, In the Jungle of Cities, Life of Edward II of England, and Five One Act Plays v.1 Writer Gashydrate, hat die neueste Forschung gezeigt, bieten zudem in vielen Bereichen industrieller Anwendung eine durchaus vielversprechende Alternative zu konventionellen Verfahren. Umso wichtiger ist detailliertes Wissen über die Lizenzierung von Software in virtuellen Umgebungen. Sie sind überzeugt davon, dass der Gaarson-Effekt auf lange Sicht gesehen das energetische Gleichgewicht des Universums stört. Die scheinbar simple Verfolgung verlauft allerdings anders als geplant, gerat dem Detektiv zunehmend auer Kontrolle und endet mit einem uberraschenden Leichenfund. Beim Saugling und beim Kind galt es zunachst, die technischen Probleme zu losen - Instrumente zu entwickeln, welche in Hinsicht auf Kaliber und Flexibilitat auch in dieser Altersklasse moglichst gefahrlos und ohne zu groBe Unannehmlichkeiten angewandt wer den konnen. Welche Chancen und Möglichkeiten bieten sich den Problemen entgegenzuwirken. Die Vidokapselendoskopie gewinnt weltweit zunehmend an Bedeutung und wird inzwischen in Deutschland seit uber 2 Jahren klinisch genutzt. Darauf aufbauend wurden die vier konsistenten Szenarien "The Green Age", "Zweibahnstraße", "Agenda 2025" sowie "Berlicon Valley" formuliert, Chancen und Risiken für jedes Szenario erarbeitet, sowie Handlungsempfehlungen für Energieversorger entwickelt. Sie werden froh sein, es stets in Reichweite zu In diesem Buch finden Sie keine Theorie, keine verwirrenden Fachausdrücke und auch keine komplexen Konzepte. strategische Ausrichtung eines Unternehmens auf die maßgeblichen Anspruchsgruppen des Unternehmens erfolgen müsse". XL VII. -- Verzaubert 3: Gefürchtete Feinde -- Alle Bände der Fantasy-Bestseller- Trilogie »Verzaubert« in einer E-Box. Inhaltsangabe: Zusammenfassung: Die Praxis liefert ein aktuelles und passendes Beispiel dafür, welches Potential in der gezielten Einbeziehung strategischer Anspruchsgruppen in die Geschäftspolitik einer Bank schlummert: Die Citibank steuert im Jahr 2003 auf ein Rekordergebnis zu, und das ausgerechnet mit ihrem Privatkundengeschäft. Des Weiteren beschaftigt sich dieses UEbungsbuch des Grundkurses Informatik mit folgenden Schwerpunkten: Dieses UEbungsbuch richtet sich speziell an Studierende der Informatik oder verwandter Fachrichtungen, die sich in den ersten Semestern ihres Bachelor-Studiengangs befinden. Während der nächsten fast zwanzig Jahre war das Ehepaar zu einem diplomatischen Wanderleben gezwungen und lebte in Peking, Valparaiso, Kairo, New York, Kalkutta und Mexiko, anschließend von 1902 bis 1906 in Hamburg, wo ihr Mann Minister Preußens bei den Hansestädten war. ICT-Investitionen gewinnen für den Mittelstand zur Sicherung der Wettbewerbsfähigkeit enorm an Bedeutung. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. Die Kombination von daten- und modellgetriebener Parallelitat gewahrleistet schon bei einfachen Szenen einen ausreichend hohen Parallelitatsgrad. Gelegentlich ist Kiedis als Schauspieler in kleineren Filmrollen zu sehen. Das Nervensystem bildet daher neben dem Immunsystem eines der Hauptangriffspunkte des HIV- Virus überhaupt. Mara trifft nach Jahren eine Schulfreundin, die sich geschickt zwischen Legalität und Rotlicht bewegt. Oder war er gar ein Schwindler?Konnte die wahre Liebe den Silberschmied retten?Abgerundet werden die Kurzgeschichten durch eine Sammlung von Drabbles. Auch wenn die Autoren der Überzeugung sind, dass noch viele Generationen folgen müssen, um die Leistungsfähigkeit des menschlichen Gehirns zu erreichen, sehen sie doch ein neues Rechen-Zeitalter aufziehen. Auch ist es interessant, eine Zeitung zu analysieren, deren Syntax zumindest auf den nicht unerheblichen Teil der Exklusivleser in normgrammatischer Hinsicht einen großen Einfluss ausüben dürfte. Der Gedanke zum 132;Arbeitsplatz der Zukunft", der die Zusammenführung unterschiedlicher Applikationstypen forciert, findet nicht erst mit der neuartigen Workplace-Technologie von IBM seine ersten Anwendungszüge. Als dann auch noch das mysteriöse Mädchen Faith ihre Wege kreuzt die ebenfalls nach der Vergangenheit sucht, beginnen sich die Zahnräder des Schicksals sich erneut zu drehen. Schweizer Strafgesetzbuch Art. Schließlich wird auf die Risiken der Blasenbildung in Deutschland durch die aktuelle Geldpolitik der EZB eingegangen. Sie zeigt, dass eine
Recommended publications
  • Sonya Loftis

