Bertolt Brecht
Brecht on Theatre
The Development of an Aesthetic
Herausgeber: Giles, Steve; Kuhn, Tom; Silberman, Marc / Übersetzer: Willett, John
Bertolt Brecht
Brecht on Theatre
The Development of an Aesthetic
Herausgeber: Giles, Steve; Kuhn, Tom; Silberman, Marc / Übersetzer: Willett, John
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This volume offers a major selection of Bertolt Brecht's groundbreaking critical writing. Here, arranged in chronological order, are essays from 1918 to 1956, in which Brecht explores his definition of the Epic Theatre and his theory of alienation-effects in directing, acting, and writing, and discusses, among other works, The Threepenny Opera, Mahagonny, Mother Courage, Puntila, and Galileo. Also included is "A Short Organum for the Theatre," Brecht's most complete exposition of his revolutionary philosophy of drama. Translated and edited by John Willett, Brecht on Theater is essential to an…mehr
This volume offers a major selection of Bertolt Brecht's groundbreaking critical writing. Here, arranged in chronological order, are essays from 1918 to 1956, in which Brecht explores his definition of the Epic Theatre and his theory of alienation-effects in directing, acting, and writing, and discusses, among other works, The Threepenny Opera, Mahagonny, Mother Courage, Puntila, and Galileo. Also included is "A Short Organum for the Theatre," Brecht's most complete exposition of his revolutionary philosophy of drama. Translated and edited by John Willett, Brecht on Theater is essential to an understanding of one of the twentieth century's most influential dramatists.
Produktdetails
- Produktdetails
- Verlag: St. Martins Press-3PL
- Seitenzahl: 352
- Erscheinungstermin: 1. Januar 1964
- Englisch
- Abmessung: 203mm x 136mm x 27mm
- Gewicht: 308g
- ISBN-13: 9780809005420
- ISBN-10: 0809005425
- Artikelnr.: 21416356
- Verlag: St. Martins Press-3PL
- Seitenzahl: 352
- Erscheinungstermin: 1. Januar 1964
- Englisch
- Abmessung: 203mm x 136mm x 27mm
- Gewicht: 308g
- ISBN-13: 9780809005420
- ISBN-10: 0809005425
- Artikelnr.: 21416356
Bertolt Brecht; Edited and translated by John Willett
Bundesarchiv, Bild 183-W0409-300 / Kolbe, Jörg / CC-BY-SA
Introduction
PART ONE 1918-1982
Frank Wedekind
A Reckoning
Emphasis on Sport
Three Cheers for Shaw
Conversation with Bert Brecht
A Radio Speech
Shouldn't we Abolish Aesthetics?
The Epic Theatre and its Difficulties
Last Stage: Oedipus
A Dialogue about Acting
On Form and Subject-Matter
An Example of Paedagogics
The Modem Theatre is the Epic Theatre
The Literarization of the Theatre
The Film, the Novel and Epic Theatre
The Radio as an Apparatus of Communication
The Question of Criteria for Judging Acting
Indirect Impact of the Epic Theatre
PART TWO 1988-1947
Interview with an Exile
Theatre for Pleasure or Theatre for Instruction
The German Drama: pre-Hitler
Criticism of the New York Production of Die Mutter
On the Use of Music in an Epic Theatre
Alienation Effects in Chinese Acting
Notes to Die Rundköpfe und die Spitzköpfe
On Gestic Music
The Popular and the Realistic
CONTENTS
On Rhymeless Verse with Irregular Rhythms
The Street Scene
On Experimental Theatre
New Technique of Acting
Two Essays on Unprofessional Acting
Notes on the Folk Play
Alienation Effects in the Narrative Pictures of the Elder Brueghel
A Little Private Tuition for my Friend Max Gorelik
Building up a Part: Laughton's Galileo
'Der Messingkauf': an editorial note
PART THREE 1947-1948
A Short Organum for the Theatre
PART FOUR 1948-1966
Masterful Treatment of a Model
From the Mother Courage Model
Does Use of the Model Restrict the Artist's Freedom?
