Assimilating Suffering: the Banality of Non-Citizen Subjects in Dramatic Texts and Performance
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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 Saying Yes: Collaboration and Scenography of Man Equals Man (Unpublished master's thesis).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. -
A Gender Oriented Approach Toward Brecht
A GENDER-ORIENTED APPROACH TOWARDS BRECHTIAN THEATRE: FUNCTIONALITY, PERFORMATIVITY, AND AFFECT IN MOTHER COURAGE AND HER CHIDREN AND THE GOOD PERSON OF SZECHWAN by SAADET BİLGE COŞKUN Submitted to the Faculty of Arts and Social Sciences in partial fulfillment of the requirements for the degree of Master of Arts Sabancı University August 2015 i ii © Saadet Bilge Coşkun All Rights Reserved iii ABSTRACT A GENDER-ORIENTED APPROACH TOWARDS BRECHTIAN THEATRE: FUNCTIONALITY, PERFORMATIVITY, AND AFFECT IN MOTHER COURAGE AND HER CHILDREN AND THE GOOD PERSON OF SZECHWAN Saadet Bilge Coşkun Conflict Analysis and Resolution, M.A. Thesis, 2015 Supervisor: Assist. Prof. Dr. Hülya Adak Keywords: Bertolt Brecht, epic theatre, performativity, gender, affect This thesis presents a gender-oriented critique of Bertolt Brecht’s theory of epic theatre and his two plays: Mother Courage and Her Children and, The Good Person of Szechwan. Feminist theatre scholars often criticize Brecht’s plays for not paying enough attention to gender issues and merely focusing on a class-based agenda. The main issues that these scholars highlight regarding Brecht’s plays and theory include the manipulation of female figures through functionalizing them in order to achieve certain political goals. Other criticisms focus on how female characters are desubjectified and/or desexualized through this instrumentalism. On the other hand, feminist critics also consider epic theater techniques to be useful in feminist performances. Considering all these earlier criticisms, this thesis aims to offer new perspectives for the gender- focused analysis of epic theatre and Brecht’s later plays. Similar to many other criticisms, I conclude that the embedded instrumentalism of epic theater techniques such as materializing and functionalizing the issues as well as the characters, in most cases leads to stereotyping the female characters. -
This Is Not My Body: Alienated Corporeality and Brechtian Critical Theatre Practices
This is Not My Body: Alienated Corporeality and Brechtian Critical Theatre Practices A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Ashley Majzels IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Michal Kobialka, Professor of Theatre Arts and Dance, Adviser December 2014 © Ashley Majzels, 2014 i Acknowledgments Writing my dissertation would not have been possible without the support and encouragement of many. For his patience and attention I would like to thank my adviser, Michal Kobialka. For their guidance and feedback, I would like to thank my outside examiner Keya Ganguly, as well as Sonja Kuftinec, Ananya Chatterjea, and Margaret Werry. Additionally, I have to thank Ginni Arons for her extensive help in navigating the Grad School's requirements while I was completing the dissertation in Canada. I would also like to thank Megan Lewis, Branislav Jakovljevic and Aleksandra Wolska for their advice and tutelage during my time at the University of Minnesota. A special thanks to Freya Olafson for her time as well as graciously providing access to her archival materials. For their personal support and feedback during the writing process, my thanks and apologies go out to Claudine Majzels, Eve Majzels, Praba Pilar, Per Brask, and Noah Decter-Jackson. ii Dedication My dissertation is dedicated to my family: C, E, F, and S. iii Abstract My dissertation advances a historical materialist understanding of alienated corporeality meant to inform Brechtian critical theatre practices. In the first half of my project, I draw on Marx's account of commodity fetishism and industrial labour to frame a discussion of Brecht's Mann ist Mann. -
Or, How Bertolt Brecht Recreated Frank Wedekind Jonathan Robert Glass Jr Trinity University
