To see the other types of publications on this topic, follow the link: Bertolt Brecht.
Dissertations / Theses on the topic 'Bertolt Brecht'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Bertolt Brecht.'
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 dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Siljeholm, Olof. "Die Funktion der Bibel in Brechts Parabelstück Der gute Mensch von Sezuan und in zwei seiner Vorlagen." Tönning Lübeck Marburg Der Andere Verl, 2009. http://d-nb.info/997031301/04.
Full text
2
Baker, Clara Martha. "Bertolt Brecht and the Bible." PDXScholar, 1985. https://pdxscholar.library.pdx.edu/open_access_etds/3436.
Full textAbstract:
This thesis presents evidence which supports Bertolt Brecht's oft-quoted statement that the Bible was the book which exerted the greatest influence upon his writings. While Brecht's early works, Die Bibel (1913), and Die Dreigroschenoper (1928), serve as the main examples, there are also references to biblical allusions from a number of his other writings and some of his poetry. There is general information on Brecht's religious background and en his extensive biblical knowledge which enabled him to use the Bible as one of his principal sources. Brecht's manner of usage and adaptation of religious and biblical material to suit his purposes is noted. As well, a consideration of the views and findings of a number of critics and writers with an interest in Brecht both as an individual and as a writer and poet, provides a degree of clarification of Brecht's approach to the Bible. Included too is sane detail which could posit the Bible as a possible catalyst in Brecht's examination of Marxism as a viable alternative to religion in meeting the needs and aspirations of mankind and of society.
3
Neureuter, Hans-Peter. "Brecht in Finnland : Studien zu Leben und Werk, 1940-1941 /." Frankfurt am Main : Suhrkamp, 2007. http://catalogue.bnf.fr/ark:/12148/cb41341779d.
Full text
4
Schmidt, Thomas. "Brechts Dreigroschenroman ein Kriminalroman? /." [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB10605127.
Full text
5
Gerber, Doris Ottilie. "Das Bild der Frau bei Bertolt Brecht /." Title page, contents and summary only, 1994. http://web4.library.adelaide.edu.au/theses/09ARM/09armg362.pdf.
Full text
6
Ďurik, Andrej. "Bertolt Brecht Život Galileiho (možnosti interpretace B. Brechta v současném divadle)." Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2007. http://www.nusl.cz/ntk/nusl-78664.
Full textAbstract:
In my thesis I endeavoured to document the development of the view of Brecht?s works in our countries. It means mapping the interpretation attempts in the Czech Republic, coping with Brecht?s theoretical work, and last but not least with Brecht as a political man with social feeling due to what he remained many times miscomprehended. It is certain that the history mentions a large-minded, talented, educated personality, a strongly up to self-destructively hard-working one. On the one hand, he is artistically sensitive and fine, however, on the other hand he is a disintegrated and a very complicated person. In the course of time, I came to the conclusion that it is likely impossible to fully join a Brecht theoretician and a Brecht dramatist, while the theory of epic theatre significantly hungers for a formal aspect though on the other hand, it seems to fail to conform to ease and poetry of his dramas. It is important to say that Bertolt Brecht was practically a communist during all his life in a complicated period. His relationship to communism was developing and it can be learned that this relationship had undergone a long way from enthusiasm up to full disillusion. That is why this fact appears in my thesis; it is a statement, a truth about a great artist and a truth about the view and contemporary interpretations in our countries where he was quoted and belauded, as necessary.
At staging, it is impossible to consider all aspects of Brecht personality. It is good since it leaves space for a man, one can be both Brecht a bit and also himself. It provides ?space? while showing a human being in his complicacy, it is as a search in the human soul and mind. He does not psychologize, he just states, shows a human being in particular situations including his behaviour, and at the end all these situations make a whole picture about us and about our period. Therefore, we can say that Bertolt Brecht is a great author of great dramas with timeless themes. His characters reflect contemporary people. As if nothing has changed, just the time is perceived in a bit different way, it oscillates and befogs our perception, with decoding matters becoming more difficult for us but with the essence remaining the same as before. His dramas are interesting as for formal aspect, they are ?up-to-date? providing space also for an experiment. They may serve as a formal reflection, the beauty of speech for itself.
7
Lang, Joachim. "Episches Theater als Film : Bühnenstücke Bertolt Brechts in den audiovisuellen Medien." Würzburg Königshausen & Neumann, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2864715&prov=M&dokv̲ar=1&doke̲xt=htm.
Full text
8
Boner, Jürg. "Dialektik und Theater die Dialektik im Theater Bertolt Brechts /." Zürich : Zentralstelle der Studentenschaft, 1995. http://catalog.hathitrust.org/api/volumes/oclc/35815830.html.
Full text
9
Nyström, Esbjörn. "Libretto im Progress Brechts und Weills Aufstieg und Fall der Stadt Mahagonny aus textgeschichtlicher Sicht /." Bern : Lang, 2005. http://catalog.hathitrust.org/api/volumes/oclc/61766436.html.
Full text
10
Karcher, Simon. "Sachlichkeit und elegischer Ton : die späte Lyrik von Gottfried Benn und Bertolt Brecht - ein Vergleich /." Würzburg Königshausen und Neumann, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2791151&prov=M&dok_var=1&dok_ext=htm.
Full text
11
Van, den Heever Frieda. "Bertolt Brecht en die funksionele gebruik van musiek." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2921.
