To see the other types of publications on this topic, follow the link: Brecht, Bertolt, Theater Theater Theater.
Journal articles on the topic 'Brecht, Bertolt, Theater Theater Theater'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Brecht, Bertolt, Theater Theater Theater.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full text
8
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.
Full text
9
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.
Full textAbstract:
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?
10
Kraft, Helga. "Milo Rau as Influencer." Theater 51, no. 2 (May 1, 2021): 38–47. http://dx.doi.org/10.1215/01610775-8920496.
Full textAbstract:
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.
11
Čopra, Aida. "Dancing in War. Perception of Theater in Wartime Sarajevo: Pippo Delbono, Giorgio Strehler and Peter Schumann." Društvene i humanističke studije (Online) 6, no. 3(16) (July 27, 2021): 81–94. http://dx.doi.org/10.51558/2490-3647.2021.6.3.81.
Full textAbstract:
„When I went to Sarajevo, I met a boy“, Pippo Delbono tells us. They talked, and suddenly the boy told him, „I saw an entire city in anger. I’ve seen people become monsters“. And Delbono replied, „And I’ve seen people look at me like I’m a monster. And all the things that turn into monstrosity“. Traveling, for Delbono, is a life experience that turns into a theatrical one at the same time. In 1998, Delbono created a play called War. The story of the boy he meets during his trip to Sarajevo is an introduction to Delbono’s magical world of theater through which he expresses the need to present a life that is born from suffering, illness, war, but in which we still „dancing“. Danzare nella guerra, „dancing in the war“, for Delbono means to oppose the war to the beauty, joy, and poetics of the movement. In 1995, Strehler directed a play called Mother Courage of Sarajevo based on the text written by Bertolt Brecht. For Strehler, Mother Courage of Sarajevo is not just a play, it is a symbol, a political act that portrays war as a human failure. Strehler based his vision of theater on Brecht’s epic theater. One year before, in 1993, with his puppet troupe, The Bread and Puppet, Peter Schumann came to Sarajevo to provide his support. In the first place, we want to show how Delbono’s conception of theater and experience during his trip to Sarajevo intertwine with the primary goal of Sarajevo theater in those years, as „spiritual resistance“, „spiritual needs“, „call to heal wounded souls“, a „super theater“, as Izudin Bajrović calls him, in which theater and life were the same. Through Strehler’s theater, his relationship with Sarajevo, and the breaking of the „fourth wall“, we will talk about theater as research of those eternal human values, but also returning to humane theater. In the third place, through Schumann’s work, we will show how the external theatrical reality intertwines with the internal one as a feature of strong political engagement.
12
Rülicke-Weiler, Käthe. "Brecht and Weigel at the Berliner Ensemble." New Theatre Quarterly 7, no. 25 (February 1991): 3–19. http://dx.doi.org/10.1017/s0266464x00005145.
Full textAbstract:
As this issue goes to press, the GDR has just been united with its western neighbour in circumstances which, just a year previously, would have seemed almost as improbable as when Bertolt Brecht and Helene Weigel returned after the war to create the Berliner Ensemble. Käthe Rülicke-Weiler joined their dramaturgical team in 1951, and witnessed from the inside the attempt to build Brecht's ideal of a socialist theatre. Here, she talks with Matthias Braun about the personal, social, and political background to the Ensemble – which, although under the artistic direction of Brecht himself, was managed by Weigel, who was thus in the position of preventing herself from becoming a conventional ‘star’ performer. As well as dealing with the nature of Weigel's acting – and of her administrative skills – the interview assesses the contributions of Brecht's other co-workers, his own techniques as a director, and the factors (including touring under difficult post-war conditions) which led to the Ensemble's recognition as a major international company. This interview was first published in 1985 in Theater der Zeit, by whose kind permission it is here translated.
13
Abdulmunem Azeez, Rasha. "Paula Vogel And The Modern American Female Playwrights." Journal of the College of languages, no. 44 (June 1, 2021): 46–71. http://dx.doi.org/10.36586/jcl.2.2021.0.44.0046.
Full textAbstract:
Reading and analyzing Paula Vogel’s plays, the readers can attest that she achieves success in drama or theater because she is passionate about theater. Vogel is a modern American playwright who won the 1998 Pulitzer Prize for drama. Her success and insight in playwriting or in adapting do not come all of a sudden; she is influenced by many writers. Vogel is influenced by many American dramatists, including Eugene O’ Neill, Arthur Miller, Tennessee Williams, and Edward Albee, and by other non-American writers, including August Strindberg, Anton Chekhove, and Bertolt Brecht. Certainly, there were female playwrights who wrote preeminent plays and they influence Vogel as well. Nevertheless, dramas by female writers, as a matter of fact, remain marginalized. This paper focuses on the influence of some female playwrights on Vogel.
14
Deegan, James G., and Noel P. O’Connell. "The Starling’s Tale: A Performative Ethnography Showing Deaf Children’s Schooling in the Republic of Ireland." Qualitative Inquiry 25, no. 1 (July 20, 2018): 69–79. http://dx.doi.org/10.1177/1077800418787458.
