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Journal articles on the topic "Brecht, Bertolt (1898-1956) – Appréciation"
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Skrziepietz, Andreas. "Medical student Bertolt Brecht (1898–1956)." Journal of Medical Biography 17, no. 3 (August 2009): 179–84. http://dx.doi.org/10.1258/jmb.2009.009020.
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Summary Bertolt Brecht was one of the most important dramatists of the 20th century. At the start of his career he studied literature but switched from the humanities to medicine. This paper discusses reasons for this switch, the influence of his medical experiences on his poetic work and why he eventually abandoned his medical career. His political development towards Marxism is described and a short sketch of his theory of theatre is given. He is considered the most important German-speaking dramatist of the 20th century.
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Fedorenko, Larysa. "BRECHT’S THEATER: GENRE DIVERSITY AND BASIC CONCEPTS." Philological Review, no. 1 (May 31, 2021): 196–204. http://dx.doi.org/10.31499/2415-8828.1.2021.232741.
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The article is devoted to the drama of Bertolt Brecht (1898–1956), the peculiarities of its genre palette and analysis of the main factors of the playwright's artistic method. To achieve this goal, the following research methods were used: descriptive; matching method; literary analysis and synthesis. The Brecht Theater is represented by genre varieties of theatrical forms: expressionist drama, musical, opera, operetta, Lehrstück, epic and dialectic theater. The article proves that dialectics is the ideological soil and the conceptual core of the Brecht Theater. The dialectic poetics of a playwright should be understood as the method of analysis and argumentation presented by the Hegelian triad: thesis – antithesis – synthesis. In accordance with the dialectical concept, the Brecht theater puts in the center primarily the principle of contradiction, aimed at a multifaceted understanding of phenomena, overcoming a frozen, ossified way of thinking. The study defines the key concepts and principles of creating the drama of Bertolt Brecht, namely the «alienation effect» (Verfremdungseffekt) and assemblage (composition). The principle of the «alienation effect» is that a familiar phenomenon appears in the theater from an unexpected perspective, and therefore requires awareness of the viewer’s novelty. The means of this is the constant violation of theatrical illusion, the reality of what is happening on stage. The assemblage stipulates that the theatrical action is not a homogeneous system, but is a «made», «constructed» plane of various heterogeneous «materials»: dialogical discourse is interrupted by lyro-epic components (songs); in the musical plan, which is designed in the same style, jazz elements are suddenly «mounted», actors exchange roles during the performance, elements of the cinema «penetrate» the event plane, the causal course of the events depicted is interrupted by the demonstration of banners or posters with provocative appeals. The prospects for further research are the literary analysis of post-Brecht theater, that is, drama, which appeared as an imitation or negation of the dramatic principles of Brecht's theater.
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Gamsa, Mark. "Sergei Tret'iakov's Roar, China! between Moscow and China." Itinerario 36, no. 2 (August 2012): 91–108. http://dx.doi.org/10.1017/s0165115312000587.
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The writer, poet and dramatist Sergei Tret'iakov was a central figure of the early Soviet literary and artistic avant-garde. Born in 1892 in Kuldiga, a town in what is now Latvia and was then the Governorate of Courland, one of the three Baltic provinces of the Russian empire, he was educated in prerevolutionary Riga and Moscow. Fluent also in Latvian and German, he started out as a poet in Russian and came under the influence of futurism when living in Vladivostok in 1919. During the Russian Civil War, Tret'iakov spent several months in Harbin, Tianjin, and Beijing in 1920 and 1921, and he returned to China as a teacher of Russian at Peking University between 1924 and 1925. The mid-1920s were also his most productive period as a writer for the theatre. Back in the Soviet Union, he went on to write experimental documentary prose, reportage and film scenarios while making radical statements in literary theory. He collaborated closely with the poet Vladimir Mayakovsky (1893–1930), the cinema director Sergei Eisenstein (1898–1948) and the theatre director Vsevolod Meyerhold (1874–1940), and as a translator and critic he brought the plays and poetry of Bertolt Brecht (1898–1956) to Soviet readers.