Full textAbstract:
Thesis (MDram (Drama))--University of Stellenbosch, 2009.This study focuses on Bertolt Brecht`s use of music in his epic theatre. After looking at his objectives against the background of his times, certain key aspects of his dramatic theory and practice in general are discussed e.g. its epic nature, Verfremdung, Gestus and his social engagement. This is important for an understanding of his functional use of music as an important element in his productions. Music as a sign system in drama is discussed with special reference to the genres in which music plays an essential role, viz. opera, in particular Wagner`s Gesamtkunstwerk and, most importantly, cabaret. The focus is on Brecht`s reaction against and point of connection with, each of these genres. The second part of the study focuses on the role of music in the practice of Brecht`s theatre. Naturally the specific composers with whom Brecht worked and specific productions are discussed. The relevant productions discussed are Aufstieg und Fall der Stadt Mahagonny (1930), Die Dreigroshenoper (1931) and Mutter Courage und Ihre Kinder (1939). Brecht worked against a background of social, political and economic upheaval. His art aimed at making people aware of unjustified social circumstances and inspiring them to engage in the task of changing these circumstances. For him this entailed communicating in a fresh way with words which had lost their meaning because of ideological abuse. For this purpose he made use of music in a very specific way. He tried – not always successfully – to avoid using music as an ornamental narcotic. This implied that music was always meant to serve the intention of the text, the Gestus. Music in Brecht`s theatre was dramatic not incidental, functional not ornamental, and music not as a means of escapism, but as an inspiration. The music, like all the other elements in his theatre, had to stimulate critical thinking and had to be of social use in order for it to be considered functional. The “great struggle for supremacy between music, text and production”, to which Brecht so often referred, complicated his goal of functionality and it was no easy task to marry his dialectical ideas. This caused for certain discrepancies between his theory and practice and I will take that into consideration in this study.
12
Bräuer, Gerd. "Lernen im Dialog : Untersuchungen zu Bertolt Brechts "Flüchtlingsgesprächen /." Pfaffenweiler : Centaurus-Verl.-Ges, 1991. http://catalogue.bnf.fr/ark:/12148/cb35571297c.
Full text
13
Wilke, Judith. "Brechts "Fatzer"-Fragment : Lektüren zum Verhältnis von Dokument und Kommentar /." Bielefeld : Aisthesis Verl, 1998. http://catalogue.bnf.fr/ark:/12148/cb39282855k.
Full text
14
Wu, Hsin-Fa. "The body motif in Bertolt Brecht's plays a study of his theatrical development /." Boston Spa, U.K. : British Library Document Supply Centre, 1992. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.243235.
Full text
15
Wood, Jesse Cannon. ""Aber das Geistige, das sehen Sie, das ist nichts." Collisions with Hegel in Bertolt Brecht's Early Materialism." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345231617.
Full text
16
Atabavikpo, Vincent. "Sprichwörter im Volksmund und in der Literatur eine Studie über Sprichwörter in Sáxwè-Sprichwortliedern, im Roman Things Fall Apart von Chinua Achebe und in den Dramen Furcht und Elend des Dritten Reiches und Die Gewehre der Frau Carrar von Bertolt Brecht /." [S.l. : s.n.], 2002. http://deposit.ddb.de/cgi-bin/dokserv?idn=967086949.
Full text
17
Grubisich, Teresa Maria [UNESP]. "A parábola teatral de Bertolt Brecht: tese ou antítese?" Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/102390.
Full textAbstract:
Made available in DSpace on 2014-06-11T19:32:07Z (GMT). No. of bitstreams: 0
Previous issue date: 2007-04-13Bitstream added on 2014-06-13T18:43:01Z : No. of bitstreams: 1
grubisich_tm_dr_arafcl_prot.pdf: 621650 bytes, checksum: a31036a044e0c160bb04c93a8839cf33 (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Ao lermos as peças brechtianas, deparamo-nos com algumas, denominadas pelo dramaturgo, parábolas, seja no título das mesmas, como A alma boa de Setsuan - parábola e A resistível ascensão de Arturo Ui - parábola, seja no corpo do texto, como é o caso de Os cabeças redondas e os cabeças pontudas, Quanto custa o ferro? e O preceptor, nas quais essa denominação aparece no prólogo ou no epílogo. Procuramos então pela especificidade do gênero que nasce no contexto do Novo Testamento e constatamos tratar-se de uma metanarrativa, de uma narrativa encaixada em um texto maior com o qual mantém uma relação exemplar, de reafirmação do discurso enunciado, prova da verdade da sua Palavra/Parábola. A parábola funciona, então, como demonstração desta verdade. Por assim configurar-se, revela-se como um poderoso instrumento didático e doutrinário; ela não só veicula idéias a serem incorporadas pelo receptor, mas também, por estar dotada de estratégias persuasivas e dissuasivas, induz o interlocutor a uma mudança de estado, a uma conversão. A história na parábola fala do homem presente, coloca-o em perspectiva, porém travestindo-o e ao seu contexto por meio da alegoria. E à decifração desse artifício conduzem vários elementos construídos em torno da narrativa. Colocada, então, a questão ideológica do gênero, investigamos como, na forma parábola teatral, estão tensionados os pressupostos brechtianos, cuja base se funda em uma visão dialética do mundo. Nossa preocupação aqui, então, é discutir a coerência desses pressupostos em sua práxis; analisando em cada uma dessas peças indicadas a dinâmica instaurada na confluência dos gêneros - parábola e teatro épico.
