Edinburgh Research Explorer Building new audiences at the Berliner Ensemble, 1949-1956 Citation for published version: Bradley, L 2018, 'Building new audiences at the Berliner Ensemble, 1949-1956', Oxford German Studies, vol. 47, no. 2, pp. 211-229. https://doi.org/10.1080/00787191.2018.1452731 Digital Object Identifier (DOI): 10.1080/00787191.2018.1452731 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Oxford German Studies Publisher Rights Statement: This is an Accepted Manuscript of an article published by Taylor & Francis in Oxford German Studies on 22/05/2018, available online: https://doi.org/10.1080/00787191.2018.1452731 General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact
[email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 Building New Audiences at the Berliner Ensemble, 1949-1956 Laura Bradley University of Edinburgh School of Literatures, Languages & Cultures 50 George Square Edinburgh EH8 9LH
[email protected] ‘Wir setzen in die Logen Arbeiter.’1 (Brecht) When Berlin’s theatres re-opened in 1945, most of the city’s theatre practitioners and spectators had not heard of the plays that are now widely regarded as Brecht’s greatest: Mutter Courage und ihre Kinder, Das Leben des Galilei, Der kaukasische Kreidekreis, and Der gute Mensch von Sezuan.