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E-raamat: Brecht On Theatre

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, Edited by (St Hugh's College, Oxford University, UK), Edited by (University of Nottingham, UK), Edited by (University of Wisconsin, Madison, USA)
  • Formaat: 344 pages
  • Ilmumisaeg: 20-Nov-2014
  • Kirjastus: Methuen Drama
  • Keel: eng
  • ISBN-13: 9781472558633
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Brecht On TheatreSuurem pilt
  • Formaat: 344 pages
  • Ilmumisaeg: 20-Nov-2014
  • Kirjastus: Methuen Drama
  • Keel: eng
  • ISBN-13: 9781472558633
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Brecht on Theatre is a seminal work that has remained the classic text for readers and students wanting a rich appreciation of the development of Brecht's thinking on theatre and aesthetics. First published in 1964 and on reading lists ever since, it has now been wholly revised, re-edited and expanded with additional texts, illustrations and editorial material, and new translations. The resulting work is a far fuller and more accurate volume that will provide readers with a clearer and more rewarding understanding of Brecht's work and writings.

This updated third edition features:

* Clearer layout and organisation of the text to facilitate study * New translations of many of the Brechtian texts featured * Over 40 new, previously untranslated essays * Essay titles now correspond to the German originals * A revised selection of illustrations

This selection of Bertolt Brecht's critical writing charts the development of his thinking on theatre and aesthetics over four decades. The volume demonstrates how the theories of Epic Theatre and Verfremdung evolved, and contains notes and essays on the staging of The Threepenny Opera, Mahagonny, Mother Courage, Puntila, Galileo and many others of his plays. Also included is 'Short Organon for the Theatre', Brecht's most complete statement of his revolutionary philosophy of the theatre.

Arvustused

Brecht on Theatre has long introduced countless readers to the theatre theories of Bertolt Brecht. Originally compiled and edited by John Willett in 1964, the volume was innovative and comprehensive in its time: essays only recently published in German were suddenly available in English, offering insights into the development of ideas stretching from 1918 to days before Brechts death in 1956. However, Brecht scholarship and the needs of an interested public have changed greatly over the intervening fifty years, and the new edition addresses several important issues. First, there is simply the amount of new material that has come to light over the years Second, the retained essays have been judiciously retranslated and their titles have been returned to more literal renditions Third, the volume has great intellectual coherence. Rather than imitating Willetts adherence to chronology, the editors acknowledge the principle while diverging on occasion to group thematically related terms and thus allow a clearer overview of Brechts evolving thoughts. -- David Barnett * New Theatre Quarterly * The new Brecht on Theatre improves on John Willetts original version, introducing some enlightening texts that were not previously accessible to an English-speaking readership ... Finely conceived and beautifully edited. -- Michael Wood, University of Edinburgh, UK * Modern Language Review * Though this third edition draws on Willetts original, it is an autonomous publication in many respects. Almost half of the material is new in English translation The additions, often pragmatic in nature, reveal him wrestling with the relationship of both actor and spectator to theatrical work, each other, and society. [ This book] will allow Anglophone scholars and performance practitioners to revisit Brechts influence as a writer, theoretician, and theatre maker specifically, but also more generally the relationship between political thought and aesthetics, and between the theory and the practice of making art. * TDR: The Drama Review *