When we read the Brecht's plays we fall across some entitled by the dramatist, parables, either in its title, as Der gute Mensch von Setzuan - parable and Der aufhatsame Aufsteig des Arturo Ui - parable, or in its body text as in Die Rundkoepfe und die Spitzkoepfe, Was kosted das eisen? and Der Hofmeister, in which this denomination appears in the prologue or in the epilogue. In this case we looked for the specificity of the gender which is born in the context of the New Testament and we verified it is a metanarrative, a narrative embedded in a bigger text with which it maintains an exemplar relation of restatement of the discourse enunciated, which proves the truth of this Word/Parable. The parable works then as a demonstration of this truth. Thus it takes shape, reveals itself, as a powerful didactical and doctrinaire document, it not only transmits ideas to be incorporated by the receptor but also, as it is endowed of persuasive and dissuasive strategies, it leads the interlocutor to a state change, a conversion. The story in the parable tells about the present man, puts him in perspective but disguising him and his context by the allegory. And to the deciphering of this artifice conduct the various elements built around the narrative. Placed then the ideological question of gender, we investigated how, in theatrical parable pattern, are involved the Becht's presuppositions which base establishes itself in a dialectical vision of the world. Our concern here then is to discuss the coherence of these presupposed in its praxis, analyzing in each of these indicated plays the dynamical instituted in the confluence of the genders - parable and epic theater.
18
Emslie, Barry. "Bertolt Brecht and the problem of a Marxist dramaturgy." Thesis, University of East London, 1988. http://roar.uel.ac.uk/1229/.
Full textAbstract:
It the revolutionary and humanist/ethical poles of Marxism are to be retained a crucial epistemological distinction must be made between the marxist analysis of History when it refers to class-based societies, and when it refers to the ideal of a communist collective. The normative core of Marxism is to be found, as a matter of logical necessity, in the notion of Communism, whether "primitive" or "mature", and this paradigm is the yardstick by which both class societies and "revolutionary" Marxism/Leninism are to be judged. Marxist aesthetics is privileged in that it is suggested that the literature of class-based, antagonistic societies often implies a classless ideal as a result of. unwittingly or otherwise, exposing the brutalities of exploitation and expropriation. Literature is thus ambivalently placed; as not only a tool of false consciousness and ruling class ideology, but also as an expression of the utopian core of Marxism. Such a position rests upon the jamesonian premise that Marxism is a metacommentary uniquely well-equipped to interpret History. The drama is deemed of especial value in that its tendency to focus on the Subject and the problem of subjectivity evokes the ideal of individual self-fulfilment; an ideal intrinsic to the Communist paradigm. Brecht's development of a Left theatrical practice in the context of an engagement with German politics of the 1920s and 30s and with marxist theory (particularly Lenin's), is examined in detail precisely because it best explicates and underpins this interpretation, not least because Brecht attempted to work through the marxist definitions of History in terms of a radical assault on bourgeois notions of subjectivity in the context, ultimately, of the alternative communist paradigm. There is, therefore, a vital link between the character of Brecht's radical experiments in the theatre and several problems central to marxist theory. This interaction reached a climax at the end of-Brecht's life; a climax which. while a failure in theatrical terms. makes the importance of Marxist Humanism particularly clear.
19
Silva, Anderson de Souza Zanetti da [UNESP]. "Augusto Boal: alguns encontros e desencontros com Bertolt Brecht." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/136786.
Full textAbstract:
Made available in DSpace on 2016-04-01T17:55:16Z (GMT). No. of bitstreams: 0
Previous issue date: 2015-09-30. Added 1 bitstream(s) on 2016-04-01T18:01:17Z : No. of bitstreams: 1
000859851.pdf: 1071534 bytes, checksum: 4b1b229e9b422570d5972fcbf79ab7be (MD5)O objetivo desta pesquisa é discutir alguns aspectos da construção teatral de Augusto Boal, tendo como paradigma estético-político a poética de Bertolt Brecht. Com esse procedimento, identificam-se alguns encontros e desencontros da poética de Boal com certas perspectivas brechtianas. Para mais compreensão desses momentos, a seguinte divisão é realizada: 1) alguns encontros e desencontros históricos; 2) alguns encontros e desencontros políticos; 3) alguns encontros e desencontros estéticos. Tal procedimento serve apenas como organização temática, não anulando o fato de se discutir, de forma correlacionada os aspectos históricos, políticos e estéticos na produção de Augusto Boal. Ao se levantarem determinadas hipóteses, muitos pontos de intersecção surgem e contribuem para entender não apenas o teatro de Boal, mas também a representação que a sua obra tem para a história do teatro brasileiro. Nesse contexto, não é possível tratar do teatro de esquerda no Brasil, sem abordar a chegada da obra de Brecht no país. Em razão disso, aparece o pressuposto de que compreender a importância do teatro de Augusto Boal significa entender como o trabalho de Brecht serve de modelo para o desenvolvimento da poética do brasileiro.
The objective of this research is to discuss some aspects of the theatrical context of Augusto Boal, whose aesthetic-political paradigm is the poetics of Bertolt Brecht. With this procedure, some agreements and disagreements of Boal's poetic are identified with certain prospects of Brecht. In order to fully understand it, the following division is carried out: 1) some historical agreements and disagreements; 2) some political agreements and disagreements; 3) some aesthetic agreements and disagreements. This procedure only serves as a thematic organization, not changing the importance of discussing, in a correlated way, the historical, political and aesthetic production of Augusto Boal. While considering certain hypotheses, many crossover points arise and help to understand not only the theater of Boal, but also the significance that his work has for the history of Brazilian theater. In this context, it is not possible to deal with the left-wing theater in Brazil without addressing the arrival of Brecht's work in the country. As a result, there is an assumption that understanding the importance of Augusto Boal theater means understanding how Brecht's work serves as a model for the development of Brazilian poetic.