Formal Problems Arising from the Theatre's New Content
Stage Design for the Epic Theatre
From a Letter to an Actor
Some of the Things that can be Learnt from Stanislavsky
Theaterarbeit: an editorial note
Notes on Erwin Strittmatter's Play Katzgraben
Study of the First Scene of Shakespeare's Coriolanus
Cultural Policy and Academy of Arts
Conversation about being Forced into Empathy
Classical Status as an Inhibiting Factor
Can the Present-day World be Reproduced by Means of Theatre?
Appendices to the 'Short Organum'
'Dialectics in the Theatre': an editorial note
Our London Season
Other English Translations
Index
PART ONE 1918-1982
Frank Wedekind
A Reckoning
Emphasis on Sport
Three Cheers for Shaw
Conversation with Bert Brecht
A Radio Speech
Shouldn't we Abolish Aesthetics?
The Epic Theatre and its Difficulties
Last Stage: Oedipus
A Dialogue about Acting
On Form and Subject-Matter
An Example of Paedagogics
The Modem Theatre is the Epic Theatre
The Literarization of the Theatre
The Film, the Novel and Epic Theatre
The Radio as an Apparatus of Communication
The Question of Criteria for Judging Acting
Indirect Impact of the Epic Theatre
PART TWO 1988-1947
Interview with an Exile
Theatre for Pleasure or Theatre for Instruction
The German Drama: pre-Hitler
Criticism of the New York Production of Die Mutter
On the Use of Music in an Epic Theatre
Alienation Effects in Chinese Acting
Notes to Die Rundköpfe und die Spitzköpfe
On Gestic Music
The Popular and the Realistic
CONTENTS
On Rhymeless Verse with Irregular Rhythms
The Street Scene
On Experimental Theatre
New Technique of Acting
Two Essays on Unprofessional Acting
Notes on the Folk Play
Alienation Effects in the Narrative Pictures of the Elder Brueghel
A Little Private Tuition for my Friend Max Gorelik
Building up a Part: Laughton's Galileo
'Der Messingkauf': an editorial note
PART THREE 1947-1948
A Short Organum for the Theatre
PART FOUR 1948-1966
Masterful Treatment of a Model
From the Mother Courage Model
Does Use of the Model Restrict the Artist's Freedom?
Formal Problems Arising from the Theatre's New Content
Stage Design for the Epic Theatre
From a Letter to an Actor
Some of the Things that can be Learnt from Stanislavsky
Theaterarbeit: an editorial note
Notes on Erwin Strittmatter's Play Katzgraben
Study of the First Scene of Shakespeare's Coriolanus
Cultural Policy and Academy of Arts
Conversation about being Forced into Empathy
Classical Status as an Inhibiting Factor
Can the Present-day World be Reproduced by Means of Theatre?
