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The Threepenny Opera (Rec
Volume 27 Kurt Weill Number 2 Newsletter Fall 2009 David Drew 1930–2009 In this issue Volume 27 Kurt Weill Number 2 Newsletter Note from the Editor 3 Fall 2009 Letters 3 Tribute to David Drew ISSN 0899-6407 David Drew: An Obituary 4 © 2009 Kurt Weill Foundation for Music Alexander Goehr 7 East 20th Street New York, NY 10003-1106 Letter from Drew to Lenya, 1956 5 tel. (212) 505-5240 Struggling for Supremacy: fax (212) 353-9663 The Libretto of Mahagonny 6 David Drew Published twice a year, the Kurt Weill Newsletter features articles Letter from Drew to Lys Symonette, 1970 9 and reviews (books, performances, recordings) that center on Kurt Weill but take a broader look at issues of twentieth-century music David Drew: Für Weill! 10 and theater. With a print run of 5,000 copies, the Newsletter is dis- Kim H. Kowalke tributed worldwide. Subscriptions are free. The editor welcomes the submission of articles, reviews, and news items for inclusion in Recordings future issues. Street Scene (rec. 1949) on Naxos 12 A variety of opinions are expressed in the Newsletter; they do not John Mauceri necessarily represent the publisher's official viewpoint. Letters to the editor are welcome. The Threepenny Opera (rec. 1976) on Sony 13 Foster Hirsch Staff Books Elmar Juchem, Editor Carolyn Weber, Associate Editor Dave Stein, Associate Editor Brady Sansone, Production The Sound of Broadway Music: A Book of Orchestrators and Orchestrations 14 by Steven Suskin Kurt Weill Foundation Trustees Mark N. Grant Kim Kowalke, President Joanne Hubbard Cossa Performances Guy Stern, Secretary Paul Epstein Philip Getter, Treasurer Susan Feder Johnny Johnson, Lost in the Stars, Die Dreigroschenoperin London 16 Walter Hinderer Patrick O’Connor Welz Kauffman Mahagonny Songspiel / Die sieben Todsünden Teresa Stratas, Honorary Trustee at Ravinia Festival, Chicago 18 John von Rhein Milton Coleman, Harold Prince, Julius Rudel, Trustees Emeriti Die sieben Todsünden in Cincinnati 20 Internet Resources bruce d. -
Rebooting Brecht: Reimagining Epic Theatre for the 21St Century
REBOOTING BRECHT: REIMAGINING EPIC THEATRE FOR THE 21ST CENTURY Andrea Rice A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2019 Committee: Edgar Landgraf, Advisor Kristie Foell Clayton Rosati ii ABSTRACT Edgar Landgraf, Advisor This thesis highlights the ways in which Bertolt Brecht’s concept of epic theatre pertains to video games, more particularly, visual novels. Digital drama and romance genres (aka “dating simulators”) are known for their “realism” for their ability to make the player feel as if they are interacting with real people. Yet, the deceptiveness is their apparent inability to replicate fully the kinds of social interactions a person can have. The plot structure oftentimes is also rather simplistic: the goal of these games is that the player gets the girl of their dreams, despite any hardships. The horror game Doki Doki Literature Club (2017) by game developer Dan Salvato challenges these genre shortcomings and aspire to make productive, I will argue, a Brechtian notion of epic theatre. Salvato had a love-hate relationship with visual novels. To him, visual novels were nothing more than “cute girls doing cute things” where any tragic backstory or character arc is just another objective the player must overcome to make the girl of their dreams fall in love with them. Like Brecht, Salvato wants to destroy the illusions created by visual novels and shock people into reflecting about such illusions. He created Doki Doki Literature Club, a horror game disguised as a dating simulator, which takes a critical look at issues such a mental health that visual novels often gloss over and treat as plot points in the story. -
9783110688719.Pdf