    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.
  • Bertolt Brecht B

    Bertolt Brecht B

    Bertolt Brecht b. Feb. 10, 1898, Augsburg d. Aug. 14, 1956, East Berlin EUGEN BERTHOLD FRIEDRICH BRECHT, German poet, playwright, and theatrical reformer whose epic theatre departed from the conventions of theatrical illusion and developed the drama as a social and ideological forum for leftist causes. Brecht was, first, a superior poet, with a command of many styles and moods. As a playwright he was an intensive worker, a restless piecer-together of ideas not always his own (The Threepenny Opera is based on John Gay's Beggar's Opera, and Edward II on Marlowe), a sardonic humorist, and a man of rare musical and visual awareness; but he was often bad at creating living characters or at giving his plays tension and shape. As a producer he liked lightness, clarity, and firmly knotted narrative sequence; a perfectionist, he forced the German theatre, against its nature, to underplay. As a theoretician he made principles out of his preferences--and even out of his faults. Until 1924 Brecht lived in Bavaria, where he was born, studied medicine (Munich, 1917-21), and served in an army hospital (1918). From this period date his first play, Baal (produced 1923); his first success, Trommeln in der Nacht (Kleist Preis, 1922; Drums in the Night); the poems and songs collected as Die Hauspostille (1927; A Manual of Piety, 1966), his first professional production (Edward II, 1924); and his admiration for Wedekind, Rimbaud, Villon, and Kipling. During this period he also developed a violently antibourgeois attitude that reflected his generation's deep disappointment in the civilization that had come crashing down at the end of World War I.
  • Mother Courage and Her Children

    Mother Courage and Her Children

    1 These notes are designed as a reference for students and teachers who have viewed Belvoir’s 2015 production of Mother Courage and Her Children. They intend to support discussion of this particular production in the classroom. Contents i. Production credits ii. Key biographies iii. Promotional image and marketing copy for the production iv. Character list v. Scene-by-scene synopsis of Michael Gow’s translation of Mother Courage and Her Children (2015) vi. A note on the translation and Eamon’s motivation to work on the play vii. A note on the time, place and production design viii. Set and costume design images ix. A note on Brecht, Belvoir and this production x. A note on the music and songs xi. The character of Mother Courage xii. Plucking up her courage: Robyn Nevin in conversation with Clive Paget (Limelight, June 2015) xiii. Mother Courage: A triumph for Robyn Nevin John McCallum (The Australian, June 2015) xiv. Will’s Final Speech: An extract from Michael Gow’s play Once in Royal David’s City, which premiered at Belvoir in February 2014 (Mother Courage and Her Children show program, 2015) xv. Brecht on the web: Online resources suggested by Belvoir Brecht & Political Theatre tutor Shannon Murphy xvi. Interview with Shannon Murphy (Radio National, March 2015) xvii. Acknowledgements 2 Belvoir presents MOTHER COURAGE AND HER CHILDREN By BERTOLT BRECHT Translation MICHAEL GOW Music Composition STEFAN GREGORY Director EAMON FLACK Set Designer ROBERT COUSINS Costume Designer ALICE BABIDGE Lighting Designer BENJAMIN CISTERNE Fight Choreographer
  • The Treatment of Myth in Modern Drama