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""Fatzer" by Bertolt Brecht and Heiner Müller as Lehrstück-dramaturgy." Journal of V. N. Karazin Kharkiv National University, Series "Philology", no. 83 (2019). http://dx.doi.org/10.26565/2227-1864-2019-83-08.
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The object of this study is the genre of Lehrstück ("learning play"), whose founder was Bertolt Brecht (1898 - 1956), a follower and reformer – Heiner Mueller (1919 - 1995). The article examines the fundamental complex of Lehrstück-dramaturgy of both German playwrights, united under the name "Fatzer". In addition to the story-narrative basis, the study also focuses on song discourse. Songs as a kind of "text in the text", the lyro-epic component in the dramatic plane is, as it is known, a characteristic feature (post)-Brecht dramaturgy, as well as one of its main structural components. Songs is an important means of "V-Effekt", which was also used by Heiner Müller. These poetic-musical inserts serve as an analytical author's commentary. The introduction of the songs corresponds to the principle of assemblage, which was used by Brecht and Mueller in order to "alienate" the stage action. Assemblage technique assumes that the theatrical action is not a homogeneous system, but a "assembled" "designed" of various heterogeneous "materials" plane. An important element of "Fatzer" as well as other Lehrstücks, are projections. As a kind of libretto liners, they demonstrate the subtext of the work, which represents the main "learning" filling of the dramas of Brecht and Müller. The Projections are not just a mechanical auxiliary – their main role is to prevent the full sensual immersion of the viewer and inert follow the course of action. Thus, the projections give the action an indirect effect. In the form of expression in the play "Fatzer" it is possible to distinguish verbal and illustrative-demonstrative projections, which reveal the content of the scene, explain the key moments of the episode, demonstrate and quote the author's position.
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De Carvalho, Carlos Roberto, and Flávia Miller Naethe Motta. "AVALIAÇÃO DA EDUCAÇÃO EM TEMPOS SOMBRIOS A BOMBA, O MENDIGO, O CÃO E A PEC 241." Educação em Foco, September 3, 2019. http://dx.doi.org/10.34019/2447-5246.2019.v24.27869.
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Nos tempos sombrios em que nos encontramos, buscamos em enunciados jornalísticos reiterar as palavras de Albert Camus (1913-1960): “a vida como está não nos parece satisfatória, os homens morrem e não são felizes”. As palavras do dramaturgo e poeta alemão Bertolt Brecht (1898-1956), por certo corroboram, expressam desagrado: “Eu vivo um tempo sombrio”. Dois autores que trouxemos em nosso socorro para iluminar com seus escritos poéticos, críticos e filosóficos nossas reflexões sobre as sombras que pairam sobre nosso tempo: a fome, os refugiados, as guerras, a infância, a juventude, a velhice e a crise na educação. Essa última, fruto do avanço de uma política de extrema direita que “vem cortando direitos dos trabalhadores e abandonando a luta contra a mudança climática, que é precisamente aquilo que pode acabar com todos nós” (CHOMSKY). Tempo de absoluta depuração (DRUMMOND). Sombras cujas imagens sintetizamos em quatro existências, a nosso ver medonhas, apocalípticas: a bomba, o mendigo, o cão e a PEC 241. Quatro sintomas que nos mostraram que as condições que geraram Auschwitz persistem ainda hoje em todas as nações e países; portanto, enquanto persistirem essas condições, Auschwitz é uma ameaça que a educação não pode ignorar. Nossa preocupação é pensar a educação contemporânea a partir desse contexto de barbárie e de banalização da vida em geral. Partimos da seguinte premissa: a de não poder pensar a avaliação da educação, que é um discurso sobre o mundo, sem pensar no contexto verbal onde ela se realiza. Daí voltarmos nossa atenção para os textos jornalísticos, pois são eles que cotidianamente influenciam nossa visão de mundo e consequentemente interferem em nossas avaliações. A nosso ver, o que precisa ser avaliado e a “Educação Após Auschwitz” (ADORNO) ou após qualquer outra tragédia na sua evidência contemporânea. Em todos os casos, ver as sombras que nos assombram nestes tempos sombrios a que se referiram Brecht, Camus, Bandeira, Drummond, Agamben, Chomsky, Arendt, Niemoller, Exupéry, Bhabha, Volóchinov e Adorno.