Full textAbstract:
The ways in which we approach children and childhood as variables of social analysis has undergone profound change in the last quarter century in the Republic of Ireland. This performative ethnography inquires into the secret lore and language of deaf children’s lives in one residential school. Out of sight of the community of the other, children willfully embodied a transgressive, liberatory, and decolonizing sign language of their own. Medium and message come together in this performative ethnography through a clutch of theatrical devices associated with the “epic theater” of the German playwright and theater director, Bertolt Brecht, including loosely connected scenes, storyline turns, political placards, and addresses to audience. Techniques associated with “found poetry,” or the literary equivalent of collage, are combined with pentimenti or a painting within a painting to fuse image and word and bring forward a critical and political aesthetics of deaf children and deaf schooling and new media for encouraging alternative social imaginaries and possible actions.
15
Cody, Gabrielle. "Woman, Man, Dog, Tree: Two Decades of Intimate and Monumental Bodies in Pina Bausch's Tanztheater." TDR/The Drama Review 42, no. 2 (June 1998): 115–31. http://dx.doi.org/10.1162/dram.1998.42.2.115.
Full textAbstract:
You're right in demanding that the artist have a conscious relation to his work, but you are confusing two ideas: solving a problem and posing a problem correctly. —Anton Chekhov, Letters to A.S. Suvorin Choreography too will reassume tasks of a realistic nature. It is a mistake of recent time that it has nothing to do with the depiction of “people as they really are.” […] In any case a theater that bases everything on Gestus cannot do without choreography. —Bertolt Brecht, Little Organon All lije Murphy, is figure and ground. —Samuel Beckett, Murphy
16
Spangler, Ryan. "Cholo u hombre: Representation and Revolution in the Senderista Theater of Víctor Zavala Cataño." Journal of Latino/Latin American Studies 10, no. 2 (July 1, 2020): 66–77. http://dx.doi.org/10.18085/1549-9502.10.2.66.
Full textAbstract:
Abstract The development of campesino theater by the Peruvian playwright Víctor Zavala Cataño played a pivotal role in underscoring the intellectual and economic divide separating the upper class and the agrarian workers of the high Andean plateau regions of Peru. His theater, which sought to empower the previously dehumanized indigenous laborers from the regions surrounding Ayacucho, simultaneously incorporated the oppressed workers into his theatrical milieu and indoctrinate them into the incipient revolutionary Maoist uprising known as Sendero Luminoso. This essay highlights Zavala Cataño’s implementation and adaptation of Antonio Gramsci’s theories of cultural hegemony and Bertolt Brecht’s dialectal study of socialism and capitalism in his theater. Furthermore, it emphasizes the author’s endeavors to expand the theatrical mise-en-scène to include all of Peru and prepare the Andean campesino for a future role in Sendero’s struggle to overthrow Peruvian democracy.
17
AL-KUBAISI, Iman Abdul Sattar Atallah. "MENTAL CATHARSIS IN CHILD THEATER PERFORMANCES." RIMAK International Journal of Humanities and Social Sciences 03, no. 04 (May 1, 2021): 22–33. http://dx.doi.org/10.47832/2717-8293.4-3.3.
Full textAbstract:
In the twenties of the twentieth century there appeared a tendency declaring that art has a major task is to cleansing reality from everything that seems strange to it. But this proposition took another characteristic of the German director and writer (Berthold Brecht) after he initiated a revolution that declared its rejection of the previous concepts of theater and Aristotelian drama in the introduction of alienation in his theatrical doctrine, which was later called (dialectical theater), This is a shift towards another concept of purification that goes beyond the emotion towards addressing the mind and changing ideas, so Brecht has a different function to theater, which is to change and reject the miserable and revolutionary reality. In child theater performances, the research problem was formed in the following question: What are the representations of mental cleansing in child theater performances? As for the objectives of the research, it is represented by (revealing the concept of mental cleansing, and revealing representations of mental cleansing in child theater performances). The current research was determined by child theater performances in Iraq for the period from (2010-2020) that take mental cleansing as its goal. As for the second chapter, it focused on three axes. The first was philosophical mental cleansing, while the second axis was concerned with the philosophical foundations of the Barkhati approach, while the third axis focused From the theoretical framework on the Westernization of Berthold Brecht. As for the third chapter, it was clarified that the researcher adopted the descriptive approach (the method of content analysis) being more appropriate to the current study procedures, which dealt with the research community represented by the presentations that were made for the period between (2009-2018) in Baghdad, which reached (16) theatrical performances. After the sample was randomly selected by lot, it was (a little chalk circle) play. After analyzing the sample, the results of the research were extracted, which are responsible for answering the objectives of the research and the extent of their achievement. The first goal was achieved through what was reviewed in the theoretical framework and what was extracted from it. As for the second goal, which aims to reveal the representations of mental cleansing in theatrical performances directed at the child, it was achieved after analyzing the selected sample, and the results appeared as follows: 1. All child theater performances that follow the Brachitic approach aim at mental cleansing. 2. Mental cleansing occurs in child theater performances when the following methods are employed that keep the child mind attentive and critical, including: First / at the level of the text 1. Using the heritage and being inspired by it as a theatrical template for contemporary events through the style of history, and not committing to a Space-time through this history. 2. The necessity of the presence of the narrator who tries to break the hierarchy of events by narrating and commenting on some events, as well as employing songs and music that differ from the general atmosphere of the event. Second / at the level of the show 1. Using the scene through symbolic, not realistic, signs to keep the actor away from any reincarnation that casts its shadow on the audience through theatrical infection. 2. Not to adhere to the timing of lighting. 3. Using shadow imaginations or movies and pictures in conveying the event. 4. Westernization of performance by leaving space between the character and the actor
18
Eunhee Lee. "Baal als virtueller Revolutionär Das Frühwerk Bertolt Brechts als postbrechtsches Theater." Koreanische Zeitschrift für Germanistik 53, no. 1 (March 2012): 245–73. http://dx.doi.org/10.31064/kogerm.2012.53.1.245.