20
Silva, Anderson de Souza Zanetti da. "Augusto Boal: alguns encontros e desencontros com Bertolt Brecht /." São Paulo, 2015. http://hdl.handle.net/11449/136786.
Full textAbstract:
Orientador: Mario Fernando BolognesiBanca: Alexandre Luiz Mate
Banca: Célia Tolentino
Banca: Fátima Cabral
Banca: Sérgio de Carvalho
Resumo: O objetivo desta pesquisa é discutir alguns aspectos da construção teatral de Augusto Boal, tendo como paradigma estético-político a poética de Bertolt Brecht. Com esse procedimento, identificam-se alguns encontros e desencontros da poética de Boal com certas perspectivas brechtianas. Para mais compreensão desses momentos, a seguinte divisão é realizada: 1) alguns encontros e desencontros históricos; 2) alguns encontros e desencontros políticos; 3) alguns encontros e desencontros estéticos. Tal procedimento serve apenas como organização temática, não anulando o fato de se discutir, de forma correlacionada os aspectos históricos, políticos e estéticos na produção de Augusto Boal. Ao se levantarem determinadas hipóteses, muitos pontos de intersecção surgem e contribuem para entender não apenas o teatro de Boal, mas também a representação que a sua obra tem para a história do teatro brasileiro. Nesse contexto, não é possível tratar do teatro de esquerda no Brasil, sem abordar a chegada da obra de Brecht no país. Em razão disso, aparece o pressuposto de que compreender a importância do teatro de Augusto Boal significa entender como o trabalho de Brecht serve de modelo para o desenvolvimento da poética do brasileiro.
Abstract: The objective of this research is to discuss some aspects of the theatrical context of Augusto Boal, whose aesthetic-political paradigm is the poetics of Bertolt Brecht. With this procedure, some agreements and disagreements of Boal's poetic are identified with certain prospects of Brecht. In order to fully understand it, the following division is carried out: 1) some historical agreements and disagreements; 2) some political agreements and disagreements; 3) some aesthetic agreements and disagreements. This procedure only serves as a thematic organization, not changing the importance of discussing, in a correlated way, the historical, political and aesthetic production of Augusto Boal. While considering certain hypotheses, many crossover points arise and help to understand not only the theater of Boal, but also the significance that his work has for the history of Brazilian theater. In this context, it is not possible to deal with the left-wing theater in Brazil without addressing the arrival of Brecht's work in the country. As a result, there is an assumption that understanding the importance of Augusto Boal theater means understanding how Brecht's work serves as a model for the development of Brazilian poetic.
Doutor
21
Grubisich, Teresa Maria. "A parábola teatral de Bertolt Brecht : tese ou antítese? /." Araraquara : [s.n.], 2007. http://hdl.handle.net/11449/102390.
Full textAbstract:
Orientador: Wilma Patrícia Marzari Dinardo MaasBanca: Maria Celeste Consolin Dezotti
Banca: Renata Soares Junqueira
Banca: Jorge Mattos Brito de Almeida
Banca: Marcus Vinicius Mazzari
Resumo: Ao lermos as peças brechtianas, deparamo-nos com algumas, denominadas pelo dramaturgo, parábolas, seja no título das mesmas, como A alma boa de Setsuan - parábola e A resistível ascensão de Arturo Ui - parábola, seja no corpo do texto, como é o caso de Os cabeças redondas e os cabeças pontudas, Quanto custa o ferro? e O preceptor, nas quais essa denominação aparece no prólogo ou no epílogo. Procuramos então pela especificidade do gênero que nasce no contexto do Novo Testamento e constatamos tratar-se de uma metanarrativa, de uma narrativa encaixada em um texto maior com o qual mantém uma relação exemplar, de reafirmação do discurso enunciado, prova da verdade da sua Palavra/Parábola. A parábola funciona, então, como demonstração desta verdade. Por assim configurar-se, revela-se como um poderoso instrumento didático e doutrinário; ela não só veicula idéias a serem incorporadas pelo receptor, mas também, por estar dotada de estratégias persuasivas e dissuasivas, induz o interlocutor a uma mudança de estado, a uma conversão. A história na parábola fala do homem presente, coloca-o em perspectiva, porém travestindo-o e ao seu contexto por meio da alegoria. E à decifração desse artifício conduzem vários elementos construídos em torno da narrativa. Colocada, então, a questão ideológica do gênero, investigamos como, na forma parábola teatral, estão tensionados os pressupostos brechtianos, cuja base se funda em uma visão dialética do mundo. Nossa preocupação aqui, então, é discutir a coerência desses pressupostos em sua práxis; analisando em cada uma dessas peças indicadas a dinâmica instaurada na confluência dos gêneros - parábola e teatro épico.
Abstract: When we read the Brecht's plays we fall across some entitled by the dramatist, parables, either in its title, as Der gute Mensch von Setzuan - parable and Der aufhatsame Aufsteig des Arturo Ui - parable, or in its body text as in Die Rundkoepfe und die Spitzkoepfe, Was kosted das eisen? and Der Hofmeister, in which this denomination appears in the prologue or in the epilogue. In this case we looked for the specificity of the gender which is born in the context of the New Testament and we verified it is a metanarrative, a narrative embedded in a bigger text with which it maintains an exemplar relation of restatement of the discourse enunciated, which proves the truth of this Word/Parable. The parable works then as a demonstration of this truth. Thus it takes shape, reveals itself, as a powerful didactical and doctrinaire document, it not only transmits ideas to be incorporated by the receptor but also, as it is endowed of persuasive and dissuasive strategies, it leads the interlocutor to a state change, a conversion. The story in the parable tells about the present man, puts him in perspective but disguising him and his context by the allegory. And to the deciphering of this artifice conduct the various elements built around the narrative. Placed then the ideological question of gender, we investigated how, in theatrical parable pattern, are involved the Becht's presuppositions which base establishes itself in a dialectical vision of the world. Our concern here then is to discuss the coherence of these presupposed in its praxis, analyzing in each of these indicated plays the dynamical instituted in the confluence of the genders - parable and epic theater.