Dissertations / Theses on the topic "Brecht, Bertolt (1898-1956) – Appréciation"
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Haviaras, Sotirios. "La Réception de Brecht en Grèce, 1955-1981." Paris 7, 1989. http://www.theses.fr/1989PA070056.
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Soro, Bakary. "La réception de Brecht en Afrique chez Wolé Soyinka, Alioum Fantouré et Ngugi wa Thiong'o." Université Marc Bloch (Strasbourg) (1971-2008), 2006. http://www.theses.fr/2006STR20026.
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La réception de Brecht chez Wolé Soyinka, Alioum Fantouré et Ngugi wa Thiong'o montre une certaine liberté que les auteurs africains s'octroient avec le texte de Brecht et qui nous fait réfléchir sur le rapport parfois ambivalent entre le regard que le "je" de ces auteurs porte sur "l'autre" qui est ici Brecht et ce que Brecht est en réalité. Dans le cas spécifique de Soyinka, de Fantouré et, dans une moindre mesure, de Ngugi, cette lecture devient une sorte de relecture de "l'autre" Brecht qui se voit ainsi "domestiqué" au point de devenir désormais, thématiquement et stylistiquement, un élément local dans leur complexe littéraire. Alors que Soyinka réactualise la tradition yoruba avec Brecht en toile de fond, faisant ressortir les éléments dramatiques qui interviennent dans les deux traditions africaine et européeenne, mais avec des fonctions poétiques différentes, Fantouré montre une réception ponctuelle et limitée à la reprise du cercueil de zinc dans Le Cercle des Tropiques, séparant toutefois le politique de l'idéologique. Seul Ngugi, de tendance marxiste, donne à la réception de Brecht, des contours plus affirmés avec un recours marqué au dramaturge allemandThe reception of Brecht in Africa in the works of Soyinka, Fantouré and Ngugi shows a certain freedom which the African authors make use of when dealing with Brecht-texts. This approach urges us to reflect upon the often ambivalent relationship between the "I" of these authors contemplating the "other", being Brecht, and what Brecht represents in reality. In the specific cases of Soyinka, Fantouré and, to a lesser extent, Ngugi, this reading becomes a new way of reading the "other", who now is "tamed" to the point of becoming thematically ans stylistically a local element in their literary complex. Soyinka reactualises the Yoruba-tradition with the help of Brecht, letting the dramatical elements emerge from both African and European traditions. These elements play a role in these two traditions, however with different poetical fonctions. Fantouré reflects a punctual reception of Brecht which is limited to the use of the "Zinc Coffin" in "Le Cercle des Tropiques". Fantouré differentiates between political aspects and ideology. It is only with Ngugi, a tendenciously marxist writer, that the reception of Brecht becomes strongly elaborated with a visible reference to the German author
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Baker, Clara Martha. "Bertolt Brecht and the Bible." PDXScholar, 1985. https://pdxscholar.library.pdx.edu/open_access_etds/3436.
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This thesis presents evidence which supports Bertolt Brecht's oft-quoted statement that the Bible was the book which exerted the greatest influence upon his writings. While Brecht's early works, Die Bibel (1913), and Die Dreigroschenoper (1928), serve as the main examples, there are also references to biblical allusions from a number of his other writings and some of his poetry. There is general information on Brecht's religious background and en his extensive biblical knowledge which enabled him to use the Bible as one of his principal sources. Brecht's manner of usage and adaptation of religious and biblical material to suit his purposes is noted. As well, a consideration of the views and findings of a number of critics and writers with an interest in Brecht both as an individual and as a writer and poet, provides a degree of clarification of Brecht's approach to the Bible. Included too is sane detail which could posit the Bible as a possible catalyst in Brecht's examination of Marxism as a viable alternative to religion in meeting the needs and aspirations of mankind and of society.
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Fowler, Kenneth Ray. "Received truths : problems of the music-text relationship and Bertolt Brecht." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66168.
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Grubisich, Teresa Maria [UNESP]. "A parábola teatral de Bertolt Brecht: tese ou antítese?" Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/102390.