Full text
19
Walk, Cynthia. "Episches Theater als Film. Bühnenstücke Bertolt Brechts in den audiovisuellen Medien." Monatshefte 100, no. 1 (2008): 172–74. http://dx.doi.org/10.1353/mon.2008.0059.
Full text
20
Kolesch, Doris. "Theaterpublikum – das unbekannte Wesen. Annäherungen an eine vernachlässigte Figur." itw : im dialog 3 (March 6, 2019): 14–33. http://dx.doi.org/10.16905/itwid.2018.1.
Full textAbstract:
Nicht erst mit der Performance-Kunst seit den 1960er-Jahren findet eine künstlerische Befragung der Rolle und Funktion des Publikums statt. Das gesamte 20. Jahrhundert ist in den performativen Künsten gekennzeichnet durch eine Erprobung, eine Veränderung und Hinterfragung dessen, was ein Publikum ist und was ein Publikum tun sollte oder auch nicht. So forderte schon Bertolt Brecht eine neue »Zuschaukunst«, wollte Antonin Artaud die Zuschauer_innen in »ein elektrisches Seelenbad, drin der Intellekt periodisch gehärtet wird«, tauchen und transformierte die Performance-Kunst die Zuschauer_innen zu aktiven Teilnehmer_innen und Mitspieler_innen. Diese Erkundung ist noch längst nicht abgeschlossen, wie beispielsweise aktuelle immersive Aufführungsformate zeigen.
Doch trotz der praktischen wie theoretischen Relevanz, die dem Publikum im Theater des 20. und beginnenden 21. Jahrhunderts zukommt, weiß die Theaterwissenschaft relativ wenig über das Publikum und konstruieren aufführungsanalytische Ansätze häufig eine idealisierte Zuschauinstanz. Noch immer gilt mithin für die Theaterwissenschaft, was Dennis Kennedy 2009 in seiner Studie The Spectator and the Spectacle. Audiences in Modernity and Postmodernityvermerkte: Der Zuschauende sei »a pale hypothetical inference in the commentator’s imagination.« Es ist an der Zeit, Theaterwissenschaft auch als Publikumsforschung zu verstehen.
Der Beitrag skizziert an ausgewählten Beispielen aus der Theater- und Performancegeschichte vom 18. bis zum 21. Jahrhundert wesentliche Veränderungen des Verhältnisses zwischen theatralem Geschehen und Publikum sowie unterschiedliche Konzepte und Praktiken theatraler Wahrnehmung. Auf dieser Grundlage werden Perspektiven einer theaterwissenschaftlichen Publikumsforschung umrissen.
21
Nusen, Rachod, and Kamron Gunatilaka. "Translated Plays as a Force for Social Justice." Manusya: Journal of Humanities 23, no. 1 (March 21, 2020): 86–115. http://dx.doi.org/10.1163/26659077-02301005.
Full textAbstract:
During the current political crisis in Thailand, people hold various political standpoints. Despite these different stances, the goal for many of these differences remains the same, namely, a just society. The research Translated Plays as a Force for Social Justice is an attempt to advocate the role of literature in creating social justice. The purpose of the research is to study issues of social justice in translated plays and to suggest ways in which the Thai academic community and Thai society can use plays to advocate social justice. This research studies translations of William Shakespeare’s The Merchant of Venice, Bertolt Brecht’s Der gute Mensch von Sezuan, Jean Anouilh’s Antigone and Arthur Miller’s The Crucible. The study finds that these plays pose challenging questions which help raise an awareness of the importance of social justice. Critics and theatre practitioners in the West have created a number of works on these plays that help advance social justice. Nonetheless, the issues of social justice in these plays are often ignored by Thai critics and theater practitioners and, because of this, some of them unintentionally offer an interpretation or a production, which is not in line with the concept of social justice.
22
Simons, Oliver. "Theater of Revolution and the Law of Genre—Bertolt Brecht's The Measures Taken (Die Maßnahme)." Germanic Review: Literature, Culture, Theory 84, no. 4 (September 30, 2009): 327–52. http://dx.doi.org/10.1080/00168890903291468.
Full text
23
Komins, Benton Jay. "Rewriting, Violence, and Theater: Bertolt Brecht's The Measures Taken and Heiner Müller's Mauser." Comparatist 26, no. 1 (2002): 99–119. http://dx.doi.org/10.1353/com.2002.0022.
