A wide-ranging, detailed and engaging study of Brecht's complex relationship with Greek tragedy and the tragic tradition, which also makes significant archival material available for the first time. Of great interest to any student of theatre (of any period and/or geography), to comparatists and to students of intellectual history.
A wide-ranging, detailed and engaging study of Brecht's complex relationship with Greek tragedy and the tragic tradition, which also makes significant archival material available for the first time. Of great interest to any student of theatre (of any period and/or geography), to comparatists and to students of intellectual history.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Martin Revermann is Professor in Classics and Theatre Studies at the University of Toronto. His publications include Comic Business: Theatricality, Dramatic Technique and Performance Contexts of Aristophanic Comedy (2006), Performance, Iconography, Reception: Studies in Honour of Oliver Taplin (2008, with P. Wilson), Beyond the Fifth Century: Interactions with Greek Tragedy from the Fourth Century BCE to the Middle Ages (2010, with I. Gildenhard), The Cambridge Companion to Greek Comedy (2014), A Cultural History of Theatre, vol. 1 (Antiquity) (2017) and Semiotics in Action (2019).
Inhaltsangabe
Introduction: Radicalism, traditionalism, eristics Part I. Point of contact 1948: 1. 1948 - A year of krisis 2. Professing non-Aristotelianism: Brecht's Small Organon for the Theatre (1948) 3. Utilizing Greek tragedy: Brecht's The Antigone of Sophocles (1948) 4. The making of a model: Antigonemodell 1948 Part II. Positionings: 5. The other Other: Brecht's Asia 6. Naturalism and related diseases 7. Schiller: rival and inspiration 8. Comedy and the comic 9. Shakespeare and the road beyond tragedy Part III. Comparatist explorations: 10. The tragedy of Mother Courage 11. Brechtian chorality 12. Threepenny Opera: the view from below 13. Appellative anti-tragedy: gods, parody and closure in The Good Person of Sezuan 14. Mahagonny: rise and fall of a dystopian city 15. Anti-tragic justice: The Measure 16. Heroism and its discontents I: the epic tragedy The Judith of Shimoda - expansion, commentary, metapoetics 17. Heroism and its discontents II: Galileo, a tragic hero of science? Conclusion: Brecht and tragedy - pulling threads together.
Introduction: Radicalism, traditionalism, eristics Part I. Point of contact 1948: 1. 1948 - A year of krisis 2. Professing non-Aristotelianism: Brecht's Small Organon for the Theatre (1948) 3. Utilizing Greek tragedy: Brecht's The Antigone of Sophocles (1948) 4. The making of a model: Antigonemodell 1948 Part II. Positionings: 5. The other Other: Brecht's Asia 6. Naturalism and related diseases 7. Schiller: rival and inspiration 8. Comedy and the comic 9. Shakespeare and the road beyond tragedy Part III. Comparatist explorations: 10. The tragedy of Mother Courage 11. Brechtian chorality 12. Threepenny Opera: the view from below 13. Appellative anti-tragedy: gods, parody and closure in The Good Person of Sezuan 14. Mahagonny: rise and fall of a dystopian city 15. Anti-tragic justice: The Measure 16. Heroism and its discontents I: the epic tragedy The Judith of Shimoda - expansion, commentary, metapoetics 17. Heroism and its discontents II: Galileo, a tragic hero of science? Conclusion: Brecht and tragedy - pulling threads together.
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