Trinity University Digital Commons @ Trinity Speech & Drama Honors Theses Speech and Drama Department 4-22-2009 Reincarnation; Or, How Bertolt Brecht Recreated Frank Wedekind Jonathan Robert Glass Jr Trinity University Follow this and additional works at: http://digitalcommons.trinity.edu/speechdrama_honors Part of the Speech and Rhetorical Studies Commons Recommended Citation Glass, Jonathan Robert Jr, "Reincarnation; Or, How Bertolt Brecht Recreated Frank Wedekind" (2009). Speech & Drama Honors Theses. 4. http://digitalcommons.trinity.edu/speechdrama_honors/4 This Thesis open access is brought to you for free and open access by the Speech and Drama Department at Digital Commons @ Trinity. It has been accepted for inclusion in Speech & Drama Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Reincarnation; Or, How Bertolt Brecht Recreated Frank Wedekind Jonathan Robert Glass, Jr. A departmental senior thesis submitted to the Department of Speech and Drama at Trinity University in partial fulfillment of the requirements for graduation with departmental honors. April 22, 2009 _________________________ _________________________ Kyle Gillette, Thesis Advisor L. Brooks Hill, Department Chair ______________________________________ Sheryl Tynes, Associate Vice President for Academic Affairs Student Copyright Declaration: the author has selected the following copyright provision (select only one): [X] This thesis is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License, which allows some noncommercial copying and distribution of the thesis, given proper attribution. To view a copy of this license, visit http://creativecommons.org/licenses/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. [ ] This thesis is protected under the provisions of U.S. -
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 Is Perhaps the Most Important Figure in Twentieth-Century Theatre Other Than Stanislavski
Brecht’s Theatre: An Overview of Epic Theatre in The Threepenny Opera, The Good Woman of Setzuan, and Man Equals Man Joshua Lellis Lellis - 2 Bertolt Brecht is perhaps the most important figure in twentieth-century theatre other than Stanislavski. Brecht revolutionized a variety of theatrical aspects: text, design, acting, directing, dramaturgy and theory. The best way to examine Brecht’s influence on modern theatre is to study his plays and note how his views on theatre, and, more importantly, on the world as a whole, manifest themselves through his work. Brecht wanted a revolutionary theatre—a theatre that would appeal to an audience’s intellect rather than pander to an audience’s emotions. He wanted an audience to think about the human condition and situation rather than to have an emotional catharsis. Brecht was born in Augsburg, Germany, on February 10, 1898 (Willett, p. 17). Brecht’s early plays, such as Baal, were expressionistic experiments which were episodic in structure and dealt mostly with mood and texture rather than plot. He worked closely with Erwin Piscator, the original mastermind behind “epic theatre”, which is a term now firmly associated with Brecht. The epic theatre involved the use of projections, film segments, and placards which told the story of the play (Willett, 109). Throughout his life, Brecht fleshed out and expanded on these scenic ideas and acting techniques. Brecht approached realistic dramatic theatre forms as obsolete and considered the epic theatre to be the theatre of the future. Whereas the traditional dramatic theatre focuses on characters’ psyches, experiences, and conflicts with plots that build toward inevitable emotional climaxes, the epic theatre is narrative, has flexible characters whose actions vary depending on their circumstances, and promotes rational and intellectual thought over feeling. -
Boxing a Cultural History
A CULTURAL HISTORY KASIA BODDY 001_025_Boxing_Pre+Ch_1 25/1/08 15:37 Page 1 BOXING 001_025_Boxing_Pre+Ch_1 25/1/08 15:37 Page 2 001_025_Boxing_Pre+Ch_1 25/1/08 15:37 Page 3 BOXING A CULTURAL HISTORY KASIA BODDY reaktion books 001_025_Boxing_Pre+Ch_1 25/1/08 15:37 Page 4 For David Published by Reaktion Books Ltd 33 Great Sutton Street London ec1v 0dx www.reaktionbooks.co.uk First published 2008 Copyright © Kasia Boddy 2008 All rights reserved No part of this publication 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 publishers. Printed and bound in China British Library Cataloguing in Publication Data Boddy, Kasia Boxing : a cultural history 1. Boxing – Social aspects – History 2. Boxing – History I. Title 796.8’3’09 isbn 978 1 86189 369 7 001_025_Boxing_Pre+Ch_1 25/1/08 15:37 Page 5 Contents Introduction 7 1 The Classical Golden Age 9 2 The English Golden Age 26 3 Pugilism and Style 55 4 ‘Fighting, Rightly Understood’ 76 5 ‘Like Any Other Profession’ 110 6 Fresh Hopes 166 7 Sport of the Future 209 8 Save Me, Jack Dempsey; Save Me, Joe Louis 257 9 King of the Hill, and Further Raging Bulls 316 Conclusion 367 References 392 Select Bibliography 456 Acknowledgements 470 Photo Acknowledgements 471 Index 472 001_025_Boxing_Pre+Ch_1 25/1/08 15:37 Page 6 001_025_Boxing_Pre+Ch_1 25/1/08 15:37 Page 7 Introduction The symbolism of boxing does not allow for ambiguity; it is, as amateur mid- dleweight Albert Camus put it, ‘utterly Manichean’. -
