Chapter One Introduction Fig 1. Justus Sustermans, Portrait of Galileo
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The Department of English Raja N.L Khan Women's College (Autonomous)
The Department of English Raja N.L Khan women's college (Autonomous) Offers Course Material on Life of Galileo For Semester IV CC9(Modern European Literature) Prepared by: Shrabani Chakraborty (S.C) Faculty The Department of English, Raja N. L. Khan Women's College (Autonomous) Page 1 of 13 Life and Works of Bertolt Brecht:- (1898-1956) Berthold Friedrich Brecht was a controversial pacifist who later dropped the first name and changed the spelling of the middle name. Bertolt Brecht is probably the greatest German playwright of the first half of the 20th century. He was born on Feb 10,1898 in Augsburg. He studied medicine in Munich and briefly served at an army hospital in world war-1. During the early 1920, he developed an anti-bourgeois attitude and studied Marxism. Brecht lived in Berlin from 1924 to 1933 where he collaborated with composer Kurt Weill (1900-1950) and developed his theory of "Epic Theatre". In 1933he went into exile, spending six years in the United States (1942_1947), where he did some film-work in Hollywood. During exile, Brecht wrote most of his great plays, essays and poems while his work was being burned in Nazi Germany. I. 1949, he moved back to Berlin and despite the controversial communist ideals of his work, he enjoyed great success. Brecht died of a heart attack in East Berlin on August 14, in 1956 His major works are:- Drums in the Night (1922) The Three penny Opera (1928) Fear and Misery of the Third Reich (1938) The Good woman of Szechwan (1943) Mother courage and her children (1949) Epic Theatre:- "Epic Theatre" is an extremely artistic affair hardly thinkable without artists of virtuosity, imagination, humor and fellow feeling". -
Life of Galileo, by Bertolt Brecht: the Scientific Field of an Era and the Role of the Intellectual in Times of Crisis* [English Version]
Life of Galileo, by Bertolt Brecht: the Scientific Field of an Era and the Role of the Intellectual in Times of Crisis* [English Version] Vida de Galileo, de Bertolt Brecht: el campo científico de una época y el papel del intelectual en tiempos de crisis Vida de Galileu, de Bertolt Brecht: o campo científico de uma época e o papel do intelectual em tempos de crise Received December 11, 2019. Accepted May 7, 2020. Daniel Clavijo-Tavera ** https://orcid.org/0000-0003-4266-3681 Colombia Abstract › To cite this article: Clavijo-Tavera, Daniel (2020). Life of Galileo, Objective: based on the text Life of Galileo, by by Bertolt Brecht: the Scientific Bertolt Brecht, and the theory of the social fields of Field of an Era and the Role of Pierre Bourdieu, the article sets out to demonstrate the Intellectual in Times of Crisis. the dialogue between the work and the taking of Ánfora, 27(49), 43-66. positions —politically and aesthetically— by Brecht in https://doi.org/10.30854/anf.v27.n49.2020.735 relation to the role of the intellectual in times of crisis, Universidad Autónoma de as well as a reflection on the retraction of the hero, Manizales. ISSN 0121-6538 / from the perspective of historical need and the social e-ISSN 2248-6941. conditions of production and reception of the work. CC BY-NC-SA 4.0 Methodology: the study uses the methodology of Pierre Bourdieu's social analysis and notions such as social space, social fields, autonomy, heteronomy and * Article derived from the Research entitled “Life of Galileo, by Bertolt Brecht: the Scientific Field of an Era and the Role of the Intellectual in Times of Crisis". -
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. -
Life of Galileo Script
