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Articoli di riviste sul tema "Brecht"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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1

Schechter, Joel. "Brecht After Brecht." Theater 17, no. 2 (1986): 4. http://dx.doi.org/10.1215/01610775-17-2-4.

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2

Bornheim, Gerd. "Brecht ainda hoje?" Pandaemonium Germanicum, no. 4 (November 5, 2000): 47. http://dx.doi.org/10.11606/1982-8837.pg.2000.64137.

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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.

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3

Zurbach, Christine. "Homem = Homem? Brecht = Brecht?" Sinais de cena, no. 8 (December 2007): 93–95. http://dx.doi.org/10.51427/cet.sdc.2007.0054.

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4

MARKELL, PATCHEN. "POLITICS AND THE CASE OF POETRY: ARENDT ON BRECHT." Modern Intellectual History 15, no. 2 (2016): 503–33. http://dx.doi.org/10.1017/s1479244316000366.

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Hannah Arendt's essay on Bertolt Brecht has often been understood as an indictment of Brecht's postwar accommodation with the Stalinist regime in East Germany, in line with Arendt's supposed commitment to a firm separation between poetry and politics. Offering the first full reconstruction of the transnational history of Arendt's writing on Brecht, this article shows instead that Arendt's essay was a defense of Brecht against the polemics it is often taken to exemplify. Joining poetry to politics by holding both at a distance from philosophy, Arendt assigned poetry the vocation of disruptive f

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5

Hillesheim, Jürgen. ""IN THE JUNGLE OF RELATIONSHIPS." BRECHT, CASPAR NEHER AND THE WEST GERMAN POST-WAR CULTURAL INDUSTRY." Brecht-Magazine: Articles, Essays, Translations, no. 8 (February 28, 2023): 43–51. http://dx.doi.org/10.35433/brecht.8.2022.43-51.

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The article deals with little-known or unknown facts from the biography of Bertolt Brecht in the first post-war decade, when he began to be transformed into an icon in the art of the German Democratic Republic. But in reality, the writer, as throughout his life, continues to look for different ways to realize his own creative plans and popularize his work in both parts of Germany: in socialist East Germany and in capitalist West Germany. Bertolt Brecht resumes quite active cooperation with Caspar Neher. This talented artist, with whom Bertolt Brecht had been friends since his youth and had a n

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6

Westermann, Bernd. "Hundert Jahre Brecht – Brechts Jahrhundert?" Informationen Deutsch als Fremdsprache 27, no. 2-3 (2000): 238–41. http://dx.doi.org/10.1515/infodaf-2000-2-363.

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7

Ankhym, O., and M. Ankhym. "BERTOLT BRECHT AND THE TRANSNATIONAL THEATRE." Brecht-Magazine: Articles, Essays, Translations, no. 9 (December 26, 2023): 14–24. http://dx.doi.org/10.35433/brecht.9.2023.14-24.

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Transnationality and transculturality, which have been attracting increasing attention within the scientific community in recent decades, have become an integral part of modern literature. Decolonization and globalization, as well as the mobility and migration caused by them, have become triggers for the blurring of ethnic, national, and cultural boundaries. These processes have also found their embodiment in literature. The transnational turn observed in literature since the 1990s shows that the understanding of literary works within national frameworks no longer corresponds to modern reality

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8

Martin, Carol. "Brecht, Feminism, and Chinese Theatre." TDR/The Drama Review 43, no. 4 (1999): 77–85. http://dx.doi.org/10.1162/105420499760263543.

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American feminist theatre theorists have taken to Brecht's “Alienation Effects in Chinese Acting”. But what did Brecht know about Chinese acting? Could feminists benefit by looking past Brecht to the Chinese theatre itself?

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9

Sousa, Celeste H. M. Ribeiro de. "Da imagem do Brasil ao teatro de Brecht: A peça Baal." Pandaemonium Germanicum, no. 4 (November 5, 2000): 109. http://dx.doi.org/10.11606/1982-8837.pg.2000.64165.

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Das Stück Baal des jungen Brecht enthält eine Anspielung auf Brasilien. Aus der Interpretation des dort vermittelten Brasilienbildes kann sich eine nützliche Diskussion entwickeln, um das Theater Brechts im Unterricht einzuführen und den Schüler zur Beschäftigung mit ihm zu motivieren. Der vorliegende Aufsatz will dazu anregen, die Auseinandersetzung mit Brecht mit seinem Erstlingsstück zu beginnen, und skizziert dazu einen möglichen Weg.