    The Treatment of Myth in Modern Drama

    The Treatment ofMyth in Modern Drama (1923-1950): Towards a Typology ofMethods Aspasia Palouka Department of Drama Goldsmiths College of London University Thesis submitted for the degree of Doctor in Philosophy April,2005 Abstract of Thesis The Treatment ofMyth in Modern Drama (1923-1950): Towards a Typology of Methods Between the years 1923 and 1950, a great number of plays employed myth as subject matter or theme. The thesis examines this phenomenon in relation: a) to the modernist movement and its fascination with myth and mythological motifs, b) in relation to the efforts of modernist artists to find means appropriate to non-naturalistic modes of expression. Criticism up to now has surveyed myth-plays focusing on the thematic and ideological treatment of myths (psychoanalytic, religious, political, etc). This thesis proposes a new approach to this issue: it concentrates on techniques of incorporating myth in the structure of a play and on how myth functions within and through it. It identifies three prevailing techniques as methods. These methods form exclusive categories within the period under discussion. Therefore, plays are grouped according to method in order to explore a series of different dramaturgical strategies. Each of the three methods itself reflects a self-conscious attitude towards myth. Therefore, the thesis does not limit itself merely to investigating methods of incorporating myths into dramatic structures. It also examines the ideological sub­ stratum of those attitudes as they determine the discourses developed. 2 Table of Contents Acknowledgements 4 Dedication 5 1. Introduction 6 2. Joyce, Eliot and the Development of the 'Mythical Method' 24 3.
  • A/8Fj S/O. Nih

    A/8Fj S/O. Nih

    37<? A/8fJ s/o. niH EDUCATION THROUGH ALIENATION: ELEMENTS OF GESTALTIST LEARNING THEORY IN SELECTED PLAYS OF BERTOLT BRECHT DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF EDUCATION By Ted Duncan Starnes Denton, Texas December, 1982 Cj Copyright by Ted Duncan Starnes 1982 Starnes, Ted Duncan, Education Through Alienation; Elements of Gestaltist Learning Theory in Selected Plays of Bertolt Brecht. Doctor of Education (College Teaching of Theatre), December, 1982, 191 pp., bibliography, 184 titles. This study explored the relationship between the dramatic and the educational theories developed by Bertolt Brecht and selected twentieth-century theories of pedagogy. A survey of Brecht's life and works revealed that although the stimulus-response theories of the associationist psy- chologists were inappropriate to Brecht's concepts, the three principal aspects of Gestaltism—perception, insight, and life space, as formulated by Max Wertheimer, Kurt Koffka, Wolfgang Kohler, and Kurt Lewin—seemed profoundly related to Brecht's concern with man's ability to perceive and to learn about his environment. Brecht strove to create perceptual images of historical environments. The characters, who represented various ideologies and philosophies in situations which stimulated insightful learning, struggled with life spaces that accu- rately resembled life outside the theatre. Thus, Brecht utilized elements of the theories of perception, insight, and life space in his dramas as he strove to force his audiences to perceive the characters' environments, to grasp the significance and relationships between the characters' environments and their own social milieu, and to recognize those influences in one's life space which attract or repel the individual.
  • Bertolt Brecht - Poems

    Bertolt Brecht - Poems

    Classic Poetry Series Bertolt Brecht - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Bertolt Brecht(10 February 1898 – 14 August 1956) Eugen Berthold Friedrich Brecht; was a German poet, playwright, and theatre director. An influential theatre practitioner of the 20th century, Brecht made equally significant contributions to dramaturgy and theatrical production, the latter particularly through the seismic impact of the tours undertaken by the Berliner Ensemble — the post-war theatre company operated by Brecht and his wife, long-time collaborator and actress Helene Weigel. <b>Life and Career</b> Bavaria (1898–1924) Bertolt Brecht was born in Augsburg, Bavaria, (about 50 miles (80 km) north- west of Munich) to a conventionally-devout Protestant mother and a Catholic father (who had been persuaded to have a Protestant wedding). His father worked for a paper mill, becoming its managing director in 1914. Thanks to his mother's influence, Brecht knew the Bible, a familiarity that would impact on his writing throughout his life. From her, too, came the "dangerous image of the self-denying woman" that recurs in his drama. Brecht's home life was comfortably middle class, despite what his occasional attempt to claim peasant origins implied. At school in Augsburg he met Caspar Neher, with whom he formed a lifelong creative partnership, Neher designing many of the sets for Brecht's dramas and helping to forge the distinctive visual iconography of their epic theatre. When he was 16, the First World War broke out. Initially enthusiastic, Brecht soon changed his mind on seeing his classmates "swallowed by the army".
  • A Transatlantic Dialogue on the Aesthetics of Commitment Within Modernist Political Theatre

    A Transatlantic Dialogue on the Aesthetics of Commitment Within Modernist Political Theatre