Life of Galileo Home > English > Context > Encountering Conflict > This article refers to Life of Galileo (play) written by Bertolt Brecht. It focuses specifically on the relationship between the text and the context Encountering Conflict. Script This is essentially a story about what happens when societal authority and individual conscience clash. Throughout the play, Brecht explores the complexities of the relationship between an individual and a society, along with the struggles an individual must endure in choosing between their ideology and their personal safety. It is important to keep in mind that while much of this text is an accurate depiction of Galileo’s life and conflict with the Church, the play is a creative work and takes great liberty with the scientist’s personal life. Be careful in your writing- if you are writing about Galileo as a man; as opposed to a character in Brecht’s play, make sure you distinguish between the two clearly. Brecht’s style Biblical references. The story is both centred around the conflict between Galileo and the Church, and uses this conflict as an allegory for the wider conflict between scientific discovery and authority. Throughout the play, many characters reference verses from the Bible in their speech, and perhaps most significantly, in the final scene, Galileo’s speech contains many biblical references, representing the ways he has changed (or acts changed) during his imprisonment by the Church. Dramatic irony. This is when the audience understands what is happening more than the characters. Because of the audience’s uniquely powerful position in this text, they are often able to find dramatic irony in comments representatives of the Church make to Galileo or Virginia. -
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. -
NATURE Galileo and Scientific History
8 NATURE jANUARY 4, 1936 Galileo and Scientific History The Leaning Tower and Other Stories By Prof. A. S. Eve, F.R.S. GOOD stories are apt to survive by their very the sound of the simultaneou;;ly falling weight;; still fitness. In old age they may lose their ringing in their ears, they could persist in gravely maintaining that a weight of ten pounds would reach savour because they are deemed legendary, but the ground in a tenth part of the time taken by it is not well to part too lightly with old friends. one of a single pound, becauRe they ·were able to The three best stories about Galileo are all under quote chapter and verse in which Aristotle assures suspicion-the swinging lamp, the leaning tower, them that such is the fact." and "eppur si muove". I am sufficiently nai:ve Prof. Lane Cooper claims that there is no to believe that all these three stories may have contemporary evidence of this story and that an underlying basis of fact. Galileo never mentions such an experiment in any of his works. The remarkable thing is that Prof. THE SWINGING LAMP Lane Cooper does not quote, or even refer to, the There is a familiar story of Galileo (in 1581) most important passage bearing on this subject. timing with his pulse the swings of a hanging He quotes correctly (on page 51) page 64 of Crew lamp in the Cathedral at Pisa and finding that the and de Salvio's translation of Galileo's "Dialogues period was independent of the amplitude. -
Program Notes London Sinfonietta June 12-13, 1977
Kurt Weill, Tango Angèle Angèle is de naam van de knappe Parijse fotog rafe uit Weill's opera buffa in één akte "Der Zar läs t sich nic ht photographieren". Vl ak voordat de Tsaar in haar studio arriveert wordt Angèle ontvoerd door een groep samenzweerders; er wordt een pse udo-Angèle geïntroduceerd di e echter de snode opdracht heeft de Tsaar te vermoorden tijdens zijn poseren voor de fotocamera. Maar .... wanneer de Tsaar binnenkomt blijkt hij helemaa l geen tyran en geen monster maar veeleer een demokraat en een pacifi st di e het hele gedoe van het keizerlijk huis en koninklijke hoogheid als een vervelende klucht be chouwt en die niets li ever dan een gewone stervelin g zou zijn . Hij begint bovendien de pseudo-Angèle te verleid en. Angèle's list met de grammofoonplaat en haar voorwendsel - wat eigenlijk amper een voorwendsel is - om met de Tsaar op de divan te kruipen wordt achterhaald door het nieuws dat de politie het komplot heeft ontdekt. De grammofoonopname van het Dobbri-Saxophoon Orkest werd onder supervisie van Weill gemaakt in 1927 in Berlijn en is tijdens alle produkties van de opera gebruikt. Kurt Weill, Alabama-Song De " Aiabama-Song" vormt een onderdeel van het "Mahagonny-Songspiel", dat op 18 juni 1927 in Baden-Baden in première ging, onder regie van o.a. Brecht en met Lotte Lenya als één van de vokalisten. De programmatoelichting zegt: Weill kondigt in dit stuk, zoals vele kunstenaars van deze tijd dat ieder op hun eigen wijze doen, het einde van de burgerlijke kunstvormen aan. -
