Relevant bibliographies by topics / Brecht, Bertolt, Theater Theater Theater

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  2. Dissertations / Theses
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  5. Reports

Academic literature on the topic 'Brecht, Bertolt, Theater Theater Theater'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Brecht, Bertolt, Theater Theater Theater"

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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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Koch, Gerd. "Eine Lehr-, Lern- und Forschungsorganisation durch Bertolt Brechts Ideen?" Scenario: A journal for performative teaching, learning, research XIII, no. 1 (July 24, 2019): 77–90. http://dx.doi.org/10.33178/scenario.13.1.5.

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Meine back-ground-/back-stage-Phantasie: Wie sähe eine experimentelle Akademie für die Allgemeinheit aus, die keine Schauspiel-Schule oder Kunst-Akademie wäre, sondern eine, die sich mehr oder weniger an Vorschlägen des Theater-Machers Bertolt Brecht orientiert? Denn: Brechts poetische Kraft wirkt pädagogisch / bildend und bleibt poetisch. Er stellt seine Potenzen in gesellschaftliche Aushandlungsprozesse – durchaus störrisch, nicht anpasslerisch und nicht anbiedernd. Er tritt damit in eine Bildungsbewegung ein, die Demokratisierung und literarische Aufklärung verbinden möchte und kann. Es findet eine Geselligkeitserziehung statt. Und solch ein pädagogisches Modell eines Theater- und Literatur-Menschen weist über das Feld von Theater, Kunst, Literatur, Ästhetik u. ä. hinaus. Und es kann denen im Sinne einer „konkreten Utopie“ (Ernst Bloch) dienlich sein, die in verwalteten, zweck-funktionalen Lehr-Lern-Situationen tätig sind.
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Hartoni, Hartoni, Ahmad Bengar Harahap, and Tanti Kurnia Sari. "DIE ANALYSE DER AUFFÜHRUNG DES THEATERSTÜCKES “DIE MUTTER COURAGE UND IHRE KINDER” VON BERTHOLT BRECHT VON DEUTSCHSTUIERENDEN AN DER UNIMED IM JAHRGANG 2017-2018." STUDIA Jurnal Pendidikan Bahasa Jerman 7, no. 1 (May 7, 2019): 1. http://dx.doi.org/10.24114/studia.v7i1.9756.

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AUSZUGDas Ziel dieser Untersuchung ist es, die intrinsische Aspekte des Theaters in der Aufführung “Die Mutter Courage und ihre Kinder” von Bertholt Brecht von Deutschstudierenden an der Unimed im Jahrgang 2017-2018 zu analysieren. Die Datenquelle in dieser Untersuchung sind die Aufführung des Theaters des LKK-Theaters. Die Daten der Untersuchung ist Dialogen und Szene die intrinsische Aspekte des Theaters sind. (1) die Charakaterisierung sind Protagonisten (Die Mutter, Katrin, Fejos) Antagonisten sind (Eilip, der schwarze Soldat, der weisse Soldat), (2) Einstellung des Theaters istim Oktoberfest an der Unimed gemacht. Die Theateraufführung findet vor der Bühne statt. Die Bühne ist im Hofvon FBS Unimed, (3) Perspektive des Theaters ist Die Perspektive des Theater ist dritte Person. Die dritte Person ist die Person zwischen zwei Sprecher bei dem Komunikation gesprochen wird, (4) Sprachstil ist Pleonasme,Sinekdok, und die Schritte, (5) das Erzählungsverlauf ist Erzählvorstellung, Konflikt, Konflikte mit den viele Proben, und Klimaks. (6) Thema ist die Mutter, eine starke und standhaffe, die so viele Probeleme in ihrem Leben hat. Lehre ist starr und geduldig erhalt die Prüfung, obwohl die grosse Probleme sind.Dieser Tätigkeit erscheint manchmal in der Szenen und Dialogen von dem Theater “Die Mutter Courage und ihre Kind ” von Bertholt Brecht. Die Ergebnisse der Untersuchung können die Erkenntnisse die instrisische Aspekte des TheatersdarstellenSchlüsselwörter : Aufführung des Theaters.
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Prentki, Tim. "Any Color of the Rainbow—As Long as It's Gray: Dramatic Learning Spaces in Postapartheid South Africa." African Studies Review 51, no. 3 (December 2008): 91–106. http://dx.doi.org/10.1353/arw.0.0086.