Full text
24
Nainggolan, Daniel Raja Kesatria. "PERANCANGAN PENYUTRADARAAN NASKAH LAKON SINAMOT KARYA MAHBUB KURTUBI." IKONIK : Jurnal Seni dan Desain 3, no. 1 (February 1, 2021): 44. http://dx.doi.org/10.51804/ijsd.v3i1.868.
Full textAbstract:
Laporan penyutradaraan naskah lakon Sinamot karya Mahbub Kurtubi merupakan pembahasan suatu proses perancangan artistik dalam pertunjukan teater. Laporan ini menjelaskan proses pementasan pertunjukan teater dengan judul naskah Sinamot, mulai dari alasan memilih permasalahan tentang sinamot (emas kawin) hingga sampai tahap terakhir menuju pementasan. Naskah lakon Sinamot menceritakan tentang perjuangan seorang perempuan bernama Lasma dalam mempertahankan haknya untuk bisa memilih menikah dengan laki – laki pilihannya. Lasma memiliki kekasih yang berprofesi sebagai seniman bernama Ringgas. Ringgas yang berprofesi sebagai seniman merasa kurang percaya diri untuk memberanikan diri melamar Lasma. Penghasilan Ringgas sebagai seniman tidak cukup banyak untuk membayar sinamot (emas kawin) kepada keluarga Lasma. Permasalahan bertambah ketika paman (bapauda) Lasma bernama Godam menjodohkannya dengan laki – laki lain yang lebih mapan. Pergejolakan batin yang dialami Lasma akhirnya memutuskan dia untuk menerima perjodohan tersebut. Tiba saatnya di hari pernikahan, Lasma memutuskan untuk membatalkan pernikahannya. Lasma meninggakan calon suaminya dan pergi dari gereja. Pada akhinya Lasma lebih memilih untuk tidak menikah dari pada harus hidup dengan laki – laki lain dalam keadaan terpaksa. Naskah lakon Sinamot penuh dengan kritik sosial mengenai permasalahan sinamot (emas kawin) pada masa pra pernikahan masyarakat Batak Toba. Batalnya pernikahan sepasang kekasih karena tidak menemukan kata sepakat dalam pembahasan sinamot (emas kawin) sudah sering terjadi. Oleh karena itu pertunjukan ini bertujuan untuk menyadarkan masyarakat agar mampu melihat kondisi sosial yang terjadi di sekitarnya. Untuk mewujudkannya, sutradara menggunakan teknik alienasi Bertold Brecht pada pertunjukan naskah lakon Sinamot. Teknik alienasi Brecht dianggap mampu mewujudkan keinginan sutradara dalam memberikan ruang kepada penonton untuk berpikir kritis pada pertunjukan naskah lakon Sinamot.The report on the direction of the Sinamot by Mahbub Kurtubi is a discussion of an artistic design process in theater performances. This report describes the process of staging a theater performance with the title Sinamot script, starting from the reasons for choosing the issue of sinamot (emas kawin) to the final stage towards the performance. The Sinamot script tells about the struggle of a woman named Lasma in defending her right to be able to choose to marry a man of her choice. Lasma has a lover who works as an artist named Ringgas. Ringgas, who works as an artist, doesn't feel confident enough to dare to apply for Lasma. Ringgas’s salary as an artist is not enough to pay for sinamot (emas kawin) to Lasma's family. The problem grew when Lasma's uncle (bapauda) named Godam arranged a marriage between him and another, more stable man. The inner turmoil that was experienced by Lasma finally decided him to accept the match. It was time for the wedding day, Lasma decided to cancel the wedding. Lasma left her future husband and left the church. In the end, Lasma prefers not to marry rather than live with other men under coercion. The Sinamot script is full of social criticism regarding the issue of sinamot (emas kawin) during the pre-wedding period of the Batak Toba community. The cancellation of the marriage of two lovers because they did not find an agreement in the discussion of sinamot (emas kawin) has often happened. Therefore, this show aims to make people aware of the social conditions that occur around them. To make it happen, the director used Bertold Brecht's alienation technique in the Sinamot script. Brecht's alienation technique is considered capable of realizing the director's desire to provide space for the audience to think critically at the Sinamot script..
25
von Held, Phoebe. "Brecht’s Anti-Theatricality? Reflections on Brecht’s Place in Michael Fried’s Conceptual Framework." Journal of Visual Culture 16, no. 1 (April 2017): 28–42. http://dx.doi.org/10.1177/1470412917694514.
Full textAbstract:
In ‘Art and Objecthood’ (1967), Michael Fried articulates an uncompromising rejection of the theatre. His critique reaches as far as to expel the theatre from the realm of the arts and excludes it from the Modernist project. However, he exempts two theatre vanguardists from his argument, Bertolt Brecht and Antonin Artaud, who in his view developed anti-theatrical strategies as part of their aspirations to reform the theatre. This article examines whether Fried’s inclusion of Brecht into his anti-theatrical paradigm was justified or whether it was mere appropriation. It furthermore probes into Fried’s category of anti-theatricality within the conceptual framework of Brecht’s dramaturgical reflections and its validity as a key marker of Modernism.