Kurt Weill Foundation
Introduction and Notes by David Drew Whether you care to mention Weill in the same breath prominently among the modern poets in a family library it is to have any kind of raison d'etre. The thoroughly as Hindemith or as Hollander, as Copland or as Cole where the works of Goethe and Heine, of Johann un-topical representation of our times which would result Porter; whether you see him as an outstanding German Gottfried von Herder and Moses Mendelssohn, had pride from such a change of direction must be supported by composer who somehow lost his voice when he settled of place, and where, no doubt, one could have found a strong conviction, whether it uses an earlier epoch in America, or as an outstanding Broadway composer some of the writings of Eduard Bernstein , if not of (the to mirror aspects of present-day life or whether it finds who somehow contrived to write a hit-show called " The young?) Marx, and perhaps even a crumpled copy of a unique, definitive and timeless form for present-day Threepenny Opera" during his otherwise obscure and the Erfurt Programme of 1891 . phenomena. The absence of inner and outer complica probably misspent Berlin youth ; whether you disagree Unlike Brecht, Weill never needed to repudiate his early tions (in the material and in the means of expression) with both these views and either find evidence of a strik- backg round in order to define his artistic functions and is in keeping with the more naive disposition of the ingly original mind at all stages in his career (but at some objectives. -
The Art of Lotte Lenya E WEILL the Threepenny Opera " Foreign " to Everything- She Is the Complete Nihilist
PHILIPS ;tS, Export No. 409 120 AE ABE 10118. ~ ----~------------- The Art of Lotte Lenya e WEILL The Threepenny Opera " foreign " to everything- she is the complete nihilist. Moritat and Barbara-Song As she sings this song, she and her companions are Rise and Fall of the City Mahagonny making their way to Mahagonny, the " City of Nets". Alabama-Song Mahagonny has been founded as a false paradise for rhe discontented. There, in the pursuit of worthless pleasures, Happy-End they will discover their own private hells. The Alabama Bilbao-Song Song precedes the tragic events of the opera, but in its Lotte Lenya, soprano contrast of moon-struck nostalgia and vicious declama Orchestra conducted by Roger Bean tion it already contains a prophesy. The Threepenny Opera- Moritat and Barbara-Song Happy-End-Bilbao-Song The premiere of The Threepenny Opera in Berlin on Happy End was an indirect sequel to The Threepenny August 31st, 1928 was one of the great events in the Opera, and survives today (in several recent productions) history of modern theatre. The work enjoyed a huge chiefly on account of its masterly score. The Bilbao-Song public success throughout the world, and established a is a half-humorous half-wistful cameo, in Brecht's form of musical theatre which continued to influence Kiplingesque manner. The singer tells of a broken-down other composers and writers even after the Nazis banned old Dance Hall which, for all its shabbiness, seemed the all the works of Weill and Brecht (Weill's collaborator). most beautiful in the world. She recalls the tune which The Threepenny Opera shows how in an unjust society used to be played on a tinny piano. -
“Off to Mahagonny”
“Off to Mahagonny” Kim Kowalke Kim Kowalke, President of the Kurt Weill Foundation for Music in New York Kim Kowalke, President of the Kurt Weill Foundation in New York, explains the history, reception, and performance issues of Aufstieg und Fall der Stadt Mahagonny [Rise and Fall of the City of Mahagonny]. Weill and Brecht’s “epic opera,” though less frequently performed than Die Dreigroschenoper, has nevertheless had an extraordinarily rich but problematic performance history. During Weill’s lifetime there was no definitive version of Mahagonny, with the so-called Paris, Berlin, and Vienna versions all being adaptations of either the Songspiel (1927) or the full-length opera (1930). Tell us about the performance history of Mahagonny during Weill’s lifetime. Kowalke: In Weill’s lifetime Mahagonny never had a chance to establish