Muu info

A wholly revised, re-edited and expanded edition of one of the seminal texts of twentieth century theatre. Featuring new translations, additional texts, illustrations and editorial matter, this is the fullest and clearest account yet of Brecht's thinking on theatre and aesthetics.
List of Illustrations
ix
Picture Credits xii
General Introduction 1(8)
Part One A New Theatre
Introduction to Part One
9(92)
Frank Wedekind
19(1)
Me in the Theatre
20(1)
Theatre as Sport
20(2)
A Reckoning
22(1)
On the Aesthetics of Drama
23(1)
On the 'Downfall of Theatre'
24(1)
More Good Sport
25(3)
Three Cheers for Shaw
28(3)
Prologue to Drums
31(5)
Shouldn't We Liquidate Aesthetics?
36(2)
Epic Theatre and Its Difficulties
38(2)
On New Dramatic Writing
40(3)
Latest Stage: Oedipus
43(2)
Dialogue on Acting
45(3)
On Subject Matter and Form
48(2)
On Rehearsing
50(1)
Dialectical Dramatic Writing
51(10)
Notes on the Opera Rise and Fall of the City of Mahagonny
61(10)
Notes on The Threepenny Opera
71(9)
Notes on the Comedy Man Equals Man
80(6)
Notes on The Mother (1933)
86(10)
Notes on The Mother (1938)
96(5)
Part Two Exile Years
Introduction to Part Two
101(8)
Old versus New Theatre
Theatre for Pleasure or Theatre for Instruction
109(8)
On Experiments in Epic Theatre
117(2)
The German Drama: Pre-Hitler
119(5)
On the Use of Music in an Epic Theatre
124(7)
Short List of the Most Frequent, Common and Boring Misconceptions about Epic Theatre
131(1)
The Progressiveness of the Stanislavsky System
132(1)
On Experimental Theatre
133(13)
A Short Private Lecture for My Friend Max Gorelik
146(3)
On Chinese Theatre, Verfremdung and Gestus
On the Art of Spectatorship
149(1)
Maintaining Gestures over Multiple Generations
149(2)
Verfremdung Effects in Chinese Acting
151(8)
Three Notes on Verfremdung and the Elder Breughel Verfremdung Techniques in the Narrative Pictures of the Elder Breughel
159(1)
On the V-effect of the Elder Breughel
159(1)
V-effects in Some Pictures of the Elder Breughel
160(1)
On Determining the Zero Point
161(1)
The Zero Point
162(1)
Notes on Pointed Heads and Round Heads
162(4)
On the Production of the V-effect
166(1)
On Gestic Music
167(3)
On Rhymeless Verse with Irregular Rhythms
170(6)
The Street Scene
176(8)
Short Description of a New Technique of Acting that Produces a Verfremdung Effect
184(12)
Athletic Training
196(1)
On Epic Dramatic Art: Change
196(2)
On the Gradual Approach to the Study and Construction of the Figure
198(2)
Realism and the Proletariat
The Popular and the Realistic
200(6)
Two Essay Fragments on Non-professional Acting
206(6)
The Attitude of the Rehearsal Director (in the Inductive Process)
212(1)
Notes on the Folk Play
213(6)
Part Three Return to Germany
Introduction to Part Three
219(10)
Short Organon
Short Organon for the Theatre
229(26)
Appendices to the Short Organon
255(8)
Theatre Work
Friedrich Wolf -- Bert Brecht: Formal Problems Arising from the Theatre's New Content
263(4)
From a Letter to an Actor
267(4)
What Makes an Actor
271(1)
Gesture
272(1)
Kurt Palm
272(2)
Two Notes about Urfaust
About Our Stagings
274(1)
The Plot
275(1)
Classical Status as an Intimidating Factor
275(2)
On Stanislavsky
Some of the Things That Can Be Learnt from Stanislavsky
277(2)
On Stanislavsky
279(1)
Stanislavsky Studies [ 3]
280(1)
A Few Thoughts on the Stanislavsky Conference
280(3)
Dialectical Theatre
From Epic to Dialectical Theatre 2
283(2)
Dialectics in the Theatre
285(1)
Study of the First Scene of Shakespeare's Coriolanus
285(13)
Relative Haste
298(1)
A Detour (The Caucasian Chalk Circle)
298(1)
Another Case of Applied Dialectic
299(1)
Letter to the Actor Playing Young Horder in Winter Battle
300(3)
Mother Courage Played in Two Ways
303(1)
Example of a Scenic Innovation Through the Observation of a Mistake
304(2)
Something about Representing Character
306(1)
Conversation about Coerced Empathy
306(1)
Miscellaneous
Cultural Policy and Academy of Arts
307(3)
Socialist Realism in the Theatre
310(1)
Can the Present-Day World Be Reproduced by Means of Theatre?
311(2)
Our London Season
313(1)
Select Bibliography 314(2)
Index 316
Bertolt Brecht (1898-1956) is acknowledged as one of the great dramatists whose work has had a considerable influence on the theatre. His landmark plays include The Threepenny Opera, The Life of Galileo, and The Caucasian Chalk Circle. Editors: Marc Silberman is Professor of German at the University of Wisconsin - Madison, USA. Steve Giles is Emeritus Professor of German Studies and Critical Theory at the University of Nottingham, UK. Tom Kuhn is Professor of 20th century German Literature at St Hugh's College, University of Oxford, UK, and General Editor of Bloomsbury Methuen Drama's Brecht publications.
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