Kenneth Goldsmith
6799 Kenneth Goldsmith zingmagazine 2000 for Clark Coolidge 45 John Cage 42 Frank Zappa / Mothers 30 Charles Ives 28 Miles Davis 26 James Brown 25 Erik Satie 24 Igor Stravinsky 23 Olivier Messiaen 23 Neil Young 23 Kurt Weill 21 Darius Milhaud 21 Bob Dylan 20 Rolling Stones 19 John Coltrane 18 Terry Riley 18 Morton Feldman 16 Rod McKuen 15 Thelonious Monk 15 Ray Charles 15 Mauricio Kagel 13 Duke Ellington 3 A Kombi Music to Drive By, A Tribe Called Quest M i d n i g h t Madness, A Tribe Called Quest People’s Instinctive Travels and the Paths of Rhythm, A Tribe Called Quest The Low End Theory, Abba G reatest Hits, Peter Abelard Monastic Song, Absinthe Radio Trio Absinthe Radio Tr i o, AC DC Back in Black, AC DC Dirty Deeds Done Dirt Cheap, AC DC Flick of the Switch, AC DC For Those About to Rock, AC DC Highway to Hell, AC DC Let There Be R o c k, Johnny Ace Again... Johnny Sings, Daniel Adams C a g e d Heat 3000, John Adams Harmonium, John Adams Shaker Loops / Phrygian Gates, John Luther Adams Luther Clouds of Forgetting, Clouds of Unknowing, King Ade Sunny Juju Music, Admiral Bailey Ram Up You Party, Adventures in Negro History, Aerosmith Toys in the Attic, After Dinner E d i t i o n s, Spiro T. Agnew S p e a k s O u t, Spiro T. Agnew The Great Comedy Album, Faiza Ahmed B e s a r a h a, Mahmoud Ahmed E re Mela Mela, Akita Azuma Haswell & Sakaibara Ich Schnitt Mich In Den Finger, Masami Akita & Zbigniew Karkowski Sound Pressure Level, Isaac Albéniz I b e r i a, Isaac Albéniz Piano Music Volume II, Willy Alberti Marina, Dennis Alcapone Forever Version, Alive Alive!, Lee Allen Walkin’ with Mr. -
"(Silence)" Scripting [It], Staging [It] on the Page, for the Stage
Spring 2001 69 "(silence)" Scripting [It], Staging [It] on the Page, for the Stage Clark Lunberry Our pages burn themselves as theater awaiting an extinguishing mist I sang my name but it sounded strange I sang the trace then without a sound, then erased it. —Michael Palmer, "Sun" The stage is no place for silence. The silence is no place for a stage. Like a white page upon which it is inscribed, presented as dramatic instruction— "(siience)"—the word is made into a mark, made into a bracketed moment, only to be instantly, noisily transformed into utterance. Mouths closed; the word erased but still seen, fully present and intended to form and function, to speak breathlessly. The speakers stop, pause, silent. On the page or on the stage, this instructed silence nevertheless stealthily expands and fills as a signified absence, inflating into a deliberately, paradoxically evacuated dimension; ink absorbed onto paper, always echoing. Jacques Derrida, commenting on Bataille, accurately diagnosed the dilemma of trying to represent silence, If the word silence 'among all words', is 'the most perverse or the most poetic,' it is because in pretending to silence meaning, it says nonmeaning, it slides and it erases itself, does not maintain itself, silences itself, not as silence, but as speech.1 Silencing itself as speech, saying the spacings, preparing the pause, the Clark Lunberry is a writer and visual artist who lives in Milwaukee, Wisconsin. Currently a doctoral candidate in the Modern Studies Program at the University of Wisconsin-Milwaukee, Lunberry is writing a dissertation on articulations/disarticulations of absence in literature, theater, and the visual arts. -
The Full Article in PDF Format