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10

Rao, Beilei. "Wei Zhang: Chinese adaptations of Brecht: appropriation and intertextuality. Cham: Palgrave Macmillan 2020, 200 S." Jahrbuch für Internationale Germanistik 56, no. 1 (2024): 232–36. http://dx.doi.org/10.3726/jig561_232.

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Der Titel der Arbeit Chinese adaptations of Brecht: appropriation and intertextuality benennt bereits präzise den Forschungsgegenstand: In dieser Arbeit wird die Rezeption der Brechtschen Stücke in China vom Ende der Kulturrevolution bis heute untersucht. Bei der Studie aus dem Jahr 2020, die auf einem Dissertationsprojekt basiert, geht es vor allem darum, wie Brechts Stücke von chinesischen Dramaturginnen adaptiert oder angeeignet wurden, um die soziopolitischen, wirtschaftlichen und kulturellen Entwicklungen in China seit 1979 zu thematisieren. Dabei legt die Autorin den Fokus auf die Verfle

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11

Lamberth, Annabell, and Philip Dingeldey. "Von der Entfremdung zur Verfremdung. Das epische Theater zwischen Kunst und Marxscher Sozialtheorie." Soziologiemagazin 16, no. 1 (2023): 41–64. http://dx.doi.org/10.3224/soz.v16i1.04.

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Mit dem epischen Theater schuf Bertolt Brecht Anfang des 20. Jahrhunderts eine neue, experimentelle Form des Theaters, die darauf abzielt, die Zuschauer*innen zum distanzierten Nachdenken und Hinterfragen der Gesellschaft anzuregen, also nicht nur Soziales in Kunstform zu behandeln, sondern die Gesellschaft selbst in den Reflexionsprozess zu integrieren. Um dies zu erreichen, setzte er Techniken zur Desillusionierung und Verfremdung ein. Bei Brechts Stücken handelt es sich um Kunstformen, die sozial intervenieren und daher nicht nur der literatur- und theaterwissenschaftlichen, sondern auch de

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12

Evenden, M. "Die Burgschaft, or "Brecht ohne Brecht"." Theater 30, no. 3 (2000): 63–75. http://dx.doi.org/10.1215/01610775-30-3-63.

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13

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.

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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.

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14

Smith, James. "Brecht, the Berliner Ensemble, and the British Government." New Theatre Quarterly 22, no. 4 (2006): 307–23. http://dx.doi.org/10.1017/s0266464x06000509.

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It is well known that Bertolt Brecht, during his time in the United States of America, attracted the surveillance of anti-communist forces, with Brecht's sly testimony to the House Committee on Un-American Activities becoming one of his most famous public performances. Recently declassified files from Her Majesty's Government reveal that Britain, too, undertook extensive campaigns to monitor and censor Brecht and the Berliner Ensemble. James Smith considers material from British governmental agencies such as MI5, the Foreign Office, and the Cabinet Office, which detail the activities undertake

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15

Ibs, Torben. "Die Innenseite des Augenblicks." Theater heute 64, no. 3 (2023): 65–66. http://dx.doi.org/10.5771/0040-5507-2023-3-065.

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16

BARNETT, DAVID. "On Being Had: Publishing an Article on a Literary Fake." Theatre Research International 47, no. 2 (2022): 200–202. http://dx.doi.org/10.1017/s0307883322000098.

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In 2002, I published an article in Theatre Research International called ‘Heiner Müller as the End of Brechtian Dramaturgy: Müller on Brecht in Two Lesser-Known Fragments’. I had written my doctoral dissertation on Müller, and, in the course of my studies, had come across two shorter pieces that, to my knowledge, had not been discussed by scholars. The first was Philoktet 1979 (Philoctetes 1979), a short, parodic and grotesque treatment of the Philoctetes myth, something very different from Müller's more sombre adaptation of the same material, published in 1965. I had heard Müller read the com

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17

Ankhym, O., and M. Ankhym. "BERTOLT BRECHT AND HELMUT BAIERL: THEORETICAL AND PRACTICAL INTERPRETATION." Brecht-Magazine: Articles, Essays, Translations, no. 8 (March 15, 2023): 7–15. http://dx.doi.org/10.35433/brecht.8.2022.7-15.