Doutor
22
Pereira, Márcio Fransen. "Bertolt Brecht : utopia e imagem : uma narrativa do exílio." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/104357.
Full textAbstract:
Na pesquisa desenvolvemos um percurso por Bertolt Brecht na especificidade do seu exílio. Objetivamos traçar relações entre sua posição de exilado e as camadas do pensamento brechtiano verificado por Fredric Jameson (2013), no livro Brecht e a questão de método. A constituição do exílio de Brecht é entendida como um deslocamento, dentro do estado de exceção, de uma situação de exílio para uma posição de exílio (DIDI-HUBERMAN, 2008) que, entre diferentes características, evidencia a própria exceção (AGAMBEN, 2004). Ao final do percurso, trabalhamos, a partir de autores da psicanálise e do pensamento utópico, com a hipótese de que Brecht fez de sua situação de exílio um sintoma.In this research, a path was developed for Bertolt Brecht specifics of his exile. The main focus was to draw relations between his position as an exiled person and the layers of brechtian thoughts verified by Fredric Jameson (2013), in the book Brecht method. The nature of Brecht's exile is understood as a displacement, within a state of exception, of an exile situation to a position of exile (DIDI-HUBERMAN, 2008) in which, among different characteristics, Brecht puts in evidence himself his own exception (AGAMBEN, 2004). At the end, psychoanalyst authors and utopian thinkers were used, bearing in mind the hypothesis that Brecht made a symptom out of his exile situation.
En la pesquisa desarrollamos un recorrido por Bertolt Brecht en la especialidad del su exilio. Objetivamente trazar relaciones entre su posición de exilado y las capas del pensamiento brechtiano verificado por Fredric Jameson (2013), en el libro Brecht y el Método. La constitución del exilio de Brecht es entendida como un desplazamiento, dentro del estado de excepción, de una situación del exilio para una posición de exilio (DIDI-HUBERMAN, 2008) que, entre distintas características, evidencia la propia excepción (AGAMBEN, 2004). Al fin del recurrido producimos, a partir de autores de la psicoanálisis y del pensamiento utópico, con la hipótesis de que Brecht hizo de su situación de exilio un síntoma.
23
Russo, Anna. "Bertolt Brecht und Dario Fo : Wege des epischen Theaters /." Stuttgart ; Weimar : J. B. Metzler, 1998. http://catalogue.bnf.fr/ark:/12148/cb38814203m.
Full text
24
Bočková, Paulína. "Bertolt Brecht: "Dobrý člověk ze Sečuanu" - komplexní kostýmní řešení." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202494.
Full textAbstract:
This thesis deals with the costume design for the play The Good Person of Szechwan by Bertolt Brecht. The theoretical part focuses on researching the use of costume in epic theatre, the history of Chinese clothing , Chinese mentality and philosophy, and the use and history of masks . The practical part studies the philosophical content of the play, the nature of the characters and situations, and describes the process of development of the design concept.
25
Kim, Taekwan. "Das Lehrstück Bertolt Brechts : Untersuchungen zur Theorie und Praxis einer zweckbestimmten Musik am Beispiel von Paul Hindemith, Kurt Weill und Hanns Eisler /." Frankfurt am Main ; Bern ; Bruxelles : P. Lang, 2000. http://catalogue.bnf.fr/ark:/12148/cb376284673.
Full text
26
Kloepfer, Albrecht. "Poetik der Distanz : Ostasien und ostasiatischer Gestus im lyrischen Werk Bertolt Brechts /." München : Iudicium, 1997. http://catalogue.bnf.fr/ark:/12148/cb39057248w.
Full text
27
Bonnaud, Irène. "Brecht, période américaine." Paris 3, 2001. http://www.theses.fr/2001PA030007.
Full textAbstract:
Bertolt brecht, en exil a los angeles de 1941 a 1947, n'a cesse d'ecrire pour l'industrie culturelle americaine. Scenarios pour hollywood ou pieces de theatre concues pour conquerir broadway, ses oeuvres d'alors empruntent aux genres populaires du cinema ou du theatre americains des armes nouvelles contre la tradition du drame. Mais la polemique continuee contre l'identification et l'illusion mimetique est accompagnee d'une autocritique permanente. Brecht met son propre theatre en crise et l'examine avec mefiance. Chaque piece devient reflexion sur l'art de la scene et ce dernier doit plus que jamais repondre de ses choix. A l'ombre de l'actualite mondiale, capitulation, collaboration et resistance a l'oppression deviennent non seulement les grands themes des textes de brecht, mais aussi les criteres qui determinent ses strategies d'ecriture. A l'heure des destructions et des massacres de la seconde guerre mondiale, la moindre decision formelle est un probleme politique : la fable du theatre narratif, souvenir d'un temps ou le recit etait encore signe de sagesse, et l'ampleur shakespearienne des personnages sont pour brecht deux facons d'etre volontairement anachronique au milieu du desastre.