Poetic Critique WeltLiteraturen/ World Literatures Schriftenreihe der Friedrich Schlegel Graduiertenschule für literaturwissenschaftliche Studien Herausgegeben von Jutta Müller-Tamm, Andrew James Johnston, Anne Eusterschulte, Susanne Frank und Michael Gamper Wissenschaftlicher Beirat Ute Berns (Universität Hamburg), Hans Ulrich Gumbrecht (Stanford University), Renate Lachmann (Universität Konstanz), Ken’ichi Mishima (Osaka University), Glenn W. Most (Scuola Normale Superiore Pisa), Jean-Marie Schaeffer (EHESS Paris), Stefan Keppler-Tasaki (University of Tōkyō), Janet A. Walker (Rutgers University), David Wellbery (University of Chicago), Christopher Young (University of Cambridge) Volume 19 Poetic Critique Encounters with Art and Literature Edited by Michel Chaouli, Jan Lietz, Jutta Müller-Tamm, and Simon Schleusener ISBN 978-3-11-068857-3 e-ISBN (PDF) 978-3-11-068871-9 e-ISBN (EPUB) 978-3-11-068881-8 ISSN 2198-9370 DOI https://doi.org/10.1515/9783110688719 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. For details go to https://creativecommons.org/licenses/by-nc-nd/4.0/ Library of Congress Control Number: 2020951273 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2021 Michel Chaouli, Jan Lietz, Jutta Müller-Tamm, and Simon Schleusener, published by Walter de Gruyter GmbH, Berlin/Boston The book is published open access at www.degruyter.com. Cover: Designed by Jürgen Brinckmann, Berlin, using a graphic by Anne Eusterschulte Printing and binding: CPI books GmbH, Leck www.degruyter.com We thank the Einstein Foundation Berlin for its generous support of the publication of this volume. -
University Microfilms International 300 N
A DIRECTOR'S PRE-PRODUCTION ANALYSIS OF BERTOLT BRECHT'S "THE CAUCASIAN CHALK CIRCLE.". Item Type text; Thesis-Reproduction (electronic) Authors Faiznorouzi, Mohammad Reza. 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 04/10/2021 10:07:52 Link to Item http://hdl.handle.net/10150/275074 INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(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 through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. -
Female Vocality in Kurt Weill's Street Scene Mckenna Tessa Milici
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2015 If She Had Belonged to Herself: Female Vocality in Kurt Weill's Street Scene McKenna Tessa Milici Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC “IF SHE HAD BELONGED TO HERSELF”: FEMALE VOCALITY IN KURT WEILL’S STREET SCENE By MCKENNA MILICI A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2015 Copyright © 2015 McKenna Milici All Rights Reserved McKenna Milici defended this thesis on April 9, 2015. The members of the supervisory committee were: Douglass Seaton Professor Directing Thesis Sarah Eyerly Committee Member Douglas Fisher Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii For my mother, father, and sister iii ACKNOWLEDGMENTS I am so grateful to have shared this process with such a supportive and encouraging advisor in Douglass Seaton, who is generous in both his time and his counsel. Our weekly meetings made this experience highly gratifying. This thesis would not have been possible without the insights and guidance from my committee members, Sarah Eyerly and Douglas Fisher, who brought fresh perspectives to the project and encouraged me to find new angles from which to pursue my questions. I would like to acknowledge the support of all the Musicology faculty at Florida State University, with special thanks to Denise Von Glahn for her compassionate mentorship. -
Teacher`S Pack for “Threepenny Opera”
The Threepenny Opera A Musical Play Book and lyrics by Bertolt Brecht Music by Kurt Weill Teacher`s Pack The English Theatre Frankfurt 2011 The English Theatre Frankfurt – Teacher`s Pack for “Threepenny Opera” 1. The Author Eugen Bertolt Friedrich Brecht (1898 - 1956) Brecht was a poet, playwright, and theatre director. Born in Augsburg, Germany, he studied philosophy and medicine at the University of Munich before becoming a medical orderly in a German military hospital during the First World War. This experience reinforced his hatred of war and influenced his support for the failed Socialist revolution in 1919. After the war Brecht returned to university but became more interested in literature - his first play to be produced was Baal in 1922. Together with Kurt Weill he later wrote 'The Threepenny Opera' (based on The Beggar's Opera). Brecht added his own lyrics which illustrated his growing belief in Marxism. He also attempted to develop a new approach to the theatre. He tried to persuade his audiences to see the stage as a stage, actors as actors and not to overlook the traditional make-believe of the theatre. Brecht required detachment, not passion, from the observing audience. The purpose of the play was to awaken the spectators' minds so that he could communicate his version of the truth. Brecht's plays reflected a Marxist interpretation of society and when Adolf Hitler gained power in 1933 he was forced to flee from Germany - living in Denmark, Sweden and the Soviet Union and finally the USA. While living in exile he wrote anti-Nazi plays such as 'The Roundheads and the Peakheads' and 'Fear and Misery of the Third Reich'. -