26
FitzPatrick Dean, Joan. "Hilton Edwards, Brecht and the Brechtian." Review of Irish Studies in Europe 4, no. 1 (June 14, 2021): 82–98. http://dx.doi.org/10.32803/rise.v4i1.2622.
Full textAbstract:
The Dublin Gate Theatre Company’s repertory of international, often experimental plays offers perhaps the clearest distinction between the Gate and the Abbey in the mid-twentieth century. A growing body of scholarship focuses on how Hilton Edwards and Micheál mac Liammóir deployed innovative, non-realistic staging techniques and brought to Ireland design elements associated with European artists. The Gate’s international remit can also be seen in its production of plays not merely authored by foreign playwrights, but focused on issues outside the conventional purview of Irish politics, including anti-Semitism and totalitarianism. Throughout his career, Hilton Edwards often sought out non-realistic dramaturgies to critique modern institutions. Some of the plays chosen by Edwards and mac Liammóir were so provocative, socially-conscious, and politically-charged that they challenged the prevailing ethos in Catholic Ireland and incurred the wrath of the Catholic Cinema and Theatre Patrons’ Association. Edwards’ exposure to Bertolt Brecht’s plays, theories, and the 1956 London performances by the Berliner Ensemble prompted not only his production of Mother Courage in 1959 and Saint Joan of the Stockyards two years later, but also his greater willingness to comment on theatre, for example on the radio and in his book The Mantle of Harlequin (1958). Edwards shared with Brecht an awareness of music as integral to performance and a vision of theatre unconstrained by realism and the proscenium arch. Although the Gate repertory of new productions in the post-Emergency era may appear unsurprising, that perspective is informed by the half century in which dramatists such as Arthur Miller and Brecht emerged canonical figures. Hilton Edwards’ direction of Mother Courage and Saint Joan of the Stockyards advanced the Gate’s internationalism and helped to reshape the political nature of Irish theatre. Keywords: Hilton Edwards, Dublin Gate Theatre, Bertolt Brecht, Irish theatre, theatre and politics, Brechtian
27
Rokem, Freddie. "‘Suddenly a Stranger Appears’." Nordic Theatre Studies 31, no. 1 (March 13, 2019): 8–21. http://dx.doi.org/10.7146/nts.v31i1.112998.
Full textAbstract:
My contribution to the the NTS issue on Theatre and Continental Philosophy discusses a particular aspect of the complex intellectual and creative dialogue between the work and thinking of Walter Benjamin and Bertolt Brecht, beginning in 1929, the year they became close friends. Benjamin is no doubt the first critic of Brecht’s epic theatre, even planning to write a book about his artistic contributions. By examining the notion of the “Interruption” (Die Unterbrechung) and the sudden appearance of a stranger in three of Benjamin’s texts about Brecht’s epic theatre, I want to draw attention to Benjamin’s philosophical understanding of this ‘critical’ figure’ (the interrupting stranger), as one of the central aspects of the epic theatre. The essay is a prolegomenon for a more comprehensive study of this topic.
28
Ketchian, Sonia, and Katherine Bliss Eaton. "The Theater of Meyerhold and Brecht." Slavic and East European Journal 30, no. 4 (1986): 580. http://dx.doi.org/10.2307/307381.
Full text
29
Rundell, Richard J., and Katherine Bliss Eaton. "The Theater of Meyerhold and Brecht." German Studies Review 10, no. 2 (May 1987): 378. http://dx.doi.org/10.2307/1431143.
Full text
30
Barnett, David. "Resisting the Irish Other: the Berliner Ensemble's Production of The Playboy of the Western World." New Theatre Quarterly 33, no. 2 (April 12, 2017): 156–68. http://dx.doi.org/10.1017/s0266464x17000069.
Full textAbstract:
In this article David Barnett explores the Berliner Ensemble's production in 1956 of Synge's classic The Playboy of the Western World. Although it was directed by Peter Palitzsch and Manfred Wekwerth, Bertolt Brecht, the company's co-founder, loomed large in planning and rehearsal. This staging serves as an example of how a politicized approach to theatre-making can bring out relationships, material conditions, and power structures that the play's production history has often ignored. In addition, Barnett aims to show how Brechtian methods can be applied more generally to plays not written in the Brechtian tradition and the effects they can achieve. David Barnett is Professor of Theatre at the University of York. He is the author of Heiner Müller's ‘The Hamletmachine’ (Routledge, 2016), A History of the Berliner Ensemble (Cambrige, 2015) and Brecht in Practice: Theatre, Theory, and Performance (Bloomsbury, 2014). His recent AHRC-funded ‘Brecht in Practice: Staging Drama Dialectically’, led to a Brechtian production of Patrick Marber's Closer, and he offers theatre-makers and teachers workshops on using Brecht's method on stage and in the classroom.
31
Houlihan, Barry, and Grace Vroomen. "A Stage of Transition: Locating European Identity, Culture and Memory at the Gate Theatre: Frank McGuinness’ ‘The Thrupenny Opera’ and Peer Gynt and Hugo Hamilton’s The Speckled People." Review of Irish Studies in Europe 4, no. 1 (June 14, 2021): 99–120. http://dx.doi.org/10.32803/rise.v4i1.2634.
