Brecht and Political Theatre: The Mother on Stage (Oxford Modern Languages and Literature Monographs)
The main concern of the book is German productions of Die Mutter. Bradley argues that Die Mutter's original production is an ideal example of an idea Brecht relegated to a footnote in the famous chart in the essay "The Modern Theatre Is the Epic Theatre": the epic is a shift of emphasis and not the simple opposite of the dramatic, and Brecht's theatre "relies on a complex combination of 'epic' and 'dramatic' techniques" This opening chapter provides an extremely useful synthesis of the production history of the original performance: Bradley includes a detailed, eye-opening analysis of what scenes actually appeared onstage; this archival work will be of use to both teachers and researchers.
Brecht and political theatre : the mother on stage (Book, ) [tangproptalesbio.gq]
Chapter two concerns the Berliner Ensemble production in the GDR and subsequent East German productions that took their inspiration from Brecht's model. Interpreting the archival records, Bradley demonstrates that the production made large concessions to the official socialist realist aesthetic in order to avoid accusations of formalism.
She argues that such concessions were not compromises on Brecht's part but strategic modifications of the style of his theatre to suit a delicate political situation and to speak to the experience of an East German audience wary of a valorization of the Russian Revolution. Brecht's "cunning" 76 was to emphasize the anti-war message of the play, making Die Mutter much more palatable to the post-war audience. Yet Bradley also suggests that Brecht's inconsistency emerged here too, since he established this production which was far more realistic in style than the production as the definitive model of the play.
In this case, the result was problematic: the establishment of a particularly "dramatic" production of Die Mutter as the model of Brecht's style for others to emulate.
These contrasting case studies demonstrate that, ironically, Stein's production ended up being much more traditional in its politics and style, more obviously "Brechtian," while Berghaus's made a deliberate break from a recognizable Brechtian aesthetic. In contrast, Berghaus's production broke sharply from a realistic aesthetic, emphasized political failure, and transformed the central character into a martyr for failed revolution, thus emphasizing UNSW Library.
Could it still be viewed as a place far, far away? Finn Iunker, born , is a playwright living in Oslo, Norway. His plays have been staged in several countries in Europe. Addressing interrelated questioned about Chinese philosophy, subjectivity, acting and theatre, the paper analyzes The Good Person of Szechwan and, accordingly, its performance aspects.
Bennewitz asserted frequently that this play was an ideal vehicle for mutual intercultural exploration and understanding. He is currently involved in an international collaborative project on Bennewitz in India.
Since open discussions and criticism about these meta-narratives have been legally, socially, and culturally repressed, live theatre has become an important tool for contemporary artists in Thailand to express their dissent and to create a space in which they can interact live with an audience. In countering different meta-narratives, his productions take great risk at criticizing the hegemonic social memory, history, and collective psyche of Thailand.
Thai theatre critics consider it one of the most important Thai plays of the 20th century. The Revolutionist , inspired by Brechtian theatre, depicts a story of the leader of the Thai revolution in , Pridi Banomyong, a progressive intellectual who fell victim to political intrigues.
The play also provides historical details that provide a counter-metanarrative to the well-known metanarratives of recent Thai history. Little notice was taken of what was actually happening in contemporary India. Brecht himself discusses using exotic locales as a means of alienation, and that his Man Equals Man , for example, could very easily be set in Germany. Nonetheless, this paper will explore the possibility that these plays do echo the conflicts in British India.
Simran Karir is currently working on a doctoral thesis dealing with Indian influences on German literature during the first of half of the 20th century in the Department of Germanic Languages and Literatures at the University of Toronto.
His previous work dealt with the love sonnets which Brecht and Margarete Steffin wrote to each other. He presented on this subject at the IBS symposium in Augsburg and at an international Margarete Steffin conference in Berlin in , as well as published on it. Some of his extracurricular activities at the University of Toronto included the co-founding and running of the University of Toronto German Drama Club with fellow graduate students until Ihr permanentes Interesse am chinesischen Theater ist durch vielerlei Briefe und Aufzeichnungen Brechts belegt.