Theatre on Trial: Staging Postwar Justice in the United States and Germany
Theatre on Trial: Staging Postwar Justice in the United States and Germany Minou Arjomand SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE GRADUATE SCHOOL OF ARTS AND SCIENCES COLUMBIA UNIVERSITY 2013 © 2013 Minou Arjomand All rights reserved ABSTRACT Theatre on Trial: Staging Postwar Justice in the United States and Germany Minou Arjomand This dissertation studies the interchange between political theatre and postwar political trials. I argue that to an extraordinary extent, theatre history in this period is inextricable from trial history. Through close archival study of mid-century theatre productions including Bertolt Brecht’s 1954 production of The Caucasian Chalk Circle and the fifteen simultaneous premiere productions of Peter Weiss’s The Investigation in 1965, I show how directors and playwrights looked to legal trials in order to develop and articulate theories of epic and documentary theatre, and how this new theatre in turn sought to effect justice in ways that trials alone could not. Table of Contents Introduction 1 Chapter 1 From Aeschylus to Kafka: Hannah Arendt’s Judgments 17 Chapter 2 Bertolt Brecht: Staging the Law 63 Chapter 3 Erwin Piscator: Cases and Documents 114 Chapter 4 Peter Weiss: Investigations, East and West 156 Afterword 192 Bibliography 196 i Acknowledgements My deepest thanks go to W.B. Worthen, who sponsored this dissertation, and the members of my dissertation committee for their suggestions and support: Judith Butler, Lydia Goehr, Andreas Huyssen, and Bruce Robbins. ii 1 Introduction In the early spring of 1969, Hjalmar Schacht traveled from Munich to see a play at Vienna’s Burgtheater. -
The Meaning in Mimesis: Philosophy, Aesthetics, Acting Theory
The Meaning in Mimesis: Philosophy, Aesthetics, Acting Theory by Daniel Larlham Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Daniel Larlham All Rights Reserved ABSTRACT The Meaning in Mimesis: Philosophy, Aesthetics, Acting Theory Daniel Larlham Theatre as mimesis, the actor as mimic: can we still think in these terms, two and a half millennia after antiquity? The Meaning in Mimesis puts canonical texts of acting theory by Plato, Diderot, Stanislavsky, Brecht, and others back into conversation with their informing paradigms in philosophy and aesthetics, in order to trace the recurring impulse to theorize the actor’s art and the theatrical experience in terms of one-to-one correspondences. I show that, across the history of ideas that is acting theory, the familiar conception of mimesis as imagistic representation entangles over and over again with an “other mimesis”: mimesis as the embodied attunement with alterity, a human capacity that bridges the gap between self and other. When it comes to the philosophy of the theatre, it is virtually impossible to consider the one-to-one of representation or re- enactment without at the same time grappling with the one-to-one of identification or vicarious experience. TABLE OF CONTENTS Introduction: The Meanings in Mimesis 1 1. Embodying Otherness: Mimesis, Mousike, and the Philosophy of Plato 18 2. The Felt Truth of Mimetic Experience: The Kinetics of Passion and the “Imitation of Nature” in the Eighteenth-Century Theatre 81 3. “I AM”; “I believe you”: Stanislavsky and the Oneness of Theatrical Subjectivity 138 4. -
INFORMATION to USERS This Manuscript Has Been Reproduced
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9401297 Francisco Nieva’s “teatro furioso”: Analysis of selected plays Larson, Harold Mark, Ph.D. The Ohio State University, 1993 Copyright ©1993 by Larson, Harold Mark. -
READING BRECHT's the Threepenny Opera