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Helmut Baierl with his unique dramaturgy, special methods and ways of depicting reality was subjected to numerous criticisms and became one of the most controversial creative personalities in post-war Germany. His plays caused discussions not only in the GDR and FRG but also beyond their borders. There is still no unanimous opinion among literary critics about this playwright and his significance for drama. Some scholars call him an epigone of Bertolt Brecht, others call him a follower, then there are those who consider him an innovator, etc. Therefore, taking into account the unreflected arti

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18

Bondareva, O. "BERTOLT BRECHT AND SLOBODAN SCHNEIDER: WAR. RELIGION. WOMAN. THEATER." Brecht-Magazine: Articles, Essays, Translations, no. 8 (February 28, 2023): 26–42. http://dx.doi.org/10.35433/brecht.8.2022.26-42.

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Global issues fixed in the diachrony of world culture by the concept of "war", as well as modern methods of its aesthetic interpretation, are seen today as extremely promising for Ukrainian literary studies, which is now actively rethinking how and through which models the artistic representation of modern military events should take place and their reflection in experience/living. The article offers a comparative literary analysis of B. Brecht's plays "Mother Courage and Her Children" and S. Schneider's "Snake Skin", in which, in the setting of the Thirty Years' War in Europe of the 17t

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19

Borkovska, O. "THE EMBLEMATIC CODE OF B. BRECHT’S "WAR PRIMER"." Brecht-Magazine: Articles, Essays, Translations, no. 9 (December 26, 2023): 39–56. http://dx.doi.org/10.35433/brecht.9.2023.39-56.

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In times of Russian military aggression against Ukraine the world’s anti-war literary heritage has been particularly relevant. The article analyses the peculiarities of "War Primer" by B. Brecht and its connection with the emblematic traditions of the Baroque era. Hence, "War Primer" resembles a photo album with photographs and commentaries on them. The historical sequence of the depicted events is evident – each photo is accompanied by a commentary, and almost every photo has a caption with reference material at the end of the album. All visual materials were published in Swedish and American

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20

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 undogma

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21

Oliander, L. "DER VERWUDETЕ SOKRATES BY BERTOLT BRECHT: PECULIARITIES OF NARRATIVE SYSTEM". Brecht-Magazine: Articles, Essays, Translations, № 8 (28 лютого 2023): 65–72. http://dx.doi.org/10.35433/brecht.8.2022.65-72.

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Poetics is used to characterize the fictional and philosophical concept of B. Brecht’s short story, as well as the narrative means employed to create the image of protagonist – philosopher Socrates who finds himself in a crisis during the battle with Persians. The paper reveals the sense-creating role of the short story composition. It is demonstrated that in terms of narration type the story can be divided into two unequal parts: the first part is a (quasi) encyclopaedia article where Socrates is depicted as a philosopher and educator, a courageous person who met his end with dignity and a br

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22

Durrani, Osman, and Ronald Speirs. "Bertolt Brecht." Modern Language Review 84, no. 1 (1989): 260. http://dx.doi.org/10.2307/3732068.

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23

Crow, Brian. "“African Brecht”." Research in African Literatures 40, no. 2 (2009): 190–207. http://dx.doi.org/10.2979/ral.2009.40.2.190.

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24

Mews, Siegfried, Martin Esslin, Ronald Hayman, Wolfgang Jeske, and Franz Norbert Mennemeier. "Rethinking Brecht." German Quarterly 59, no. 1 (1986): 106. http://dx.doi.org/10.2307/406215.

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25

Lewis, Ward B., James K. Lyon, and Hans-Peter Breuer. "Brecht Unbound." German Quarterly 70, no. 1 (1997): 87. http://dx.doi.org/10.2307/407860.

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26

Barker, Clive. "Reinterpreting brecht." History of European Ideas 13, no. 6 (1991): 860. http://dx.doi.org/10.1016/0191-6599(91)90161-q.

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27

Cardullo, Bert. "Brecht andFanshen." Studia Neophilologica 58, no. 2 (1986): 225–30. http://dx.doi.org/10.1080/00393278608587948.

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28

Klein, Hans H. "Arnold Brecht." Göttinger Jahrbuch 49 (2001): 105–6. http://dx.doi.org/10.62013/49-007.

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29

Rennert, Hal H., Marc Silberman, Antony Tatlow, Renate Voris, and Carl Weber. "Revolution 1989: Whither Brecht? The Brecht Yearbook 16." German Studies Review 16, no. 2 (1993): 391. http://dx.doi.org/10.2307/1431695.

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30

Costabile-Heming, Carol Anne. "The Other Brecht II/Der andere Brecht II." German Studies Review 17, no. 2 (1994): 412. http://dx.doi.org/10.2307/1432505.