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grubisich_tm_dr_arafcl_prot.pdf: 621650 bytes, checksum: a31036a044e0c160bb04c93a8839cf33 (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Ao lermos as peças brechtianas, deparamo-nos com algumas, denominadas pelo dramaturgo, parábolas, seja no título das mesmas, como A alma boa de Setsuan - parábola e A resistível ascensão de Arturo Ui - parábola, seja no corpo do texto, como é o caso de Os cabeças redondas e os cabeças pontudas, Quanto custa o ferro? e O preceptor, nas quais essa denominação aparece no prólogo ou no epílogo. Procuramos então pela especificidade do gênero que nasce no contexto do Novo Testamento e constatamos tratar-se de uma metanarrativa, de uma narrativa encaixada em um texto maior com o qual mantém uma relação exemplar, de reafirmação do discurso enunciado, prova da verdade da sua Palavra/Parábola. A parábola funciona, então, como demonstração desta verdade. Por assim configurar-se, revela-se como um poderoso instrumento didático e doutrinário; ela não só veicula idéias a serem incorporadas pelo receptor, mas também, por estar dotada de estratégias persuasivas e dissuasivas, induz o interlocutor a uma mudança de estado, a uma conversão. A história na parábola fala do homem presente, coloca-o em perspectiva, porém travestindo-o e ao seu contexto por meio da alegoria. E à decifração desse artifício conduzem vários elementos construídos em torno da narrativa. Colocada, então, a questão ideológica do gênero, investigamos como, na forma parábola teatral, estão tensionados os pressupostos brechtianos, cuja base se funda em uma visão dialética do mundo. Nossa preocupação aqui, então, é discutir a coerência desses pressupostos em sua práxis; analisando em cada uma dessas peças indicadas a dinâmica instaurada na confluência dos gêneros - parábola e teatro épico.
When we read the Brecht's plays we fall across some entitled by the dramatist, parables, either in its title, as Der gute Mensch von Setzuan - parable and Der aufhatsame Aufsteig des Arturo Ui - parable, or in its body text as in Die Rundkoepfe und die Spitzkoepfe, Was kosted das eisen? and Der Hofmeister, in which this denomination appears in the prologue or in the epilogue. In this case we looked for the specificity of the gender which is born in the context of the New Testament and we verified it is a metanarrative, a narrative embedded in a bigger text with which it maintains an exemplar relation of restatement of the discourse enunciated, which proves the truth of this Word/Parable. The parable works then as a demonstration of this truth. Thus it takes shape, reveals itself, as a powerful didactical and doctrinaire document, it not only transmits ideas to be incorporated by the receptor but also, as it is endowed of persuasive and dissuasive strategies, it leads the interlocutor to a state change, a conversion. The story in the parable tells about the present man, puts him in perspective but disguising him and his context by the allegory. And to the deciphering of this artifice conduct the various elements built around the narrative. Placed then the ideological question of gender, we investigated how, in theatrical parable pattern, are involved the Becht's presuppositions which base establishes itself in a dialectical vision of the world. Our concern here then is to discuss the coherence of these presupposed in its praxis, analyzing in each of these indicated plays the dynamical instituted in the confluence of the genders - parable and epic theater.
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Bočková, Paulína. "Bertolt Brecht: "Dobrý člověk ze Sečuanu" - komplexní kostýmní řešení." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202494.
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This thesis deals with the costume design for the play The Good Person of Szechwan by Bertolt Brecht. The theoretical part focuses on researching the use of costume in epic theatre, the history of Chinese clothing , Chinese mentality and philosophy, and the use and history of masks . The practical part studies the philosophical content of the play, the nature of the characters and situations, and describes the process of development of the design concept.
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Van, den Heever Frieda. "Bertolt Brecht en die funksionele gebruik van musiek." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2921.