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Abstract:This article addresses the issue of the relationship between contemporary South African politics and the type of socially committed theater that might be capable of mounting a critique of those politics. The author highlights the contradictions between the aspirations of the Freedom Charter and the realities of subscribing to the neoliberal world order. His contention is that any theater form that is seeking cultural intervention must find a way of representing contradiction if it is to remain true to the experiences of its audiences and its participants. Such a representation can be achieved through a combination of Bertolt Brecht's praxis in relation to contradiction and current practices in Theatre for Development, which themselves draw upon aspects of the antiapartheid resistance theater.
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Ak, Musa. "Bertolt Brecht’in Epik Tiyatrosu Üzerinden İnteraktif Belgesellere Bakmak." Etkileşim 4, no. 7 (April 2021): 170–89. http://dx.doi.org/10.32739/etkilesim.2021.7.123.

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In the 21st century, which is called the digital age, documentary cinema has undergone many changes in terms of both content and form. Apart from being a display medium, interfaces and screens have become spheres where the narrative is constructed. Thus, the production and viewing dimensions of documentary films have changed and traditional narrative documentaries have started to be replaced by interactive documentaries. In these documentaries, the director becomes the designer and the viewer becomes the participant/user. In this context, Walter Benjamin’s approach to epic theater, which he believes is compatible with new technical forms and is the culmination of technology, is the starting point of this study. Because especially since the early 1960s, Bertolt Brecht’s understanding of epic theater has influenced directors and shaped their understanding of filmmaking. The directors who wanted to make the audience feel that the images they see in a film were made with designed decorations, used Brecht's aesthetic understanding to destroy mimesis and break identification. In this context, Seven Digital Deadly Sins (2014), which is an example of an interactive documentary developed with new communication technologies and opens the door to different possibilities for the director and the audience, is evaluated through Bertolt Brecht's understanding of epic theater.
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Coelho, Caco, Fernando Peixoto, and Willi Bolle. "Mesa-redonda - A estética do teatro de Brecht." Pandaemonium Germanicum, no. 4 (November 5, 2000): 125. http://dx.doi.org/10.11606/1982-8837.pg.2000.64191.

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Drei Erfahrungsberichte über Bertolt Brechts Theater auf brasilianischen Bühnen. Caco Coelho spricht über den Zyklus der Brecht-Lesungen, -Aufführungen und -Vorträge seiner Theatergruppe Os Fodidos Privilegiados 1998 in Rio de Janeiro. Fernando Peixoto vertritt die Ansicht, daß der zentrale Punkt von Brechts Theater darin besteht, Emotionen im zwischenmenschlichen Verhalten und in ihren politisch-historischen Kontexten verstehbar zu machen. Er erzählt unter anderm von einer "Wiederentdeckung" der Brechtschen Theaterästhetik durch eine Laiengruppe in Amazonien und vertritt insgesamt ein undogmatisches, auf die heutigen Verhältnisse ausgerichtetes Lernen mit Brecht. Willi Bolle berichtet von seiner Inszenierung von Brechts Die Hochzeit (1919) mit einer Laien-Theatergruppe in São Paulo 1997-1998, in der die lineare Struktur des Textes durchbrochen wurde durch die Einführung einer neuen Perspektive sowie einer neuen Figur, der Braut, die sich das Hochzeitsfest in der Erinnerung vergegenwärtigt.
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Fuegi, John, and Peter Yang. "Theater ist Theater: Ein Vergleich der Kreidekreisstucke Bertolt Brechts und Li Xingdaos." German Quarterly 73, no. 4 (2000): 438. http://dx.doi.org/10.2307/3072781.

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최홍근. "Die theatralische Variation des Themas im epischen Theater Bertolt Brechts - und von Bertolt Brecht -." Journal of Korean Studies ll, no. 36 (March 2011): 219–40. http://dx.doi.org/10.17790/kors.2011..36.219.

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Watson, Anna. "‘A Good Night Out’: When Political Theatre Aims at Being Popular, Or How Norwegian Political Theatre in the 1970s Utilized Populist Ideals and Popular Culture in Their Performances." Nordic Theatre Studies 29, no. 2 (March 5, 2018): 87. http://dx.doi.org/10.7146/nts.v29i2.104615.