28
Gonçalves, Natália Kneipp Ribeiro [UNESP]. "A “didática” nas peças didáticas de Bertolt Brecht: ensino em cena." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/138286.
Full textAbstract:
Submitted by NATALIA KNEIPP RIBEIRO GONÇALVES null (nataliakneipp@yahoo.com.br) on 2016-05-09T18:42:33Z
No. of bitstreams: 1
TESE_NATALIA_final_rev_repositorio.pdf: 2362286 bytes, checksum: a857cd8026881e08ef411c76c41566ac (MD5)Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-05-10T17:10:28Z (GMT) No. of bitstreams: 1 concalves_nkr_dr_arafcl.pdf: 2362286 bytes, checksum: a857cd8026881e08ef411c76c41566ac (MD5)
Made available in DSpace on 2016-05-10T17:10:28Z (GMT). No. of bitstreams: 1 concalves_nkr_dr_arafcl.pdf: 2362286 bytes, checksum: a857cd8026881e08ef411c76c41566ac (MD5) Previous issue date: 2016-03-09
Pró-Reitoria de Pós-Graduação (PROPG UNESP)
O presente trabalho caracteriza-se como pesquisa bibliográfica e tem como objetivo a compreensão da didática a partir do estudo das peças didáticas de Bertolt Brecht (1898-1956), as quais são uma tipologia do teatro épico brechtiano e compreendem as seguintes obras: “O voo sobre o oceano” (escrita em 1928/1929); “A peça didática de Baden-Baden sobre o acordo” (escrita em 1929); “Aquele que diz sim”/“Aquele que diz não” (encenadas sempre em conjunto, escritas em 1929/1930); “A decisão” (escrita em 1929/1930); “A exceção e a regra” (escrita em 1929/1930) e “Os Horácios e os Curiácios” (escrita em 1934); além dos fragmentos “O malvado Baal, O Associal” e “Decadência do egoísta Johann Fatzer”. A didática é a categoria central deste trabalho, o universo são as peças didáticas de Bertolt Brecht e o método de análise é o materialismo histórico e dialético. Pretendemos contribuir com a discussão dos processos pedagógicos, sobretudo no que se refere à práxis pedagógica escolar e, para tanto, os caminhos trilhados em nossa pesquisa partiram da análise do conceito de didática presente na obra “Didática Magna”, de Comênio (1592-1670), que é um marco referencial da Pedagogia Moderna, e se dirigiram ao estudo da didática nas peças didáticas brechtianas. Compomos um panorama sobre as condições sócio-históricas do teatro europeu, em fins do século XIX e início do século XX; enfatizamos as aproximações e distanciamentos do expressionismo e do teatro político de Erwin Piscator (1893-1966) em relação ao desenvolvimento do teatro épico brechtiano; discutimos o elemento didático presente em peças anteriores às didáticas; e, por fim, analisamos as peças didáticas e seus fundamentos. Assim, consideramos que a didática compreendida a partir das peças didáticas propicia que o ensino seja posto em cena e aponta possibilidades ao diálogo entre o teatro e a educação escolar na perspectiva da práxis.
This work is characterized as bibliographic search and has aimed to understand the teaching from the study of learning plays of Bertolt Brecht (1898-1956) which are a type of Brechtian epic theater and consist the following works: “The Ocean Flight” (written in 1928/1929); “The learning play of The Baden-Baden Lesson on Consent” (written in 1929); “He Who Says Yes”/ “He Who Says No” (always together staged, written in 1929/1930); “The Decision” (written in 1929/1930); “The Exception and the rule” (written in 1929/1930) and “The Horations and the Curiatians” (written in 1934); beyond the fragments “Bad Baal, the Antisocial Man” e “ Demise of the Egotist Johann Fatzer”. The teaching is the central category of this work, the universe are the learning plays of Bertolt Brecht and the method of analysis is the historical and dialectical materialism. We intend to contribute to the discussion of pedagogical processes, particularly with regard to school pedagogical praxis and, therefore, the paths in our research set out the teaching this concept analysis in the work “Magna Didactics”, of Comênio (1592-1670), wich is a reference point of the Modern Education, and headed to the study of teaching in Brechtian learning plays. We compose an overview of the socio-historical conditions of european theater, in the late nineteenth century and early twentieth century; we emphasize the similarities and differences of expressionism and political theater of Erwin Piscator (1893-1966) for the development of Brechtian epic theater; we discuss this didactic element in previous parts to learning; and finally, we analyze the learning plays and its fundamentals. Like this, we consider that the didactic understood from the learning plays provides that education be put into play and points out possibilities for dialogue between theater and education from the perspective of praxis.
29
Haviaras, Sotirios. "La Réception de Brecht en Grèce, 1955-1981." Paris 7, 1989. http://www.theses.fr/1989PA070056.
Full text
30
Fowler, Kenneth Ray. "Received truths : problems of the music-text relationship and Bertolt Brecht." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66168.
Full text
31
CASTRO, MARIA EDUARDA DE OLIVEIRA. "THE EPIC AS POLITICAL ART IN WALTER BENJAMIN AND BERTOLT BRECHT." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=35912@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Esta tese aborda o território de uma arte épica na filosofia de Walter Benjamin e no teatro de Bertolt Brecht. O épico é visto aqui em um contexto de politização da arte do século XX, que atingiria uma de suas expressões mais significativas e experimentais no teatro de Brecht. Benjamin irá figurar não só como um importante leitor de Brecht, mas como um pensador do épico. Suas leituras da década de 1930 sobre uma arte política e sobre o narrador terão um papel importante. O narrador será pensado como narrador de situações políticas, e em conexão com um teatro que, como apontou Brecht, adquire novas possibilidades de narrar. Trataremos também das concepções de um teatro épico, ou proletário, do encenador Erwin Piscator, e das leituras do escritor e crítico Alfred Doblin sobre uma obra épica.