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31

Schoeps, Karl-Heinz J., Siegfried Mews, Philip Thomson, et al. "Brecht und kein Ende? Acht Bucher zu Brecht." German Quarterly 64, no. 4 (1991): 557. http://dx.doi.org/10.2307/406671.

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32

Nadel, Ira B. "Boxing with Brecht: David Mamet and Bertolt Brecht." Journal of Dramatic Theory and Criticism 26, no. 1 (2011): 103–24. http://dx.doi.org/10.1353/dtc.2011.0005.

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33

Okur, Muhammed, and Ufuk Uğur. "The influence of Brecht in Theodoros Angelopoulos's cinema: A case study of the film 'O Thiasos'"." ODÜ Sosyal Bilimler Araştırmaları Dergisi (ODÜSOBİAD) 15, no. 1 (2025): 256–83. https://doi.org/10.48146/odusobiad.1425631.

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Bertolt Brecht developed the theory of "Epic Theatre" as a response to Aristotle's "Dramatic Theatre." In contrast to catharsis and identification, Brecht advocated the concept of "alienation" (Verfremdungseffekt). Brecht profoundly influenced both the theater and cinema fields with a theatrical approach that did not aim for catharsis. Directors have utilized Brecht's aesthetic understanding to reflect the truth that what the audience is watching is a film, breaking away from purification and identification. Many directors have been influenced by Brecht's aesthetic theory, and one of them is T

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34

Stöppler, M. "DESCENDANT: BETWEEN AND TO DESCENDANTS." Brecht-Magazine: Articles, Essays, Translations, no. 8 (February 28, 2023): 87–97. http://dx.doi.org/10.35433/brecht.8.2022.87-97.

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The article presents an original interpretation of one of Bertolt Brecht's most famous poems "To Descendants". Through the prism of the philosophy of the 20th century, the multifacetedness of the concept of "individual" was analyzed and the characteristic features of the concept of "individualism" were considered. Turning to the works of Bertolt Brecht and the philosophical work of leading thinkers of the last century provides an opportunity for an unusual look at the classic work of the German poet.

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35

Mokadem, Fatima. "Zu Bertolt Brechts Sonett „Über Kleists ´Prinz von Homburg´." Traduction et Langues 9, no. 2 (2010): 31–40. http://dx.doi.org/10.52919/translang.v9i2.472.

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On Bertolt Brecht's sonnet "About Kleist's 'Prinz von Homburg' In addition to his plays, socio-critical, war and love poems, Bertolt Brecht (b. 1898, died 1956) wrote eight art-critical sonnets. which he called "Studies" and published in 1951 in the 11th issue of "Versuche". These sonnets were written during the exile in the years 1934-1940. Brecht is referring here to classic, mostly literary (both lyrical and dramatic) works whose authors are considered classics in the sense of Brecht. Without exception, the sonnets in question deal with works of the past, more than half of the analyze

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36

Mundim, Liliane Ferreira, Igor Andrade Pinto da Cunha, Pedro Gaban Petindá Moreira, and Beatriz Barbosa. "Espaços urbanos em jogo: percursos, olhares, sentidos." Urdimento - Revista de Estudos em Artes Cênicas 1, no. 54 (2025): 1–20. https://doi.org/10.5965/1414573101542025e102.

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O espaço da cidade como lócus poroso e fértil é potente indutor para teatralidades. O presente artigo é fruto das experiências praticadas no espaço urbano que abriu brechas e fissuras poéticas, estéticas e políticas, vivenciadas no IV Fórum Brecht e Educação. Jogar com Brecht na cidade de Maceió, explorando seus materiais textuais, articulados aos procedimentos dos Jogos Teatrais instaurou-se como processo colaborativo, fazendo emergir possibilidades dramatúrgicas que a cidade ofereceu ao ser ocupada por um grupo que propôs percorrê-la, olhá-la e senti-la.

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37

MOKLYTSIA, M. ""HISTORICISM" OF THE NEW EUROPEAN DRAMA (LESYA UKRAINKA – B. BRECHT – Y. KOSACH)." Brecht-Magazine: Articles, Essays, Translations, no. 9 (December 26, 2023): 83–93. http://dx.doi.org/10.35433/brecht.9.2023.83-93.