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Bertolt Brecht stated in Schriften zum Theater: Über eine Nichtaristotelische Dramatik (Writings on Theatre: On Anti-Aristotelian Drama) that a high quality didactic (and politi­cal) theatre should be an entertaining theatre. The Norwegian theatre company Håloga­land Teater used Brecht’s statement as their leading motive when creating their political performances together with the communities in Northern Norway. The Oslo-based theatre group, Tramteatret, on the other hand, synthesised their political mes­sages with the revue format, and by such attempted to make a contemporaneous red revue inspired by Norwegian Workers’ Theatre (Tramgjengere) in the 1930s. Håloga­land Teater and Tramteatret termed themselves as both ‘popular’ and ‘political’, but what was the reasoning behind their aesthetic choices? In this article I will look closer at Hålogaland Teater’s folk comedy, Det er her æ høre tel (This is where I belong) from 1973, together with Tramteatret’s performance, Deep Sea Thriller, to compare how they utilized ideas of socialist populism, popular culture, and folk in their productions. When looking into the polemics around political aesthetics in the late 1960s and the 1970s, especially lead by the Frankfurter School, there is a distinct criticism of popular culture. How did the theatre group’s definitions of popular culture correspond with the Frankfurter School’s criticism?
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Kraft, Helga. "Milo Rau as Influencer." Theater 51, no. 2 (May 1, 2021): 38–47. http://dx.doi.org/10.1215/01610775-8920496.

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Helen Kraft considers director Milo Rau as an influencer. Kraft places Rau within a subcategory of influencer identified by economist and psychologist Robert Cialdini as intellectuals who are “well-connected, create an impact, have active minds, and are trendsetters.” She argues that Rau fills that role in the theater and positions the director in relation to other postmodern thinkers and theater artists. According to Kraft, Rau actively courts controversy with his work as a means of drawing attention to conflict and corruption around the world, but, despite frequent comparisons to Bertolt Brecht, Rau is not an idealogue, exposing inconsistencies rather than promoting any single ideology in his work.
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Dissertations / Theses on the topic "Brecht, Bertolt, Theater Theater Theater"

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Boner, Jürg. "Dialektik und Theater die Dialektik im Theater Bertolt Brechts /." Zürich : Zentralstelle der Studentenschaft, 1995. http://catalog.hathitrust.org/api/volumes/oclc/35815830.html.

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Lang, Joachim. "Episches Theater als Film : Bühnenstücke Bertolt Brechts in den audiovisuellen Medien." Würzburg Königshausen & Neumann, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2864715&prov=M&dokv̲ar=1&doke̲xt=htm.

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Gonçalves, Natália Kneipp Ribeiro. "A "didática" nas peças didáticas de Bertolt Brecht : ensino em cena /." Araraquara, 2016. http://hdl.handle.net/11449/138286.

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Orientador: José Luís Vieira de Almeida
Coorientador: Teresa Maria Grubisich
Banca: Vicente Concílio
Banca: José Eduardo de Oliveira Santos
Banca: Maria Eliza Brefere Arnoni
Banca: Renata Soares Junqueira
Resumo: O presente trabalho caracteriza-se como pesquisa bibliográfica e tem como objetivo a compreensão da didática a partir do estudo das peças didáticas de Bertolt Brecht (1898-1956), as quais são uma tipologia do teatro épico brechtiano e compreendem as seguintes obras: "O voo sobre o oceano" (escrita em 1928/1929); "A peça didática de Baden-Baden sobre o acordo" (escrita em 1929); "Aquele que diz sim"/"Aquele que diz não" (encenadas sempre em conjunto, escritas em 1929/1930); "A decisão" (escrita em 1929/1930); "A exceção e a regra" (escrita em 1929/1930) e "Os Horácios e os Curiácios" (escrita em 1934); além dos fragmentos "O malvado Baal, O Associal" e "Decadência do egoísta Johann Fatzer". A didática é a categoria central deste trabalho, o universo são as peças didáticas de Bertolt Brecht e o método de análise é o materialismo histórico e dialético. Pretendemos contribuir com a discussão dos processos pedagógicos, sobretudo no que se refere à práxis pedagógica escolar e, para tanto, os caminhos trilhados em nossa pesquisa partiram da análise do conceito de didática presente na obra "Didática Magna", de Comênio (1592-1670), que é um marco referencial da Pedagogia Moderna, e se dirigiram ao estudo da didática nas peças didáticas brechtianas. Compomos um panorama sobre as condições sócio-históricas do teatro europeu, em fins do século XIX e início do século XX; enfatizamos as aproximações e distanciamentos do expressionismo e do teatro político de Erwin Piscator (1893-1966) em relação ao desenvolvimento do teatro épico brechtiano; discutimos o elemento didático presente em peças anteriores às didáticas; e, por fim, analisamos as peças didáticas e seus fundamentos. Assim, consideramos que a didática compreendida a partir das peças didáticas propicia que o ensino seja posto em cena e aponta...
Abstract: This work is characterized as bibliographic search and has aimed to understand the teaching from the study of learning plays of Bertolt Brecht (1898-1956) which are a type of Brechtian epic theater and consist the following works: "The Ocean Flight" (written in 1928/1929); "The learning play of The Baden-Baden Lesson on Consent" (written in 1929); "He Who Says Yes"/ "He Who Says No" (always together staged, written in 1929/1930); "The Decision" (written in 1929/1930); "The Exception and the rule" (written in 1929/1930) and "The Horations and the Curiatians" (written in 1934); beyond the fragments "Bad Baal, the Antisocial Man" e " Demise of the Egotist Johann Fatzer". The teaching is the central category of this work, the universe are the learning plays of Bertolt Brecht and the method of analysis is the historical and dialectical materialism. We intend to contribute to the discussion of pedagogical processes, particularly with regard to school pedagogical praxis and, therefore, the paths in our research set out the teaching this concept analysis in the work "Magna Didactics", of Comênio (1592-1670), wich is a reference point of the Modern Education, and headed to the study of teaching in Brechtian learning plays. We compose an overview of the socio-historical conditions of european theater, in the late nineteenth century and early twentieth century; we emphasize the similarities and differences of expressionism and political theater of Erwin Piscator (1893-1966) for the development of Brechtian epic theater; we discuss this didactic element in previous parts to learning; and finally, we analyze the learning plays and its fundamentals. Like this, we consider that the didactic understood from the learning plays provides that education be put into play and points out possibilities for dialogue between theater and education from the perspective...
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Lang, Joachim. "Episches Theater als Film Bühnenstücke Bertolt Brechts in den audiovisuellen Medien." Würzburg Königshausen und Neumann, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2864715&prov=M&dok_var=1&dok_ext=htm.