Full textAbstract:
This paper explores contemporary Irish-European identity as staged at the Gate Theatre, Dublin. The selected plays challenge contemporary Irish perspectives on form, style, politics and scenography and as the paper argues, highlight the interconnected influence of European theatre, culture, and identity as performed at the Gate Theatre. This paper examines European and Irish memory and identity with specific attention to the ‘language’ of performance as it is transposed cross-culturally and as performed to Irish audiences. Questions explored include the adaptation of memoir for/in performance, within German-Irish identity and as explored in The Speckled People (2011), a stage adaptation of family memoir by the German-born Irish-based writer, Hugo Hamilton. The paper, moreover, excavates the representation of identity and home in Frank McGuinness’ adaptation of Henrik Ibsen’s Peer Gynt (1988) and in the 2014 Gate production of Bertolt Brecht’s and Kurt Weill’s The Three Penny Opera. Drawing on newly released archive materials, this paper puts forward theoretical questions around the performance and reception of the concepts of home, memory and identity in the broader European context. This paper argues the Gate brought European stories and experimental styles to the Irish stage, but also how these identities and modes interacted and engaged audiences in new dialogues. Keywords: European Theatre, Gate Theatre Dublin, Frank McGuinness, Bertolt Brecht, Hugo Hamilton, Joe Vaněk, Scenography
32
Smith, Iris. "Brecht and the Mothers of Epic Theater." Theatre Journal 43, no. 4 (December 1991): 491. http://dx.doi.org/10.2307/3207978.
Full text
33
Kritzer, Amelia Howe. "Book Review: After Brecht: British Epic Theater." Theatre Journal 48, no. 4 (1996): 525–26. http://dx.doi.org/10.1353/tj.1996.0087.
Full text
34
Rodríguez, Verónica. "“Who Would Disagree that in a World of Trump and Putin and Boris Johnson ... Brecht Is Not the Theorist and Playwright of Our Times?”: Bertolt Brecht’s Influence on David Greig’s Work." Journal of Contemporary Drama in English 7, no. 2 (November 7, 2019): 242–58. http://dx.doi.org/10.1515/jcde-2019-0025.
Full textAbstract:
Abstract This article maps out David Greig’s engagement with the figure of Bertolt Brecht, both the ‘theorist’ and the ‘playwright.’ It addresses this engagement in terms not just of influence but also of creative dialogue and enduring inspiration. The first part of this article looks at Brecht and Greig’s similarities and Greig’s Brechtian influence generally, which are explored, for instance, through Brechtian concepts such as “breaking the rules,” “critical stance” and “entertainment.” The second part focuses on the idea of “making political theatre politically” (Thamer and Turnheim 90; emphasis original) and argues that the most relevant Brechtian aspect in Greig’s work is the way it envisions and politicizes the relationship between the play and the audience via the use of some strategies that draw on epic theatre, which, in Greig’s work, operate under “post-Brechtian dialectics” (Barnett, “Performing”). The third part of the article illustrates the Brechtian import of Greig’s work by exploring two case studies, The American Pilot (2005) and The Events (2013). In analyzing these two paradigmatically Brechtian plays, this article illustrates how understanding Brecht’s influence on Greig’s work is essential in order to understand the politics of Greig’s theatre. More widely, this article contributes towards understanding Brecht’s legacy with regard to political British theatre in the age of globalization.
35
Rizk, Beatriz J. "The Colombian New Theatre and Bertolt Brecht: A Dialectical Approach." Theatre Research International 14, no. 2 (1989): 131–41. http://dx.doi.org/10.1017/s0307883300006106.
Full textAbstract:
The struggle to eradicate naturalism from the theatre (or its satiric counterpart, the comedy of manners strongly rooted in the Latin American dramatic tradition and still very much alive), led the Colombian New Theatre forerunners consciously to seek new approaches to reality in their work. At the same time, there was the need, from the very beginning, to turn their practice into a functional system flexible enough to adapt to the needs and challenges of every new play.
36
Almeida, Carla, and Diego Vaz Bevilaqua. "The collaboration in the production of ‘Life of Galileo’ in a science museum in Rio de Janeiro." Journal of Science Communication 20, no. 02 (February 9, 2021): A01. http://dx.doi.org/10.22323/2.20020201.
Full textAbstract:
Science and theatre have a long history of interactions, which usually promote collaborations between artists and scientists. Focussing on the theatre performed in the context of science communication, this article aims to analyse the collaboration between artists and scientists in the production of the play ‘Life of Galileo’, by Bertolt Brecht, at the Museu da Vida. Based on the interviews with 12 people involved in the production, we identified a strong involvement in the project, which provided a rich exchange and knowledge acquisition, in addition to raising relevant questions about the theatre performed in the specific context of science communication.
37
Lindgren, Astrid. "Pippi Goes to the Fair." Scenario: A Journal of Performative Teaching, Learning, Research III, no. 2 (July 1, 2009): 1–6. http://dx.doi.org/10.33178/scenario.3.2.1.