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The article deals with the development of the historical theme in drama, the stage of the new drama traced on the examples of Lesya Ukrainka’s plays "Boyarynya", 1910, B. Brecht’s "Mother Courage and her children", 1939, Y. Kosach’s "Action about Yuriy the Victorious", 1947. The first collection of these different texts under one slogan ensures the scientific novelty of research. The purpose of the research: to trace the development of the historical theme in the modernist drama of the 20th venture and outline the problematic aspects of the concept of historicism of the new drama. The an

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38

Schaad, Martin. "Eine Rehabilitierungs-Maßnahme Alfred Kurellas Kritik an Bertolt Brechts Lob der Parteidisziplin." Zeitschrift für Religions- und Geistesgeschichte 63, no. 3 (2011): 273–98. http://dx.doi.org/10.1163/157007311796533949.

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AbstractThis essay seeks to illuminate the motives behind Alfred Kurella's damning review of Bertold Brecht's Lehrstück The Measures Taken. This review of 1931 is commonly regarded as having turned the official marxist literary critique against Brecht, straining the relations between the playwright and the nomenklatura for the years that followed. Yet, a closer examination of Alfred Kurella's biography reveals that his review of The Measures Taken has much less to do with Bertold Brecht or with marxist cultural politics, than with the serious political difficulties its author was facing at the

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39

Haryati, Isti. "TRANSFORMASI TOKOH PEACHUM DARI DRAMA THE BEGGAR’S OPERA KARYA JOHN GAY KE DRAMA DIE DREIGROSCHENOPER KARYA BERTOLT BRECHT." Metahumaniora 12, no. 3 (2022): 264. http://dx.doi.org/10.24198/metahumaniora.v12i3.41211.

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Tranformasi tokoh bisa terjadi ketika sebuah karya diresepsi oleh karya lain. Drama Die Dreigroschenoper karya Bertolt Brecht merupakan karya resepsi dari drama The Beggar’s Opera karya Jogn Gay yang tokoh utamanya, yakni Peachum mengalami tranformasi. Artikel ini membahas transformasi tokoh Peachum dari drama The Beggar’s Opera karya John Gay ke dalam drama Die Dreigroschenoper karya Bertolt Brecht. Studi ini mengaplikasikan teori resepsi hans Robert Jauss. Data penelitian ini berupa Hauptext dalam bentuk dialog dan monolog, serta Nebentext dalam drama The Beggar’s Opera dan Die Dreigroscheno

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40

Krygin, Nikita N. "EPIC THEATRE: THEORY AND PRACTICE IN THE SPECIAL THEATRICAL EDUCATION." Arts education and science 1, no. 34 (2023): 54–63. http://dx.doi.org/10.36871/hon.202301054.

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The theatre of Berthold Brecht is well known in the Russian theatrical space. Attitudes towards Brecht's dramaturgy and his theories have changed at different stages in the development of Soviet and Russian theatre art, and approaches to staging his plays in theatres have also changed, but the practice of authentic reading of the epic theatre theory still remains poorly understood. The author systematizes the most characteristic elements of Brecht's epic theatre, such as alienation and social gestus, and considers the practical aspects of their implementation (miseen- scène, music, scenography

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41

Hillesheim, Jürgen. "Strategische Grenzgängereien: Bertolt Brechts Arbeitsbeziehungen zu Künstlern mit NS-Vergangenheit." Wortfolge, no. 7 (October 25, 2023): 1–16. http://dx.doi.org/10.31261/wss.2023.07.08.

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Bertolt Brecht wollte von seiner Jugend an ein bedeutender Schriftsteller werden. Dazu gehörte in seinem Selbstverständnis unbedingt der Erfolg: Ansehen, Berühmtheit, Geld, das er mit seiner Dichtung verdienen wollte. Geradezu strategisch plante er seine Karriere. Dabei war eine gewisse moralische Biegsamkeit von Vorteil, die u.a. dazu führte, dass er stets Kontakte zu einflussreichen Persönlichkeiten suchte, ohne sich besonders um deren politische Verortung zu kümmern. Besonders bemerkenswert sind in diesem Zusammenhang seine Kontakte zu Vertretern der nationalsozialistischen Kulturelite, die

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42

Mehmet, Serdar Büyükpala. "Godard'ın Çinli Kız Filmine Brecht Estetiği ile Bakmak." Türkiye Medya Akademisi Dergisi 4, no. 7 (2024): 111–33. https://doi.org/10.5281/zenodo.10715787.