Appendices to the 'Short Organum'
'Dialectics in the Theatre': an editorial note
Our London Season
Other English Translations
Index
List of IllustrationsGeneral Introduction and AcknowledgementsPart One - A New TheatreIntroduction to Part OneFrank Wedekind (1918)Me in the Theatre (1920)Theatre as Sport (1920)A Reckoning (1920)On the Aesthetics of Drama (1920)On the 'Downfall of the Theatre' (1925)More Good Sport (1926)Three Cheers for Shaw (1926)Prologue to Drums (1926)Shouldn't We Liquidate Aesthetics? (1927)Epic Theatre and Its Difficulties (1927)On New Dramatic Writing (1928)Latest Stage: Oedipus (1929)Dialogue about Acting (1929)On Subject-Matter and Form (1929)On Rehearsing (c. 1930)Dialectical Dramatic Writing (1930/31)Notes on the Opera Rise and Fall of the City of Mahagonny (1930)Notes on the Threepenny Opera (1931)Notes on the Comedy Man Equals Man (1931/38)Notes on The Mother (1933/38)Part Two - Exile YearsIntroduction to Part TwoOLD VS. NEW THEATRETheatre for Pleasure or Theatre for Instruction (1935)On Experiments in Epic Theatre (1935)The German Drama: pre-Hitler (1935)On the Use of Music in an Epic Theatre (1935)Short List of the Most Frequent, Common and Boring Misconceptions about Epic Theatre (1937)The Progressiveness of the Stanislavsky System (1937)On Experimental Theatre (1939)A Short Private Lecture for My Friend Max Gorelik (1944)ON CHINESE THEATRE, VERFREMDUNG AND GESTUSOn the Art of Spectatorship (1935)Maintaining Gestures over Multiple Generations (1935)Verfremdung Effects in Chinese Acting (1936)Three Notes on Verfremdung and the Elder Breughel (1937)Verfremdung Techniques in the Narrative Pictures of the Elder BrueghelOn the V-effect of the Elder BreughelV-effects in Some Pictures of the Elder BreughelOn Determining the Zero Point (1936/37)The Zero Point (1936/37)Notes on Pointed Heads and Round Heads (1936)On the Production of the V-effect (1938)On Gestic Music (1937)On Rhymeless Verse with Irregular Rhythms (1938)The Street Scene (1938)Short Description of a New Technique of Acting that Produces a Verfremdung Effect (1940)Athletic Training (1940)On Epic Dramatic Art: Change (1940)On the Gradual Approach to the Study and Construction of the Figure (1941)REALISM AND THE PROLETARIATThe Popular and the Realistic (1938)Two Essay Fragments on Non-professional (1939)The Attitude of the Rehearsal Director (in the Inductive Process) (1939)Notes on the Folk Play (1940)Part Three - Return to GermanyIntroduction to Part ThreeSHORT ORGANONShort Organon for the Theatre (1948)Appendices to the Short Organon (1954)THEATRE WORKFriedrich Wolf - Bert Brecht: Formal Problems Arising from the Theatre's New Content.A Dialogue (1949)From a Letter to an Actor (1951)What Makes an Actor (1951)Gesture (1951)Two Notes about Urfaust (1952)About Our StagingsThe StoryKurt Palm (1952)Classical Status as an Intimidating Factor (1954)ON STANISLAVSKYSome of the Things That Can Be Learnt from Stanislavsky (1951)On Stanislavsky (1953)Stanislavsky Studies [3] (1953)A Few Thoughts on the Stanislavsky Conference (1953)DIALECTICAL THEATREFrom Epic to Dialectical Theatre 2 (1954)Dialectics in the TheatreStudy of the First Scene of Shakespeare's 'Coriolanus' (1953/55)Relative Haste (1955)A Detour (The Caucasian Chalk Circle) (1955)Another Case of Applied Dialectic (1953)Letter to the Actor Playing Young Hörder in Winter Battle (1954)Mother Courage Played in Two Ways (1951)Example of a Scenic Innovation Through the Observation of a Mistake (1953)Something about Representing Character (1953)Conversation about Coerced Empathy (1953)MISCELLANEOUSCultural Policy and Academy of Arts (1953)Socialist Realism in the Theatre (1954)Can the Present-day World Be Reproduced by Means of Theatre? (1955)Our London Season (1956)Select BibliographyIndex
Introduction
PART ONE 1918-1982
Frank Wedekind
A Reckoning
Emphasis on Sport
Three Cheers for Shaw
Conversation with Bert Brecht
A Radio Speech
Shouldn't we Abolish Aesthetics?