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Van, Dyke Susan S. "A Lighting Design for The Ohio State University Theatre Department Production of The Caucasian Chalk Circle by Bertolt Brecht." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392802533.

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Rulison, Megan. "The Full Complexity of Being Human: A Study of Science and Art." Thesis, Boston College, 2006. http://hdl.handle.net/2345/369.

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Thesis advisor: Scott T. Cummings
This Senior Honors Thesis evolved from a personal fascination with the intersection of art and science both in drama and on a grander theoretical scale. It is a three-part investigation with each part written in different voice with a different intention. The first is a short personal introduction offering insight to the genesis of the project. This is followed by a comparative dramaturgical analysis of two science plays, Bertolt Brecht's GALILEO and Michael Frayn's COPENHAGEN, examining the role of science in drama. The final component is a philosophical dialogue on the model of Brecht's MESSINGKAUF DIALOGUES which articulates larger philosophical questions in an examination of the similarities and differences between science and art
Thesis (BA) — Boston College, 2006
Submitted to: Boston College. College of Arts and Sciences
Discipline: Theater
Discipline: College Honors Program
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Regele, Hildegard C. "Kunstkrankheiten und Heilkünste : kathartische Dynamiken durch Samuel Hahnemanns Homöopathie und Bertolt Brechts episches Theater = [Art(ificial) illnesses and healing arts : cathartic dynamics through Samuel Hahnemann's homeopathy and Bertolt Brecth's epic theater] /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190541.

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Thesis (Ph. D.)--University of Oregon, 2005.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 518-539). Also available for download via the World Wide Web; free to University of Oregon users.
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Oliveira, Urânia Auxiliadora Santos Maia de. "A criação de textos teatrais a partir de jogos e das peças didáticas de Bertolt Brecht." Programa de Pós-Graduação em Educação da UFBA, 2007. http://www.repositorio.ufba.br/ri/handle/ri/10509.

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Este trabalho trata de um projeto de pesquisa-ação realizado com um grupo de jovens de um bairro popular de Salvador que buscou compreender os potenciais emancipatórios que a atividade do Teatro-Educação poderia propiciar aos participantes. Atrelado a essa perspectiva buscou-se a elaboração de uma metodologia de ensino do teatro, a partir de jogos teatrais, da história de vida de cada aluno, da utilização de peças teatrais — que no caso específico desse estudo foram as peças didáticas de Bertolt Brecht —, e de técnicas de interpretação, que possibilitasse um processo de conscientização, um aperfeiçoamento técnico na arte de interpretar e a criação de textos teatrais referenciados na vivência dos participantes. Paralelamente ao trabalho de campo, foi realizada uma revisão bibliográfica centrada na teoria do teatro pobre, de Jerzy Grotowski; no teatro da crueldade, de Antonin Artaud; na realidade da cena com comportamentos inspirados na vida real, de Constantin Stanislavski. Também foram abordadas teorias de autores que têm proximidade com as pedagogias críticas e libertárias. A pesquisa resultou num espetáculo com os jovens participantes, aliando a experiência de vida de cada um a técnicas teatrais, resultando daí sujeitos mais críticos, com maior autonomia e uma interação com a realidade mais refinada, para composição de espetáculos cuja comunicação com o público seja eficaz e demonstre apuro técnico.
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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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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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Füllner, Niklas [Verfasser]. "Theater ist eine Volkssauna Politisches Gegenwartstheater aus Finnland in der Tradition von Bertolt Brecht / Niklas Füllner." München : epodium Verlag A. Backoefer, 2014. http://d-nb.info/1058675222/34.