This thesis focus on the territory of an epic art in the philosophy of Walter Benjamin and in the theater of Bertolt Brecht. The epic is seen here in the context of politicization of twentieth-century art, which would achieve one of its most significant and experimental expressions in the Brecht theater. Benjamin will figure not only as an important reader of Brecht, but as a thinker of the epic. His readings of the 1930s on political art and on the narrator will have an important role. The narrator will be thought of as a narrator of political situations, and in connection with a theater which, as Brecht pointed out, acquires new possibilities to narrate. We will also deal with the conceptions of an epic theater, or proletarian, of the director Erwin Piscator, and the readings of the writer and critic Alfred Doblin on an epic work.
32
Gonçalves, Natália Kneipp Ribeiro [UNESP]. "As peças didáticas de Bertolt Brecht e o processo de alfabetização." Universidade Estadual Paulista (UNESP), 2005. http://hdl.handle.net/11449/86489.
Full textAbstract:
Made available in DSpace on 2014-06-11T19:22:18Z (GMT). No. of bitstreams: 0
Previous issue date: 2005-09-02Bitstream added on 2014-06-13T20:28:31Z : No. of bitstreams: 1
goncalves_nkr_me_rcla.pdf: 1369749 bytes, checksum: 0919d5563a932339d8a6c73485408c69 (MD5)Universidade Estadual Paulista (UNESP)
Essa pesquisa tem como objetivo analisar as idéias e proposições das peças didáticas de Bertolt Brecht, buscando possíveis relações entre essas peças, vistas em seus princípios didáticos, e as concepções que fundamentam o processo de alfabetização. Procedeu-se, inicialmente, a um estudo documental das peças, fazendo um levantamento dos princípios didáticos que elas contém; em seguida, foi composto um panorama das concepções em alfabetização no Brasil, recorrendo-se a trabalhos científicos e órgãos censitários (IBGE); culminando na participação de três professoras que alfabetizam. A construção da relação entre os princípios didáticos e as concepções em alfabetização foi se estabelecendo na e por meio da interação com essas professoras. Nessa relação de interlocução, desenvolvida por entrevistas, professoras e pesquisadora iam construindo, juntas, possibilidades de reflexão da práxis pedagógica no processo de alfabetização, por meio das peças didáticas.
This research has the objective to analyse the ideas and preposition of Bertolt Brechtþs didactic plays, seeking possible relation between these plays, looking at his didacticsþ principle and the conceptions that bases the alphabetizationþs process. It conducts, inictially, to a documental study of the plays, doing a raising of didacticsþprinciple that they have, following, it was composed by a view of conceptions in alphabetization in Brazil, resort to cientific works and censitary organs (IBGE) resulting in participation of three teachers that alphabetize. The construction of relation between the didacticsþ principle and the conceptions in alphabetization were establishing in and by interaction with these teachers. In this relation of dialogues developed by interview, teachers and researchers who were building, together, possibilities of reflection pedagogic practice in the alphabetizationþs process, by the didactic plays.
33
Gonçalves, Natália Kneipp Ribeiro. "As peças didáticas de Bertolt Brecht e o processo de alfabetização /." Rio Claro : [s.n.], 2005. http://hdl.handle.net/11449/86489.
Full textAbstract:
Orientador: Maria Rosa Rodrigues Martins de CamargoBanca: Lilian Lopes Martin da Silva
Banca: Marilena Aparecida Jorge Guedes de Camargo
Resumo: Essa pesquisa tem como objetivo analisar as idéias e proposições das peças didáticas de Bertolt Brecht, buscando possíveis relações entre essas peças, vistas em seus princípios didáticos, e as concepções que fundamentam o processo de alfabetização. Procedeu-se, inicialmente, a um estudo documental das peças, fazendo um levantamento dos princípios didáticos que elas contém; em seguida, foi composto um panorama das concepções em alfabetização no Brasil, recorrendo-se a trabalhos científicos e órgãos censitários (IBGE); culminando na participação de três professoras que alfabetizam. A construção da relação entre os princípios didáticos e as concepções em alfabetização foi se estabelecendo na e por meio da interação com essas professoras. Nessa relação de interlocução, desenvolvida por entrevistas, professoras e pesquisadora iam construindo, juntas, possibilidades de reflexão da práxis pedagógica no processo de alfabetização, por meio das peças didáticas.
Abstract: This research has the objective to analyse the ideas and preposition of Bertolt Brechtþs didactic plays, seeking possible relation between these plays, looking at his didacticsþ principle and the conceptions that bases the alphabetizationþs process. It conducts, inictially, to a documental study of the plays, doing a raising of didacticsþprinciple that they have, following, it was composed by a view of conceptions in alphabetization in Brazil, resort to cientific works and censitary organs (IBGE) resulting in participation of three teachers that alphabetize. The construction of relation between the didacticsþ principle and the conceptions in alphabetization were establishing in and by interaction with these teachers. In this relation of dialogues developed by interview, teachers and researchers who were building, together, possibilities of reflection pedagogic practice in the alphabetizationþs process, by the didactic plays
Mestre
34
Gonçalves, Natália Kneipp Ribeiro. "A "didática" nas peças didáticas de Bertolt Brecht : ensino em cena /." Araraquara, 2016. http://hdl.handle.net/11449/138286.