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Tiyatro oyunları, öykü, şiir gibi edebi eserler üreten Bertolt Brecht Epik tiyatro kuramıyla Aristotelesyen olan sanat yaklaşımını yıkmaya çalışır. Geleneksel tiyatro ve sinemaya karşı olan Brecht bilimsel tiyatronun peşindedir. Yapımcılarla senaryo konusunda anlaşamayan Brecht’in kendi ekibiyle senarist olarak yer aldığı ve filimin yapım sürecinde de bulunduğu tek filmi Kuhle Wampe (1932)’dir. Brecht estetik kuramıyla Godard, Angelepoulos gibi sinemacıları etkilemiştir. Godard, sinemada sürekli olarak yeni estetik biçimsel denemelerle kendi s

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Mokadem, Fatima. "Frauenbilder in der Liebeslyrik Bertolt Brechts und Nizar Qabbanis." Traduction et Langues 10, no. 2 (2011): 109–22. http://dx.doi.org/10.52919/translang.v10i2.863.

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Images of women in the love poetry of Bertolt Brecht and Nizar Qabbani The aim of this article is to scientifically and precisely examine the image of women in the language of B. Brecht and N. Qabbani's love poetry, which would allow to identify their similarities and differences. Ultimately, an attempt is made here to identify the cultural parallels between B. Brecht's and N. Qabbani's love poetry, which depicts women. In order to ensure this accuracy in the context of the present contribution and at the same time to present the diversity of the imagination of the female, it is necessar

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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 play

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Pryshchepa, O. "MEANS OF CREATING THE COMIC IN B. BRECHT'S NOVEL "THE BUSINESS AFFAIRS OF MR JULIUS CAESAR"." Brecht-Magazine: Articles, Essays, Translations, no. 8 (February 28, 2023): 73–86. http://dx.doi.org/10.35433/brecht.8.2022.73-86.

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In the article, the author makes an attempt to identify the laughter types and to give them a literary characteristic, as well as to determine the means used for their creation in order to explain the artistic nature of the comic, being a peculiarity of this work of the outstanding German writer. The research is based on the original text and its Ukrainian translation. The theoretical considerations rely on the analysis of existing in modern literary studies statements regarding the artistic features of B. Brecht's work, in particular regarding the properties of his laughter, which is often ou

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Diduk, M. "B. BRECHT: PROBLEMS OF TRANSFORMING A LITERARY TEXT IN THE SPACE OF PERFORMING ART." Brecht-Magazine: Articles, Essays, Translations, no. 9 (December 26, 2023): 72–82. http://dx.doi.org/10.35433/brecht.9.2023.72-82.

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The article is devoted to the problem of transformation of Bertolt Brecht's drama into the stage space, technical and ideological accents of his work and analysis of the key problems of artistic interpretation of the text of plays. The problem of reproducing Brecht's works is closely related to the peculiarities of the "epic theatre" and the concepts introduced by the playwright. The article identifies the peculiarities of the created theatre, defines the accents that are important in the process of staging plays, in particular: preserving Brechtian conflict in translation, introducing the nec

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Gil, Maria de Fátima. "Literature and science: Galileo and Brecht." Biblos 1 (2003): 135–49. http://dx.doi.org/10.14195/0870-4112_1_8.

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Mahlke, Stefan. "Brecht ± Mller: German-German Brecht Images before and after 1989." TDR/The Drama Review 43, no. 4 (1999): 40–49. http://dx.doi.org/10.1162/105420499760263499.

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How is Brecht regarded in Germany? His reputation in the two Germaniesrose and fell and rose again during the period from 1945 to the Fall of the Wall in 1989. Then, in the s a new, less ideological, less moralistic understanding Brecht was introduced. Haunting this and all other recent German opinions about Brecht is Heiner Mller.

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Oliveira, Willy Corrêa de. "Hans Eisler: Companheiro musical de Brecht." Pandaemonium Germanicum, no. 4 (November 5, 2000): 71. http://dx.doi.org/10.11606/1982-8837.pg.2000.64151.

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Dieser Artikel porträtiert den Komponisten Hanns Eisler, dessen Musik zahlreiche Stücke von Bertolt Brecht begleitet, anhand von Äußerungen von Eisler selbst sowie von Arnold Schoenberg und Bertold Brecht. Eisler, der ein neues politisches Bewusstsein in die Musik einführte - Brecht sprach von Misuk im Gegensatz zu Musik-, wäre 1998 100 Jahre alt geworden.

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Drescher, J. "PHILOLOGY - THE LOVE OF LANGUAGE." Brecht-Magazine: Articles, Essays, Translations, no. 10 (December 23, 2024): 97–99. https://doi.org/10.35433/brecht.10.2024.97-99.

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