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Thesis (MDram (Drama))--University of Stellenbosch, 2009.This study focuses on Bertolt Brecht`s use of music in his epic theatre. After looking at his objectives against the background of his times, certain key aspects of his dramatic theory and practice in general are discussed e.g. its epic nature, Verfremdung, Gestus and his social engagement. This is important for an understanding of his functional use of music as an important element in his productions. Music as a sign system in drama is discussed with special reference to the genres in which music plays an essential role, viz. opera, in particular Wagner`s Gesamtkunstwerk and, most importantly, cabaret. The focus is on Brecht`s reaction against and point of connection with, each of these genres. The second part of the study focuses on the role of music in the practice of Brecht`s theatre. Naturally the specific composers with whom Brecht worked and specific productions are discussed. The relevant productions discussed are Aufstieg und Fall der Stadt Mahagonny (1930), Die Dreigroshenoper (1931) and Mutter Courage und Ihre Kinder (1939). Brecht worked against a background of social, political and economic upheaval. His art aimed at making people aware of unjustified social circumstances and inspiring them to engage in the task of changing these circumstances. For him this entailed communicating in a fresh way with words which had lost their meaning because of ideological abuse. For this purpose he made use of music in a very specific way. He tried – not always successfully – to avoid using music as an ornamental narcotic. This implied that music was always meant to serve the intention of the text, the Gestus. Music in Brecht`s theatre was dramatic not incidental, functional not ornamental, and music not as a means of escapism, but as an inspiration. The music, like all the other elements in his theatre, had to stimulate critical thinking and had to be of social use in order for it to be considered functional. The “great struggle for supremacy between music, text and production”, to which Brecht so often referred, complicated his goal of functionality and it was no easy task to marry his dialectical ideas. This caused for certain discrepancies between his theory and practice and I will take that into consideration in this study.
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Trovo, Maria Caroline [UNESP]. "Teatro épico no Brasil: sobre a atualidade de Brecht." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/106232.
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trovo_mc_dr_arafcl.pdf: 609055 bytes, checksum: 3abd2fe04f53739dc33146aa29ffdf36 (MD5)O final da década de 1950 marca o início do percurso que levou ao desenvolvimento do teatro épico de Bertolt Brecht no Brasil. No ano de 1958,a primeira encenação profissional do dramaturgo alemão e o sucesso da apresentação de Eles não Usam Black-tie, de Gianfrancesco Guarnieri, no Teatro de Arena, levaram à criação do Seminário de Dramaturgia do Arena, aos estudos da obra de Brecht e à apropriação dos procedimentos artísticos brechtianos. Por sua vez, os Centros Populares de Cultura (CPC), criados em 1962 e extintos pelas forças militares em 1964, foram fortemente influenciados pela teoria e prática teatral brechtiana. O direcionamento da cena teatral brasileira ao teatro épico coadunou-se com o movimento ascensional das massas do início dos anos 1960 e à perspectiva de transformação social via revolução socialista. O golpe militar de 1964, no entanto, que interrompeu a mobilização política do início da década e pôs em refluxo a agitação cultural, teria retirado a perspectiva empírica de transformação que embasava o teatro épico de Brecht e tornado-o obsoleto. Portanto, nos anos 1990, no contexto de retomada do teatro político, coloca-se a questão da atualidade de Brecht, da potência crítica de suas técnicas artísticas, como o efeito de distanciamento. O presente trabalho, nesse sentido, analisa a peça Ópera dos Vivos. Estudo Teatral em Quatro Atos, da Companhia do Latão, grupo teatral paulistano que se propõe a efetivação de um teatro épico brechtiano, como ponto de partida da discussão da atualidade do dramaturgo na sociedade brasileira contemporânea
The end of the 1950s marks the beginning of the path that led to the development of the Bertolt Brecht epic theater in Brazil. In 1958, the first professional staging of the German dramatist and success submitting They do not Wear Black-tie, by Gianfrancesco Guarnieri, at the Arena Theatre, led to the creation of the Dramatic Arena Workshop, to the studies Brecht’s work and the appropriation of Brechtian artistic procedures. On the other hand, the Popular Culture Centers (CPC), created in 1962 and abolished by the military in 1964, were strongly influenced by Brechtian theater theory and practice. The direction of the Brazilian theater scene to the epic theater conformed to the ascension movement of the masses in early 1960s and the prospect of social change through socialist revolution. The military coup in 1964, however, interrupted the political mobilization in the decade beginning and put in reflux cultural agitation, it would have removed the empirical perspective transformation that based the Brecht epic theater and became obsolete. Therefore, in the 1990s, in the context of renewed political theater, there is the issue of Brecht relevance, the critical power of his artistic techniques, such as distancing effect. This research, in this sense, examines the Living Opera play. The Theatrical Study in Four Acts, the Latão Company, São Paulo theater group proposes to establish a Brechtian epic theater, as the starting point of the discussion of today's playwright in contemporary Brazilian society
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Bonnaud, Irène. "Brecht, période américaine." Paris 3, 2001. http://www.theses.fr/2001PA030007.