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Books on the topic "Brecht, Bertolt, Theater Theater Theater"

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Wüthrich, Werner. Bertolt Brecht und die Schweiz. Zürich: Chronos, 2003.

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Über Brecht hinaus--: Produktive Theaterrezeption in Brasilien am Beispiel von Bertolt Brecht. Frankfurt am Main: P. Lang, 1994.

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Bertolt Brecht in Skandinavien: Aufbruch zum künstlerischen Durchbruch. Saarbrücken: VDM, 2007.

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Bömelburg, Wolfgang. Hobellied für Bertolt Brecht: Ein Theatertischler erzählt. Berlin: Eulenspiegel, 1997.

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1898-1956, Brecht Bertolt, and Neher Caspar, eds. Caspar Neher: Bertolt Brecht ; eine Bühne für das epische Theater. Leipzig: Henschel, 2006.

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White, Lydia J. Theater des Exils: Bertolt Brechts „Der Messingkauf“. Stuttgart: J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04989-6.

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Theater ist Theater: Ein Vergleich der Kreidekreisstücke Bertolt Brechts und Li Xingdaos. New York: P. Lang, 1998.

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8

Proletarian performance in Weimar Berlin: Agitprop, chorus, and Brecht. Columbia, SC, USA: Camden House, 1997.

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"Instinktiv lasse ich hier Abstände-": Bertolt Brechts vormarxistisches episches Theater. Würzburg: Königshausen & Neumann, 2011.

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Müller-Schöll, Nikolaus. Das Theater des konstruktiven Defaitismus: Lektüren zur Theorie eines Theaters der A-Identität bei Walter Benjamin, Bertolt Brecht und Heiner Müller. Frankfurt am Main: Stroemfeld, 2002.

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Book chapters on the topic "Brecht, Bertolt, Theater Theater Theater"

1

White, Lydia J. "Der Abbau des Theaters/das Theater des Abbaus." In Theater des Exils: Bertolt Brechts „Der Messingkauf“, 199–220. Stuttgart: J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04989-6_7.

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Krknjak, Julia, and Jan Knopf. "Brecht, Bertolt: Kleines Organon für das Theater." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_6069-1.

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White, Lydia J. "Schauplätze des Theaters." In Theater des Exils: Bertolt Brechts „Der Messingkauf“, 159–97. Stuttgart: J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04989-6_6.

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White, Lydia J. "Einleitung." In Theater des Exils: Bertolt Brechts „Der Messingkauf“, 1–27. Stuttgart: J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04989-6_1.

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White, Lydia J. "Entstehungsgeschichte." In Theater des Exils: Bertolt Brechts „Der Messingkauf“, 31–52. Stuttgart: J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04989-6_2.

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White, Lydia J. "Wirkungsgeschichte und Editionen." In Theater des Exils: Bertolt Brechts „Der Messingkauf“, 53–91. Stuttgart: J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04989-6_3.

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White, Lydia J. "Der Schauplatz des Messingkaufs." In Theater des Exils: Bertolt Brechts „Der Messingkauf“, 95–109. Stuttgart: J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04989-6_4.

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White, Lydia J. "Konfiguration." In Theater des Exils: Bertolt Brechts „Der Messingkauf“, 111–57. Stuttgart: J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04989-6_5.

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Speirs, Ronald. "Theories of Theatre." In Bertolt Brecht, 35–48. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-18656-3_3.

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Speirs, Ronald. "Brecht’s Practice of Theatre." In Bertolt Brecht, 49–69. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-18656-3_4.

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Reports on the topic "Brecht, Bertolt, Theater Theater Theater"

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Ghosh, Yashowanto. Bertolt Brecht's Leben des Galilei: A Mythic Dimension in Epic Theatre. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6442.

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Journal articles Dissertations / Theses Books
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