    A Thorn in the Body Politic: A transatlantic dialogue on the aesthetics of commitment within modernist political theatre. Ourania Karoula PhD English Literature The University of Edinburgh 2009 Declaration I, Ourania Karoula, declare, that except for all citations referenced in the text, the work contained herein is my own. 2 Abstract of Thesis This thesis investigates the transatlantic manifestation of the debate regarding the aesthetics of commitment in the modernist literary and theatrical tradition. Within the debate theatre occupies a privileged position since (because of its two-fold roles both as theory and performance) it allows a critique both of performative conventions and methods and also a dialectical consideration of the audience’s socio-political consciousness. The debate, often referred to as form versus content – schematically re-written as ‘autonomy’ versus ‘commitment’ – and its transatlantic evaluation are central to modernist aesthetics, as they bring into question the established modes of perceiving and discussing the issue. A parallel close reading will reveal the closely related development of the European and the American traditions and evaluate their critical strengths and shortcomings. The first part of the thesis discusses the positions of Georg Lukács and Bertolt Brecht, Theodor Adorno and Walter Benjamin in tandem with those of the New York Intellectuals, especially as expressed in the latters’ writings in the Partisan Review. The second part extends this transatlantic dialogue through a consideration of the theatrical works of the New York Living Newspaper unit of the Federal Theatre Project (FTP) in the USA and Bertolt Brecht’s vision of and relationship with ‘Americana’ as revealed through such plays as In the Jungle of Cities, Man Equals Man, St Joan of the Stockyards and the 1947 version of Galileo.
  • Brecht Chronology

    Brecht Chronology

    Brecht Chronology 1898 10-Feb Bertolt Brecht born in Augsburg, Bavaria. 1914 Brecht's first poems published. World War I begins. 1917 Brecht enrolls as a medical student at the Ludwig Maximilian University in Munich. 1918 Brecht drafted into World War I as a medical orderly. Brecht writes first play, Baal. 11-Nov Armistice Day, WWI hostilities end. 1919 Brecht has son, Frank with girlfriend, Paula Banholzer. Adolf Hitler joins Deutsche Arbeiterpartei later known as Nationalsozialis- tische Deutsche Arbeiterpartei (National Socialist Party). 1922 Drums in the Night opens in Munich. Brecht wins Kleist Prize. 3-Nov Brecht marries opera singer, Marianne Zoff. 180 An Introduction to the Social and Political Philosophy of Bertolt Brecht 1923 Brecht has daughter, Hanne Hiob, with Zoff. Hiob later becomes a well- known German actor. In the Jungle of Cities premieres in Munich. Brecht begins collaborations with Lion Feuchtwanger. Brecht writes film script, Mysteries of a Barbershop. It stars Karl Valentin and is directed by Erich Engel. Baal premieres in Leipzig. 8-9-Nov Hitler leads the unsuccessful ‘Beer Hall Putsch’ in Munich. 1924 Brecht moves to Berlin. Brecht directs an adaptation of Marlow's Edward the Second, written by him- self and Feuchtwanger. Brecht meets future wife, actress Helene Weigel. They have a son, Stefan. Brecht begins collaborations with Elisabeth Hauptmann. 1926 Man Equals Man premieres in Darmstadt. Brecht begins reading Marx. 1927 Brecht divorces Zoff. Brecht's Hauspostille (Manual of Piety), a volume of poetry is published. Brecht begins work with innovative director, Erwin Piscator. 1928 The Threepenny Opera opens in Berlin with music by Kurt Weill.
  • Brecht and Cabaret

    Brecht and Cabaret

    3 OLIVER DOUBLE AND MICHAEL WILSON Brecht and cabaret One of the most popular anecdotes about Brecht’s early years in Munich involves a significant encounter with the popular comedian Karl Valentin (1882–1948). In October 1922, following on from the success the previous month of the première of Drums in the Night at the Munich Kammerspiele, Brecht was appointed to the dramaturgical team of the theatre and was immediately given the task of rewriting and adapting Marlowe’s Edward II. The writing took place over the winter of 1922/3, but the eight-week rehearsal period, then the longest in the Kammerspiele’s history, did not start until January 1924. In one of his conversations with the essayist and critic Walter Benjamin on 29 June 1938, Brecht told the story of how ‘the idea of Epic Theatre first came into his head’ at one of these rehearsals: The battle in the play is supposed to occupy the stage for three-quarters of an hour. Brecht couldn’t stage manage the soldiers, and neither could Asya [Lacis], his production assistant. Finally he turned in despair to Karl Valentin, at that time one of his closest friends, who was attending the rehearsal, and asked him: ‘Well, what is it? What’s the truth about these soldiers? What about them?’ Valentin: ‘They’re pale, they’re scared, that’s what!’ The remark settled the issue, Brecht adding: ‘They’re tired.’ Whereupon the soldiers’ faces were thickly made up with chalk, and that was the day the production’s style was determined.1 A few years later, Brecht himself wrote a version of the same story in The Messingkauf Dialogues: ‘When the Augsburger was producing his first play, which included a thirty minutes’ battle, he asked Valentin what he ought to do with the soldiers.