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Bertolt brecht, en exil a los angeles de 1941 a 1947, n'a cesse d'ecrire pour l'industrie culturelle americaine. Scenarios pour hollywood ou pieces de theatre concues pour conquerir broadway, ses oeuvres d'alors empruntent aux genres populaires du cinema ou du theatre americains des armes nouvelles contre la tradition du drame. Mais la polemique continuee contre l'identification et l'illusion mimetique est accompagnee d'une autocritique permanente. Brecht met son propre theatre en crise et l'examine avec mefiance. Chaque piece devient reflexion sur l'art de la scene et ce dernier doit plus que jamais repondre de ses choix. A l'ombre de l'actualite mondiale, capitulation, collaboration et resistance a l'oppression deviennent non seulement les grands themes des textes de brecht, mais aussi les criteres qui determinent ses strategies d'ecriture. A l'heure des destructions et des massacres de la seconde guerre mondiale, la moindre decision formelle est un probleme politique : la fable du theatre narratif, souvenir d'un temps ou le recit etait encore signe de sagesse, et l'ampleur shakespearienne des personnages sont pour brecht deux facons d'etre volontairement anachronique au milieu du desastre.
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Karir, Simran. "Der Liebescode : zur poetischen Korrespondenz Bertolt Brechts und Margarete Steffins." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79953.
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In the present study, the sonnets Margarete Steffin and Bertolt Brecht wrote each other will be examined both in regard to the form of the sonnet as well as the tradition with which this form is associated. A second point of consideration, which stands to a certain extent in conflict with the first, is the dialogue which these sonnets constitute. This dialogue provided Steffin and Brecht the forum and opportunity to be equal partners, contrary to their real-life situations, where equality between the two did not exist. This forum allowed them to witness and experience each other simultaneously both as subjects and objects both in terms of longing and desire, as in poetic discourse, enabling them to mutually influence each other. And as the sonnets show, this influence did in fact occur regarding their different ideas, attitudes and needs in their relationship to each other.
Books on the topic "Brecht, Bertolt (1898-1956) – Appréciation"
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Wer immer es ist, den ihr hier sucht, ich bin es nicht: Zur Dramaturgie der Abwesenheit in Bertolt Brechts Lehrstück Die Massnahme. Frankfurt am Main: P. Lang, 1997.
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Die Expressionismusdebatte und die Studien: Eine Untersuchung zu Brechts Sonettdichtung. Frankfurt am Main: P. Lang, 1998.
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The poetry of Brecht: Seven studies. Chapel Hill: University of North Carolina Press, 1989.
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Rosen in finsteren Zeiten: Zur politischen Bildlichkeit bei Bertolt Brecht. Frankfurt am Main: P. Lang, 1988.
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Die Lyrik Bertolt Brechts von 1914-1956: Unter besonderer Berücksichtigung der "ars vivendi" angesichts der Todesbedrohungen. Frankfurt am Main: P. Lang, 1994.
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Fuegi, John. Brecht & Co.: Biographie. Hamburg: Europäische Verlagsanstalt, 1997.
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"BRECHT, BERTOLT (1898–1956)." In Cultural Theory: The Key Thinkers, 32–33. Routledge, 2005. http://dx.doi.org/10.4324/9780203996423-14.
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"'Bertolt Brecht (1898-1956) and Caspar Neher (1897-1962)', in The Cambridge Introduction to Scenography, Cambridge: Cambridge University Press, pp. 44–51." In European Theatre Performance Practice, 1900 to the Present, 303–10. Routledge, 2016. http://dx.doi.org/10.4324/9781315255842-30.
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