Pramana Research Journal ISSN NO: 2249-2976 THE CONCEPT OF SOCIALIST CRITICISM: READING BRECHT’S The Threepenny Opera Dr. JETTY WILSON Associate Professor, Department of English, KLEF University, India - 522502 [email protected] ABSTRACT This paper is precisely an attempt to study and analyze how Bertold Brecht had upheld the socialist ideals in many of his writings in order to address the voice of the oppressed, particularly in his famous play The Threepenny Opera (1928). Bertold Brecht is best known for debunking and defamiliarising the parochial normative institutions such as religion and the capitalist system being established in favour of the oppressors. Brecht, therefore, makes a scathing criticism on the modern capitalist values and on the morals of the religion through powerful protagonists such as Macheath and Peachum. We can also understand how Brecht exposed the question of contradictory morality. He categorically presents that morality is a tool of the rich and the powerful to maintain their privileged status. Moreover, survival has to come before morals for the lower class citizens. Brecht’s deep desire, therefore, is not to replace one set of hallow moral values with another. Instead, he categorically emphasizes the focus on the wellbeing of the poorest in society. He finally makes an apparent political note that the competitiveness of capitalist system would drive the people to do anything ruthlessly to make money such as stealing, killing, selling the body as though these acts are very normal. Key words: defamiliarise, capitalist system, morality, religion, proletarian, authoritarianism, sociopolitical. BRECHT’S EARLYLIFE After the First World-War, Brecht returned to university and started studying literature as he was interested in it and produced his first play Baal in 1922. -
Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Danièle Huillet, Peter Watkins and Lars Von Trier
Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Danièle Huillet, Peter Watkins and Lars von Trier by Nenad Jovanovic A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Centre for Study of Drama University of Toronto © Copyright by Nenad Jovanovic 2011 Abstract Brechtian Cinemas: Montage and Theatricality in Jean-Marie Straub and Danièle Huillet, Peter Watkins and Lars von Trier Nenad Jovanovic, Degree of Doctor of Philosophy (2011) Graduate Centre for Study of Drama, University of Toronto In this dissertation I investigate the stylistic shift in the cinema of selected filmmakers whose work is rooted in Bertolt Brecht’s dramatic theory: Jean-Marie Straub and Danièle Huillet, Peter Watkins, and Lars von Trier. Through the work of these filmmakers, I trace the ongoing change in the cinematic applications of the theory. By and large, the change consists of a lessening of the role of montage – a technique that occupies a paramount place in Brecht’s theatrical and filmic practice – in favour of the objects within the camera’s field of view and the sounds within the microphone’s range. Since the ultimate effect for which the Brechtian filmmaker aims is that of Verfremdung , theatrical stylisation – itself estranging within the context of cinema – appears as a natural corollary of the described shift in emphasis. I also suggest a causal connection between the aforementioned shift and the growing self-consciousness of the style employed by meainstream cinemas (of which Hollywood is the foremost representative), which often manifests itself in the use of unorthodox editing patterns. -
Brecht on Theatre
BRECHT AND THE EPIC THEATRE It is easier to rob by setting up a bank than by holding up a bank clerk Bertolt Brecht (1898-1956) There’s more than one Bertolt Brecht up Pompeii Brechtian Theory is not ‘Set in Stone’ Brecht’s theatre is constantly changing You cannot separate the theory from the plays You cannot separate the politics from the plays The Good Person of Szechwan Eugen Berthold Friedrich Brecht • Born on 10th Feb 1898 in Augsburg, Germany • Brecht was a sickly child, with a congenital heart condition and a facial tic, He suffered a heart attack at the age of twelve, but soon recovered and continued his education • While in school, he began writing and ended up co-founding and co-editing a school magazine called ‘The Harvest’ and wrote his first play ‘The Bible’ • Studied medicine in Munich (1917-1921) and served in a army hospital in 1918 during World War I • After the war, he moved to Berlin where he was attracted to modern theatre • Appointed as a consultant in 1924 in Deutches Theater in Berlin • Works with Erwin Piscator (originator of the phrase ‘Epic Theatre’) BRECHT • In 1922, his play ‘Drums in the night’ opened and received the prestigious Kleist prize for young dramatist as a result • In 1923 his two plays ‘Jungle of Cities’ and ‘Baal’ cause controversy in Berlin theatre world • First professional production – ‘Edward II’ in 1924 • 1928 - ‘The Threepenny Opera’ becomes a sensation and begins a long collaboration with composer Kurt Weill BAAL 1918 BRECHT • Violent antibourgeois attitude • Among his friends were members