In meinem Vortrag werde ich meine Thesen mit Projektionen von Fotos belegen.https://rikonn.biz/wp-content/2020-09-18/copiare-rubrica-da-sim-su-iphone-6s.php
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She has worked as a journalist for print media as well as radio and television. In her work she has covered a wide range of subject and topics including Antonio Gramsci, Brecht, German culture and literature, feminism, Islam and Islamic fundamentalism, and theories of democracy. With a tight focus on the Imagist Pound who comes to Chinese from Japanese and the mature Brecht who comes to Japanese from Chinese , my paper presents both authors as strong characters who take in strong nourishment from the traditions of the East and the West, producing strong crystallized characters, which in turn provide strong nourishment for their followers.
Her research and teaching interests are comparative Modernism, poetics, Mediterranean studies, theatre East-West, psychoanalysis, and detective fiction. She is currently completing a book manuscript on Nietzsche, Freud, and Expressionist Mediterranean geo-poetics.
Ozu, although not arguing for radical social changes, agrees with Brecht on the necessity to observe and analyze social systems like the family or the workplace and the effects of values and expectations exercised therein. Hence, Ozu spots intergenerational conflicts, often personified by young female characters standing between marital and professional conventions. Hou Hsiao-hsien resumes the analysis of social values and expectations, affecting the younger female and their roles in societies loosening their traditional ties.
She teaches German languages and cultures, and her research interests include the New German Cinema, studies in therapeutic writing, and fashion as a system of pop-cultural semiotics. One of his contemporaries, Anna Seghers, studied Chinese philosophy at the University Heidelberg and also embedded Taoist elements in her works. Taking the case of the Shigang Mama Theatre Company based in central rural Taiwan, this paper aims to examine the localization of Brecht-influenced theatre practices in the post colonial context of Taiwan.
Consisting of Hakka housewives and pear-growers who survived the gigantic earthquake that took place on September 21, , the members of the collective have not only walked out from the shadow of their traumatic experience, but have also grown into empowered individuals aware of their gender, ethnicity, and class status.
Her theatre research focuses on cultural production within the theoretical frameworks of post colonialism and multiculturalism, with a particular emphasis on Asia. Chinen does not mince efforts in denouncing tactics of oppression against Ryukyuans, particularly within the setting of WWII; nor in identifying known literary and political figures, namely Mishima Yukio, Governor Yara and the Emperor, as responsible ideological figures. She has been involved in theatre in the capacities of performer, director, costumer, and educator since , in Argentina and the U.
S, and with Okinawan performing arts in particular since Conceived as a preface to the translation, the paper addresses the relevance of a new translation of this play into Hindi, while outlining specific challenges that accompany such a translation. Continuing this tradition, the new Hindi translation of Die Dreigroschenoper reads issues central to the play—class, corruption, crime, and capital—in the context of earlyst century India of free-market economy, multinational finance, and the ever-growing rift between the lowest, middle, and upper classes. He is the author of Cosmopolitical Claims: Turkish German Literatures from Nadolny to Pamuk University of Iowa Press, and has published articles on contemporary German literature, Urdu literature and politics of literary pedagogy, among others.
He is currently working on a book project on World Literatures and Comparative Literature with a special focus on public and private libraries. The Realm of the Senses shows precisely how questionable the very idea of alienation effect is. Like many concepts in the book world, "series" is a somewhat fluid and contested notion.
A good rule of thumb is that series have a conventional name and are intentional creations , on the part of the author or publisher.
Series by cover
For now, avoid forcing the issue with mere "lists" of works possessing an arbitrary shared characteristic, such as relating to a particular place. Avoid series that cross authors, unless the authors were or became aware of the series identification eg. Also avoid publisher series, unless the publisher has a true monopoly over the "works" in question.
So, the Dummies guides are a series of works. But the Loeb Classical Library is a series of editions, not of works. Home Groups Talk Zeitgeist.