Relevant bibliographies by topics / Brecht, Bertolt (1898-1956) – Appréciation

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Academic literature on the topic 'Brecht, Bertolt (1898-1956) – Appréciation'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Dissertations / Theses on the topic "Brecht, Bertolt (1898-1956) – Appréciation"

1

Haviaras, Sotirios. "La Réception de Brecht en Grèce, 1955-1981." Paris 7, 1989. http://www.theses.fr/1989PA070056.

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2

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 élém
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3

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 relig
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4

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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5

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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Made available in DSpace on 2014-06-11T19:32:07Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-04-13Bitstream added on 2014-06-13T18:43:01Z : No. of bitstreams: 1 grubisich_tm_dr_arafcl_prot.pdf: 621650 bytes, checksum: a31036a044e0c160bb04c93a8839cf33 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>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 c
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6

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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7

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.<br>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.
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8

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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Made available in DSpace on 2014-06-11T19:35:18Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-12-11Bitstream added on 2014-06-13T19:05:40Z : No. of bitstreams: 1 trovo_mc_dr_arafcl.pdf: 609055 bytes, checksum: 3abd2fe04f53739dc33146aa29ffdf36 (MD5)<br>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 Dr
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9

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
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10

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 simulta
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