The Epic Theatre and its Difficulties
Last Stage: Oedipus
A Dialogue about Acting
On Form and Subject-Matter
An Example of Paedagogics
The Modem Theatre is the Epic Theatre
The Literarization of the Theatre
The Film, the Novel and Epic Theatre
The Radio as an Apparatus of Communication
The Question of Criteria for Judging Acting
Indirect Impact of the Epic Theatre
PART TWO 1988-1947
Interview with an Exile
Theatre for Pleasure or Theatre for Instruction
The German Drama: pre-Hitler
Criticism of the New York Production of Die Mutter
On the Use of Music in an Epic Theatre
Alienation Effects in Chinese Acting
Notes to Die Rundköpfe und die Spitzköpfe
On Gestic Music
The Popular and the Realistic
CONTENTS
On Rhymeless Verse with Irregular Rhythms
The Street Scene
On Experimental Theatre
New Technique of Acting
Two Essays on Unprofessional Acting
Notes on the Folk Play
Alienation Effects in the Narrative Pictures of the Elder Brueghel
A Little Private Tuition for my Friend Max Gorelik
Building up a Part: Laughton's Galileo
'Der Messingkauf': an editorial note
PART THREE 1947-1948
A Short Organum for the Theatre
PART FOUR 1948-1966
Masterful Treatment of a Model
From the Mother Courage Model
Does Use of the Model Restrict the Artist's Freedom?
Formal Problems Arising from the Theatre's New Content
Stage Design for the Epic Theatre
From a Letter to an Actor
Some of the Things that can be Learnt from Stanislavsky
Theaterarbeit: an editorial note
Notes on Erwin Strittmatter's Play Katzgraben
Study of the First Scene of Shakespeare's Coriolanus
Cultural Policy and Academy of Arts
Conversation about being Forced into Empathy
Classical Status as an Inhibiting Factor
Can the Present-day World be Reproduced by Means of Theatre?
Appendices to the 'Short Organum'
'Dialectics in the Theatre': an editorial note
Our London Season
Other English Translations
Index
PART ONE 1918-1982
Frank Wedekind
A Reckoning
Emphasis on Sport
Three Cheers for Shaw
Conversation with Bert Brecht
A Radio Speech
Shouldn't we Abolish Aesthetics?
The Epic Theatre and its Difficulties
Last Stage: Oedipus
A Dialogue about Acting
On Form and Subject-Matter
An Example of Paedagogics
The Modem Theatre is the Epic Theatre
The Literarization of the Theatre
The Film, the Novel and Epic Theatre
The Radio as an Apparatus of Communication
The Question of Criteria for Judging Acting
Indirect Impact of the Epic Theatre
PART TWO 1988-1947
Interview with an Exile
Theatre for Pleasure or Theatre for Instruction
The German Drama: pre-Hitler
Criticism of the New York Production of Die Mutter
On the Use of Music in an Epic Theatre
Alienation Effects in Chinese Acting
Notes to Die Rundköpfe und die Spitzköpfe
On Gestic Music
The Popular and the Realistic
CONTENTS
On Rhymeless Verse with Irregular Rhythms
The Street Scene
On Experimental Theatre
New Technique of Acting
Two Essays on Unprofessional Acting
Notes on the Folk Play
Alienation Effects in the Narrative Pictures of the Elder Brueghel
A Little Private Tuition for my Friend Max Gorelik
Building up a Part: Laughton's Galileo
'Der Messingkauf': an editorial note
PART THREE 1947-1948
A Short Organum for the Theatre
PART FOUR 1948-1966
Masterful Treatment of a Model
From the Mother Courage Model
Does Use of the Model Restrict the Artist's Freedom?
Formal Problems Arising from the Theatre's New Content
Stage Design for the Epic Theatre
From a Letter to an Actor
Some of the Things that can be Learnt from Stanislavsky
Theaterarbeit: an editorial note
Notes on Erwin Strittmatter's Play Katzgraben
Study of the First Scene of Shakespeare's Coriolanus
Cultural Policy and Academy of Arts
Conversation about being Forced into Empathy
Classical Status as an Inhibiting Factor
Can the Present-day World be Reproduced by Means of Theatre?