itself, largely because of the political situation. Universal Edition published a piano- vocal score prior to its première on 9 March 1930 in Leipzig with Gustav Brecher conducting. A few days later Maurice Abravanel conducted it in Kassel. That summer George Szell led it in Prague, and in October Wilhelm Steinberg conducted twelve performances in Frankfurt. By then, however, all the possibilities for the Berlin opera houses had fallen through. Even Klemperer declared it “immoral” and therefore too risky for the erstwhile adventurous Kroll. Finally Ernst Josef Aufricht, who had commercially produced both The Threepenny Opera and Happy End in Berlin, did it at the Kurfürstendamm Theatre. So its first production in Berlin wasn’t even at an opera house, but it did enjoy a run there of some fifty performances. -
MEMORABLE SELECTIONS from CURRENT REVIEWS CULLED from OUR CLIPPING SERVICES German-To-English Translations by Lys Symonette and William Madison
MEMORABLE SELECTIONS FROM CURRENT REVIEWS CULLED FROM OUR CLIPPING SERVICES German-to-English Translations by Lys Symonette and William Madison LONDON SINFONIETTA: "BEANFEST:' 16 APRIL 1985 Although the performance of Di,e sieben Todsunden was rather conventional (the Anna l was weak; the male quartet was excel . So how is [ the Mahagonny Songspie/ ] to be put across to a lent), the audience rewarded it with its heartiest applause; the first 1985 British audience? David Alden, who produced, and David half comprised the bitter satire of the Requiem and the evil bur Fielding, who designed, had no doubts at all. Lots of crude sexual lesque of "Pantomime I.'' jokes (an inflatable lifesize rubber doll, for instance), lots of din, a pair of giant anti-Thatcher posters with movable pound and dollar Elisabeth Bauschmid signs to replace the lady's eyes, [ conductor] Simon Rattle with a Suddeutsche Zeitung toy rocket pointlessly strapped to his back, lots of repetition, and let Munich the music shift for itself. 12 June 1985 The repetition was the most startling element, and in a way the most interesting. A dispirited woman, with a child on a table beside "NEW YORK PRAISES GISELA MAY" her, began the proceedings by intoning "I like it. .. I like it. .. I like it With stormy applause and cries of bravo the audience of the Per ..." one or two hundred times. Though I didn't count, I don't think 1 forming Arts Center of the State University of New York at Pur exaggerate; if I were simply to transcribe her part on this page, my chase honored the actress and singer Gisela May. -
The Three Penny Opera
Kurt Weill Born on the 2nd of March, 1900 in Dessau, Germany, the son of a cantor, Weill displayed THE THREE musical talent early on. By the time he was twelve, he was composing and mounting concerts and dramatic works in the hall above his family's quarters in the Gemeindehaus. After studying theory and composition, Weill enrolled PENNY OPERA at the Berlin Hochschule für Musik, but found the conservative training and the infrequent lessons with Engelbert Humperdinck too stifling. After a season as conductor of the newly formed municipal theater in Lüdenscheid, he returned to Berlin and was accepted into Ferruccio Busoni's master class in composition. By 1925, a series of performances in Berlin and at international music festivals established Weill as one of the leading composers of his generation. A commission from the Baden-Baden Music Festival in 1927 led to the creation of Mahagonny (Ein Songspiel) , Weill's first collaboration with Brecht. The succès de scandale of Mahagonny encouraged Weill and Brecht to continue work on a full-length opera. Exploiting their aggressive popular song-style, Weill and Brecht also wrote several works for singing actors in the commercial theater, including Die Dreigroschenoper and Happy End . The music Music is very strongly present in The Threepenny Opera . The play's By Kurt Weill and Bertolt Brecht score is strongly influenced by jazz. “The Ballad of Mackie Messer,” later translated into “Mack the Knife,” became the play's most well known song. It was written at the last minute because the actor playing I was aroused straightaway by the raw intensity of the Macheath threatened to quit if his character did not receive a proper songs ..