Full textAbstract:
Why don’t we try taking a childlike perspective on theatre? Young readers world-wide have been fascinated by the rascally and wilful girl, Pippi Longstocking, who never conforms to reality as we know it. Whenever she steps out of her own little world at Villekulla Cottage, she turns the familiar upside down. This excerpt is surprising in that Pippi experiences theatrical fiction as reality, while the audience perceives her intervention in events on stage as fiction. We smile because Pippi is so charmingly naive. The drama on stage touches her so much that she feels compelled to intervene. Associations with Bertolt Brecht‘s Aesthetics of Theatre seem appropriate, inviting perhaps a reassessment of the role played by the naïve in Brecht’s concept of theatre.
38
Vinci, Elisabetta. "Empathy in Modern Drama: Bertolt Brecht’s Threepenny Opera." Gestalt Theory 41, no. 2 (July 1, 2019): 159–71. http://dx.doi.org/10.2478/gth-2019-0016.
Full textAbstract:
Summary The aim of this paper is to compare Brechtian theory concerning empathy in theatre and recent studies showing the biological basis of empathy. First of all, a brief summary about the concept of empathy is provided, with particular attention to empathy in Brechtian theatre. Then, a paragraph is dedicated to explain how empathy and emotional involvement are linked to neurobiological mechanisms and body state. In the end, an analysis of the Verfremdungseffekte in the Threepenny Opera is traced to understand how recent studies contradict Brechtian theory as far as empathy is concerned.
39
Warstat, Matthias. "Kann Theater töten? Überlegungen zu Brecht und Artaud." Paragrana 20, no. 1 (August 2011): 316–27. http://dx.doi.org/10.1524/para.2011.0024.
Full textAbstract:
ZusammenfassungDer Beitrag behandelt die Bedeutung der Metapher des Tötens für Theaterdiskurse der Avantgarde mit Blick auf Texte von Brecht und Artaud. Das Töten und Sterben auf der Bühne, ein altes Phantasma der europäischen Theatertradition, gewann in modernen Visionen eines neuen Theaters starkes Gewicht als Verweis auf radikale, krisenhafte Wirkungen von Kunst und Theater.
40
ROKEM, FREDDIE. "Dramaturgies of Exile: Brecht and Benjamin ‘Playing’ Chess and Go." Theatre Research International 37, no. 1 (January 26, 2012): 5–19. http://dx.doi.org/10.1017/s0307883311000721.
Full textAbstract:
In my book Philosophers and Thespians: Thinking Performance (Stanford University Press, 2010) I analysed four encounters between philosophers and theatre people – the thespians in the title – as a point of departure for presenting a typology based on the exploration of the complex border landscapes between the discursive practices of philosophy and performance/theatre. In this article, I take a closer look at one of these encounters, exploring the narrative strategies of Bertolt Brecht and Walter Benjamin, as well as Franz Kafka, suggesting that they can be analysed on the basis of the games of chess and go. The differences between the rules of these two board games serve as the basis for a dramaturgical analysis where different aspects of performance/theatre and philosophy (practice and theory) are brought together. This hermeneutic ‘approach’ also reflects the basic pedagogic situation of studying and researching theatre and performance as well as many of the ethical concerns raised by our involvement with these artistic practices, along with those of philosophy.
41
Bornheim, Gerd. "Brecht ainda hoje?" Pandaemonium Germanicum, no. 4 (November 5, 2000): 47. http://dx.doi.org/10.11606/1982-8837.pg.2000.64137.
Full textAbstract:
Der vorliegende Aufsatz versucht, Argumente für die Aktualität Berltolt Brechts zu finden. Es werden Parallelen zwischen Brechts epischem Theater und der Musik, insbesondere der Oper, aufgezeit. Dabei spielt die für Brecht so wichtige Ästhetik der Form eine zentrale Rolle, die entscheidend für seine Modernität ist.
42
Davis, R. G. "A Director's Journey from Performance Art to Ecological Aesthetics." New Theatre Quarterly 30, no. 2 (May 2014): 168–74. http://dx.doi.org/10.1017/s0266464x1400027x.
Full textAbstract:
R.G. Davis founded the company that became the San Francisco Mime Troupe as an experimental project of the Actors' Workshop in 1959. He left the Troupe in 1970, formed the Epic West Center in Berkeley for the study of Bertolt Brecht and epic theatre, and became a pioneering director in the United States successively of the plays of Brecht and Dario Fo, on which he wrote in the original Theatre Quarterly 40 (Autumn–Winter 1981) and in New Theatre Quarterly 8 (November 1986). In this article he traces the course of his subsequent career in creating experimental storytelling events and, via an interlude garnering academic qualifications, into the field of ecological aesthetics, which he defines as ‘a Brechtian aesthetic and ecological socialism interrogating each other within a scientific ecological conception of nature’. The present article is based on a lecture he gave in June 2013 at Stanford University.
43
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.
Full textAbstract:
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.
44
Ejiofor, Benjamin Asodionye, and Tekena Gasper Mark. "Brechtian Methodology in Wise’s The Sound of Music: Insights into Theatre in Education." AFRREV IJAH: An International Journal of Arts and Humanities 9, no. 1 (April 28, 2020): 28–43. http://dx.doi.org/10.4314/ijah.v9i1.4.