Appendices to the 'Short Organum'
'Dialectics in the Theatre': an editorial note
Our London Season
Other English Translations
Index
List of IllustrationsGeneral Introduction and AcknowledgementsPart One - A New TheatreIntroduction to Part OneFrank Wedekind (1918)Me in the Theatre (1920)Theatre as Sport (1920)A Reckoning (1920)On the Aesthetics of Drama (1920)On the 'Downfall of the Theatre' (1925)More Good Sport (1926)Three Cheers for Shaw (1926)Prologue to Drums (1926)Shouldn't We Liquidate Aesthetics? (1927)Epic Theatre and Its Difficulties (1927)On New Dramatic Writing (1928)Latest Stage: Oedipus (1929)Dialogue about Acting (1929)On Subject-Matter and Form (1929)On Rehearsing (c. 1930)Dialectical Dramatic Writing (1930/31)Notes on the Opera Rise and Fall of the City of Mahagonny (1930)Notes on the Threepenny Opera (1931)Notes on the Comedy Man Equals Man (1931/38)Notes on The Mother (1933/38)Part Two - Exile YearsIntroduction to Part TwoOLD VS. NEW THEATRETheatre for Pleasure or Theatre for Instruction (1935)On Experiments in Epic Theatre (1935)The German Drama: pre-Hitler (1935)On the Use of Music in an Epic Theatre (1935)Short List of the Most Frequent, Common and Boring Misconceptions about Epic Theatre (1937)The Progressiveness of the Stanislavsky System (1937)On Experimental Theatre (1939)A Short Private Lecture for My Friend Max Gorelik (1944)ON CHINESE THEATRE, VERFREMDUNG AND GESTUSOn the Art of Spectatorship (1935)Maintaining Gestures over Multiple Generations (1935)Verfremdung Effects in Chinese Acting (1936)Three Notes on Verfremdung and the Elder Breughel (1937)Verfremdung Techniques in the Narrative Pictures of the Elder BrueghelOn the V-effect of the Elder BreughelV-effects in Some Pictures of the Elder BreughelOn Determining the Zero Point (1936/37)The Zero Point (1936/37)Notes on Pointed Heads and Round Heads (1936)On the Production of the V-effect (1938)On Gestic Music (1937)On Rhymeless Verse with Irregular Rhythms (1938)The Street Scene (1938)Short Description of a New Technique of Acting that Produces a Verfremdung Effect (1940)Athletic Training (1940)On Epic Dramatic Art: Change (1940)On the Gradual Approach to the Study and Construction of the Figure (1941)REALISM AND THE PROLETARIATThe Popular and the Realistic (1938)Two Essay Fragments on Non-professional (1939)The Attitude of the Rehearsal Director (in the Inductive Process) (1939)Notes on the Folk Play (1940)Part Three - Return to GermanyIntroduction to Part ThreeSHORT ORGANONShort Organon for the Theatre (1948)Appendices to the Short Organon (1954)THEATRE WORKFriedrich Wolf - Bert Brecht: Formal Problems Arising from the Theatre's New Content.A Dialogue (1949)From a Letter to an Actor (1951)What Makes an Actor (1951)Gesture (1951)Two Notes about Urfaust (1952)About Our StagingsThe StoryKurt Palm (1952)Classical Status as an Intimidating Factor (1954)ON STANISLAVSKYSome of the Things That Can Be Learnt from Stanislavsky (1951)On Stanislavsky (1953)Stanislavsky Studies [3] (1953)A Few Thoughts on the Stanislavsky Conference (1953)DIALECTICAL THEATREFrom Epic to Dialectical Theatre 2 (1954)Dialectics in the TheatreStudy of the First Scene of Shakespeare's 'Coriolanus' (1953/55)Relative Haste (1955)A Detour (The Caucasian Chalk Circle) (1955)Another Case of Applied Dialectic (1953)Letter to the Actor Playing Young Hörder in Winter Battle (1954)Mother Courage Played in Two Ways (1951)Example of a Scenic Innovation Through the Observation of a Mistake (1953)Something about Representing Character (1953)Conversation about Coerced Empathy (1953)MISCELLANEOUSCultural Policy and Academy of Arts (1953)Socialist Realism in the Theatre (1954)Can the Present-day World Be Reproduced by Means of Theatre? (1955)Our London Season (1956)Select BibliographyIndex