Bertolt Brecht

Brecht On Theatre (eBook, PDF)

Redaktion: Silberman, Marc; Kuhn, Tom; Giles, Steve

• Format: PDF

Produktbeschreibung

Brecht on Theatre is a seminal work that has remained the classic text for readers and students wanting a rich appreciation of the development of Brecht's thinking on theatre and aesthetics. First published in 1964 and on reading lists ever since, Brecht's writings are presented in this definitive edition featuring the wholly revised, re-edited and expanded text produced for the 50th anniversary of the first English publication. With additional texts, illustrations and editorial material, and with almost half the material newly translated, this edition provides a far fuller and more accurate account of the development of Brecht's work and writings.

This edition features:

* Clearer layout and organisation of the text
* New translations of many of the Brechtian texts featured
* Over 40 new, previously untranslated essays
* Essay titles now correspond to the German originals
* A revised selection of illustrations

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Dieser Download kann aus rechtlichen Gründen nur mit Rechnungsadresse in A, B, BG, CY, CZ, D, DK, EW, E, FIN, F, GR, HR, H, IRL, I, LT, L, LR, M, NL, PL, P, R, S, SLO, SK ausgeliefert werden.

Produktdetails

• Verlag: Bloomsbury UK eBooks
• Seitenzahl: 392
• Erscheinungstermin: 18. Oktober 2018
• Englisch
• ISBN-13: 9781350068926
• Artikelnr.: 54951732

Autorenporträt

Bertolt Brecht (1898-1956) is acknowledged as one of the great dramatists whose plays, work with the Berliner Ensemble and critical writings have had a considerable influence on the theatre. His landmark plays include The Threepenny Opera, Fear and Misery of the Third Reich, The Life of Galileo, Mother Courage and Her Children and The Caucasian Chalk Circle.

Bundesarchiv, Bild 183-W0409-300 / Kolbe, Jörg / CC-BY-SA

Inhaltsangabe

List of Illustrations
General Introduction and Acknowledgements

Part One - A New Theatre
Introduction to Part One
Frank 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 Years
Introduction to Part Two
OLD VS. NEW THEATRE
Theatre 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 GESTUS
On 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 Brueghel
On the V-effect of the Elder Breughel
V-effects in Some Pictures of the Elder Breughel
On 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 PROLETARIAT
The 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 Germany
Introduction to Part Three
SHORT ORGANON
Short Organon for the Theatre (1948)
Appendices to the Short Organon (1954)
THEATRE WORK
Friedrich 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 Stagings
The Story
Kurt Palm (1952)
Classical Status as an Intimidating Factor (1954)
ON STANISLAVSKY
Some 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 THEATRE
From Epic to Dialectical Theatre 2 (1954)
Dialectics in the Theatre
Study 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)
MISCELLANEOUS
Cultural Policy and Academy of Arts (1953)
Socialist Realism in the Theatre (1954)
Can the Present-day World Be Reproduced by Means

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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