Full textAbstract:
Methods are problem solving devices for the benefit of education in society. When a method assumes regimental fixations, society suffers hackneyed bouts of limitation and contention necessitating flux. This paper examines issues of regimentalism as they affect society in Robert Wise’s The Sound of Music, and the staccato notes of change inevitably mobilizing a Brechtian methodological reading amplifying social change, in a Theatre in Education performance. Bertolt Brecht (1898-1965), accomplished German director, playwright and theorist, mobilized theatre for social change by setting up Marxist dialectics in pursuit of retrenchment of total empathy; giving free reign to critical consciousness in theatrical productions. This paper has investigated analytically, the representations of this Brechtian methodology in The Sound of Music with the manifest result that the experiment in the movie has produced a healthier and better organized society than the German regimental machine.
Key Words: Education, Theatre in Education, Brecht, Alienation Effect, Social Change, Family, Critical, Learning and Socialization
45
Mal'tseva, Ol'ga Nikolaevna. "THEATRE CRITICISM ON THE INFLUENCE OF BERTOLT BRECHT’S EPIC THEATRE ON ROBERT STURUA’S PERFORMANCES." Manuscript, no. 10 (October 2018): 121–25. http://dx.doi.org/10.30853/manuscript.2018-10.24.
Full text
46
Bai, Ronnie. "Dances with Brecht: Huang Zuolin and His Xieyi Theater." Comparative Drama 33, no. 3 (1999): 339–264. http://dx.doi.org/10.1353/cdr.1999.0019.
Full text
47
Gojic, Jelena. "DRUŠTVENO-POLITIČKI PREOBRAŽAJ PELAGEE VLASOVE U DRAMI „MAJKA“ BERTOLTA BREHTA." Lipar, no. 71 (April 2020): 83–99. http://dx.doi.org/10.46793/lipar71.083g.
Full textAbstract:
Brecht was one of the most influential theatre practitioners, playwrights, poets and filmmakers of the 20th century. In this paper we deal with one of his dramas, which was one of his early dramatic writings and which transparently portrays Brecht’s social engagement and his affection for the Communist Party. This drama shows the basic postulates of Marxist ideology and it has received little attention in Serbian scientific literature. This paper points to Brecht’s engagement in this didactic piece, with the support of the theoretical postulates of Shaw, Sartre, Foucault and Adrienne Rich. The aim of the paper is to show the development of the main character, Pelagea Wlassowa, who is undergoing such a transformation, which is inevitably accompanied by her activation in current socio-political events
48
Costa, Iná Camargo. "O teatro épico de Brecht." Pandaemonium Germanicum, no. 4 (November 5, 2000): 27. http://dx.doi.org/10.11606/1982-8837.pg.2000.64058.
Full textAbstract:
Dieser Artikel ist eine gekürzte Fassung des Kapitels "Sinta o drama" aus dem gleichnamigen Buch. Er untersucht Brechts Gründe, sein Theater als episch zu bezeichnen, ausgehend von wichtigen Literaturkritikern wie Peter Szondi, Adorno, Lukács und Anatol Rosenfeld sowie Brecht selbst.
49
Virant, Špela. "Zur Rolle der Emotionen in Brechts Dramentheorie." Acta Neophilologica 48, no. 1-2 (December 15, 2015): 87–99. http://dx.doi.org/10.4312/an.48.1-2.87-99.
Full textAbstract:
Mitte des 19. Jahrhunderts begann ein Prozess der 'Abkühlung' in den Künsten. Die dargestellten Gefühle und die gefühlvolle Darstellungsweise wurden aus der Literatur verdrängt oder sehr nüchtern betrachtet. Es kommt zu einer Rationalisierung, Ökonomisierung und Ideologisierung der gesellschaftlichen Emotionsdiskurse, was auch die Dramentheorie beeinflusst, für die die Erregung und Reinigung der Gefühle seit der Poetik von Aristoteles von zentraler Bedeutung ist. Brecht bekämpfte das aristotelische Theater aus ideologischen und politischen Gründen. Je mehr er gegen Aristoteles argumentierte, desto stärker näherte er sich einer modernen Lesart der Poetik an. Interessant ist aber, dass sich auch das sogenannte postdramatische Theater, das sich von Aristoteles und Brecht ausdrücklich distanziert, immer noch als kalt bezeichnet.
50
Tudor, Alexandra. "Carmen Elisabeth Puchianu (Hrsg.): Die Mühen der Gebirge liegen hinter uns, vor uns liegen die Mühen der Ebenen, Kronstädter Beiträge zur germanistischen Forschung, Band 19, Aldus Verlag, Kronstadt, 2019, ISSN 1842-9564, 205 Seiten." Germanistische Beiträge 45, no. 1 (December 1, 2019): 183–92. http://dx.doi.org/10.2478/gb-2019-0029.
Full textAbstract:
Abstract The following paper presents the 19th volume on German Studies Kronstädter Beiträge zur Germanistischen Forschung 2019. The volume is dedicated to Bertolt Brecht and it contains papers about him andon his activity as a poet, theatre practitioner, playwright and film director, as well as papers on different fields and versatile aspects of German Studies.