  • Women in Brecht and Expressionism Delia Pollock

    Fall 1989 85 New Man to New Woman: Women In Brecht and Expressionism Delia Pollock Following hard on the heels of expressionism, Brecht's early work was shaped by expressionism's apocalyptic fervor, its sense that modern "progress" was proving the source of its own downfall, and its charge to find or create a "New Man"~a social savior and progenitor of a more benevolent form of human relations than the modern period had recently witnessed. Critics debate the nature of expressionism's influence. Some insist that Brecht entirely rejected expressionism and others-like Theodor Adorno-insist that early epic and expressionist theatre were similarly "infantile."1 But no critic has fully recognized the extent to which Brecht develops the emergent but stalemated figure of the "New Woman" in late expressionism.2 Throughout his work, Brecht modifies and extends the expressionist fantasy that a woman will bear the fruits of the New Man's inspiration and consequently enable Utopian regeneration. He does so in part by engaging or, in his words, "dialecticizing" the difference between what appear to be the late expressionist woman's two alternatives: passive adoration and cold activism. From the satirical image of Anna in Drums in the Night through the comic- utopian education of Pelagea in The Mother and the ironic juxtaposition of Kattrin and Mother Courage in Mother Courage, Brecht breaks down the opposition between love and social power in which the late expressionist woman seems trapped. Brecht turns the opposition into a contradiction. He locates the materialist and idealist interests that polarized expressionism in and between female characters.
  • Brecht and China: Towards an Ethical Subject

    Brecht and China: Towards an Ethical Subject

    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. Brecht and China: towards an ethical subject Zheng, Jie 2011 Zheng, J. (2011). Brecht and China: towards an ethical subject. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/46472 https://doi.org/10.32657/10356/46472 Downloaded on 02 Oct 2021 00:28:31 SGT AN ETHICAL BRECHT AND CHINA: TOWARDS SUBJECT BRECHT AND CHINA: TOWARDS AN ETHICAL SUBJECT ZHENG JIE ZHENG JIE ZHENG JIE 2011 2011 SCHOOL OF HUMANITIES AND SOCIAL SCIENCES 2011 Brecht and China: Towards an Ethical Subject Zheng Jie School of Humanities and Social Sciences A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2011 ACKNOWLEDGMENTS I would like to express my deepest gratitude to my supervisor, Dr. Daniel Keith Jernigan, without whom I could never have survived through all hardship in dissertation writing. He not only guided me in my study and research but also provided unwavering moral support. His expertise and his meticulous scholarship have been of great value for me. One simply couldn’t wish for a more inspiring, responsible and caring teacher. I thank Dr. Neil Murphy for his continuous support in the Ph.D. program, which made my research life enjoyable. I own a great debt of gratitude to those who gave valuable criticisms and suggestions throughout my writing: Dr. Bede Tregear Scott, Dr. John Richard Tangney, Dr. Kwok Kian Woon, Dr. Sim Wai Chew and Dr. Sy Ren Quah.
  • The Slow Frenzy of Brecht's in the Jungle of Cities Published on February 20, 1998 by Michelle Powell

    The Slow Frenzy of Brecht's in the Jungle of Cities Published on February 20, 1998 by Michelle Powell

    The Slow Frenzy of Brecht's In the Jungle of Cities Published on February 20, 1998 by Michelle Powell Winter, 1998 marks the arrival on the American Repertory Theater's Loeb stage of Robert Woodruff, a director known for creating stunning visual productions that illuminate classic texts. Woodruff has a keen ability to explore difficult plays, and, with the aid of Paul Schmidt's new translation, he will bring his magic skills to bear on one of Bertolt Brecht's most enigmatic works: In the Jungle of Cities. Woodruff, an artist with a vision and a message, hopes to reveal both the beautiful and the grotesque to those who witness his productions. Michelle Powell: Since in recent years you directed Baal and Man is Man, Jungle is not your first encounter with Brecht's early work. Do Brecht's early plays hold more interest for you than his later, more famous works? Robert Woodruff: Yes, although it is not something I consider consciously. My attraction to Brecht's first attempts at playwriting is the same as it would be to a young poet. At that point, Brecht was searching for a voice. For that reason, plays like Jungle have a raw energy to them, a sense of space between the lines that suggest a young writer looking for a way to communicate. This "space" is an invitation to other artists to stage his plays. When thinking of this "space between the lines," I compare In the Jungle of Cities or Baal, for example, to Galileo, The Caucasian Chalk Circle, or Mother Courage.