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Newest volume of the central scholarly forum for discussion of Brecht and aspects of theater and literature of particular interest to him, especially the politics of literature and theater in a global context.
This first English language biography of Bertolt Brecht (1898–1956) in two decades paints a strikingly new picture of one of the twentieth century's most controversial cultural icons. Drawing on letters, diaries and unpublished material, including Brecht's medical records, Parker offers a rich and enthralling account of Brecht's life and work, viewed through the prism of the artist. Tracing his extraordinary life, from his formative years in Augsburg, through the First World War, his politicisation during the Weimar Republic and his years of exile, up to the Berliner Ensemble's dazzling productions in Paris and London, Parker shows how Brecht achieved his transformative effect upon world theatre and poetry. Bertolt Brecht: A Literary Life is a powerful portrait of a great, compulsively contradictory personality, whose artistry left its lasting imprint on modern culture.
Bertolt Brecht's epic theatre sought to change how spectators watched performances, equipping them to critique and intervene in the world outside the theatre. Taking its cue from his call for theatre to develop 'the art of spectatorship', this major new study explores vision, observation, and spectatorship in twelve of his plays, spanning his career. It relates this analysis to Brecht's own formative experiences of spectatorship, to his poems and theories, and to productions directed by Brecht and his close collaborators. Finally, it investigates Brecht's attempts to transform the composition of the audience and cultivate critical spectatorship at the Berliner Ensemble, the theatre he founde...
This book examines Brecht’s theory and method of adaptation. It first reconstructs it into a single framework using four key Brechtian concepts: Fabel, gestus, estrangement effects, and historicizing. It then uses that framework to analyse four Brechtian adaptations: The Tutor, Don Juan, “Socrates Wounded,” and Kriegsfibel. It argues that adaptation occupies a previously unrealised central place in Brecht’s thought, demonstrating that he provides us with a unique way to think about adaptation—as material transformation. It concludes by describing how Brecht is useful for anti-capitalist aesthetics today because through him one can foster a new consciousness which enables better social conditions to be created. This book is practical for both theatre practitioners and artists as well as theorists.
Were those who worked in the theatres of the Third Reich willing participants in the Nazi propaganda machine or artists independent of official ideology? To what extent did composers such as Richard Strauss and Carl Orff follow Nazi dogma? How did famous directors such as Gustaf Grüdgens and Jürgen Fehling react to the new regime? Why were Shakespeare and George Bernard Shaw among the most performed dramatists of the time? And why did the Nazis sanction Jewish theatre? This is the first book in English about theater in the entire Nazi period. The book is based on contemporary press reports, research in German archives, and interviews with surviving playwrights, actors, and musicians.
This is the eighth volume of Dr. Justin Glenn's comprehensive history that traces the "Presidential line" of the Washingtons. Volume one began with the immigrant John Washington, who settled in Westmoreland Co., Va., in 1657, married Anne Pope, and became the great-grandfather of President George Washington. It continued the record of their descendants for a total of seven generations. Volume two highlighted notable members of the next eight generations, including such luminaries as General George S. Patton, the author Shelby Foote, and the actor Lee Marvin. Volume three traced the ancestry of the early Virginia members of this "Presidential Branch" back to the royalty and nobility of Englan...
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