REVIEW1 CONTENTS Dialectics As Tragedy . 3 by Herbert Weisinger St. Brecht Of The Theatrical Stock Exchange . .......... 15 by Eleanor Hakim Art And Revolution ........... 37 by Emile Capouya On Returning To Major Art ............. 45 by David Alfaro Siqueiros Blues People ... ..... 53 by Frank Kolsky Deutscher's Biography Of Trotsky ..... 65 by Marcel Liebman Existentialism And Revisionism . ................... 81 by William Ash The Artist In Society ............ 91 by Peter Clecak Editor, Frances Kelly Designer: Ernest Socolov Photos: Page 40, National Guardian; page 62, Leroy Mclucas Published by Monthly Review Inc., 333 Sixth Ave., New York 14, N. Y. Copyright 0 1965 by Monthly Review Inc. ..Newsstand distributor, B. de Boer, 188 High Street, Nutley, N.J . St.IJrscht of the· q;heatricaZ Stocli ~}¢change by G)Zsa,nor ,}jaliim The purpose .of this essay is to discuss the radical nature the erroneous expectation that the work of art, in itself, of art-in this case, drama-and the way in which it is can countervail existing political and ideological values. utilized in present-day American society. The plays of But the social organization which generates these values, Bertoli Brecht provide a particularly fruitful test case for now relatively stabilized, is capable of accommodating this study insofar as his works, which were explicitly in~ perspectives which are at variance with it. Today, in tended to function as more than "culinary" entertainment, stead of revitalizing society, art is devitalized by the social are today becoming hot commodities on the theatrical use-specifically as commercial entertainment-to which stock exchange. During the past decade, what might be society reduces it. -
“Abolishing Aesthetics”: Gestus in Brecht's Arturo Ui
“Abolishing Aesthetics”: Gestus in Brecht’s Arturo Ui NOZOMI IREI SOUTHERN UTAH UNIVERSITY o use Brecht without criticizing him is betrayal,” says Heiner Müller (14). While this is a provocative statement for which multiple inter- “Tpretations are possible, one observation Müller certainly brings to the fore is the difficulty of making a claim about an artist’s work without necessarily “betraying” the artist and the work. Müller accentuates the usual notion that criticism is a necessary “betrayal” of the work being analyzed. His state- ment reveals that Brecht’s art demands that we be critical, that is, that we become aware of how Brecht, as artist and thinker, was always honing his ideas. Müller shows that taking Brecht at face value and not engaging with the contradictions taken up in his work is tantamount to concluding that Brecht’s complex work is merely a mass of confusion or inconsistencies. Such a con- clusion would be quite inaccurate, for the Grundgestus—the fundamental at- titude consciously fashioned—that guides Brecht’s plays and his theoretical writings may well be articulated as follows: Let contradictions be revealed. Anything that falls short of this edict “betrays” Brecht by refusing to consid- er his entire work as a dynamic attempt at exploring the role of the artist in his society, as opposed to any society in general. Brecht shows how the artist, in the end, can only speak in relation to his situatedness in a particular time and space. The artist does not transcend his society. Brecht faces this head on in various ways as his works take up particular political and social situations. -
Aesthetic Theory of Bertolt Brecht and Cinema
TRNC NEAR EAST UNIVERSITY THE INSTITUTE OF SOCIAL SCIENCES RADIO, TELEVISION AND CINEMA PROGRAM AESTHETIC THEORY OF BERTOLT BRECHT AND CINEMA (Project of Master of Arts) Emel TOZLU ASLAN 20062067 Supervisor Asst. Prof. Dr. İbrahim ÖZEJDER NICOSIA FEBRUARY 2009 ,·.,. \\ ~(\\ ~\~ ~ :ı TRNC ı'.\ ~.. ~. NEAR EAST UNIVERSITY \ ' THE INSTITUTEOF SOCIAL SCIENCES RADIO, TELEVISION AND CINEMA PROGRAM AESTHETIC THEORY OF BERTOLT BRECHT AND CINEMA This project in terms of quality and content of Radio, Television and Cinema as a Master Project was adequate and successful. /~ Supervisor Asst. Prof. Dr. İbrahim ÖZEJDER ABSTRACT AESTHETIC THEORY OF BERTOLT BRECHT AND CINEMA By Emel TOZLU ASLAN The Institute of Social Sciences Radio, Television and Cinema Program February 2009, 41 pages This study defines Bertolt Brecht's Aesthetic Theory and this Theory is examined how it is formed in to cinema. Based on existing literature and visual resources, and this understanding has been described by Brecht's Aesthetic Theory and how it is applied to the cinema and how the impact of Brecht's Aesthetic Theory is specified. Bertolt Brecht's Aesthetic Theory indicates a revolution, the research done, has tried to clarify the reason why the Theory was not used according to the characteristics of the period he was living in as an approach in the cinema during Bertolt Brecht's life time. Key Words: Aesthetic Theory, Cinema, Expressionism, Epic Theatre iii TABLE OF CONTENTS INTRODUCTION 1 1. BERTOLT BRECHT'S LIFE, WORKS AND THE CHARACTERISTICS OF THE PERIOD HE WAS LIVING 2 1.1. Two Names Which Influenced Bertolt Brecht In His Theory of Aesthetic: Erwin Piscator & Max Reinhart.