Full textAbstract:
Orientador: José Luís Vieira de AlmeidaCoorientador: Teresa Maria Grubisich
Banca: Vicente Concílio
Banca: José Eduardo de Oliveira Santos
Banca: Maria Eliza Brefere Arnoni
Banca: Renata Soares Junqueira
Resumo: O presente trabalho caracteriza-se como pesquisa bibliográfica e tem como objetivo a compreensão da didática a partir do estudo das peças didáticas de Bertolt Brecht (1898-1956), as quais são uma tipologia do teatro épico brechtiano e compreendem as seguintes obras: "O voo sobre o oceano" (escrita em 1928/1929); "A peça didática de Baden-Baden sobre o acordo" (escrita em 1929); "Aquele que diz sim"/"Aquele que diz não" (encenadas sempre em conjunto, escritas em 1929/1930); "A decisão" (escrita em 1929/1930); "A exceção e a regra" (escrita em 1929/1930) e "Os Horácios e os Curiácios" (escrita em 1934); além dos fragmentos "O malvado Baal, O Associal" e "Decadência do egoísta Johann Fatzer". A didática é a categoria central deste trabalho, o universo são as peças didáticas de Bertolt Brecht e o método de análise é o materialismo histórico e dialético. Pretendemos contribuir com a discussão dos processos pedagógicos, sobretudo no que se refere à práxis pedagógica escolar e, para tanto, os caminhos trilhados em nossa pesquisa partiram da análise do conceito de didática presente na obra "Didática Magna", de Comênio (1592-1670), que é um marco referencial da Pedagogia Moderna, e se dirigiram ao estudo da didática nas peças didáticas brechtianas. Compomos um panorama sobre as condições sócio-históricas do teatro europeu, em fins do século XIX e início do século XX; enfatizamos as aproximações e distanciamentos do expressionismo e do teatro político de Erwin Piscator (1893-1966) em relação ao desenvolvimento do teatro épico brechtiano; discutimos o elemento didático presente em peças anteriores às didáticas; e, por fim, analisamos as peças didáticas e seus fundamentos. Assim, consideramos que a didática compreendida a partir das peças didáticas propicia que o ensino seja posto em cena e aponta...
Abstract: This work is characterized as bibliographic search and has aimed to understand the teaching from the study of learning plays of Bertolt Brecht (1898-1956) which are a type of Brechtian epic theater and consist the following works: "The Ocean Flight" (written in 1928/1929); "The learning play of The Baden-Baden Lesson on Consent" (written in 1929); "He Who Says Yes"/ "He Who Says No" (always together staged, written in 1929/1930); "The Decision" (written in 1929/1930); "The Exception and the rule" (written in 1929/1930) and "The Horations and the Curiatians" (written in 1934); beyond the fragments "Bad Baal, the Antisocial Man" e " Demise of the Egotist Johann Fatzer". The teaching is the central category of this work, the universe are the learning plays of Bertolt Brecht and the method of analysis is the historical and dialectical materialism. We intend to contribute to the discussion of pedagogical processes, particularly with regard to school pedagogical praxis and, therefore, the paths in our research set out the teaching this concept analysis in the work "Magna Didactics", of Comênio (1592-1670), wich is a reference point of the Modern Education, and headed to the study of teaching in Brechtian learning plays. We compose an overview of the socio-historical conditions of european theater, in the late nineteenth century and early twentieth century; we emphasize the similarities and differences of expressionism and political theater of Erwin Piscator (1893-1966) for the development of Brechtian epic theater; we discuss this didactic element in previous parts to learning; and finally, we analyze the learning plays and its fundamentals. Like this, we consider that the didactic understood from the learning plays provides that education be put into play and points out possibilities for dialogue between theater and education from the perspective...
Doutor
35
Lahache, Florent. "Le poème instrument : poésie et matérialisme dans l'oeuvre de Bertolt Brecht." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100187.
Full textAbstract:
Cette thèse de doctorat de philosophie, initiée en 2005, a pour objet d’étude l’œuvre poétique de l’écrivain allemand Bertolt Brecht (1898-1956). Par son titre (« Le poème instrument »), elle entend désigner une contradiction consubstantielle à tout art politique et singulièrement radicalisée dans l’écriture poétique : celle qui oppose la pratique d’un art lyrique, valant pour lui-même, et la revendication d’une utilité sociale de l’écriture, qui la soumet à une finalité extérieure. En assumant dans son écriture cette exigence instrumentale, le poète s’expose en effet au risque de succomber à la fonctionnalisation de la langue, telle que justement la raison marchande la soutient et à laquelle il s’agit cependant de s’opposer. Comment la poésie peut-elle se définir comme instrument sans abolir la teneur proprement artistique de sa production ? Comment maintenir dans un même geste la consistance poétique et l’efficacité politique ?Cette thèse étudie le corpus des poèmes brechtiens écrits depuis le milieu des années 1920 jusqu’à la fin des années 1940 avec pour ambition de repérer les opérations formelles que le poète mobilise dans chacun des moments politiques qu’il rencontre : la République de Weimar (la poésie cynique), le Troisième Reich (la poésie anti-fasciste), la seconde Guerre mondiale (la poésie d’exil). Nous entendons montrer la façon dont un matérialisme singulier s’y élabore, dans un rapport à la fois inventif et dissident à l’égard la tradition dialectique marxisteInitiated in 2005, this doctoral thesis in philosophy aims to study the poetry of the German writer Bertolt Brecht (1898-1956). By its title ("The poem instrument"), it means to explain a contradiction inherent in any political art, and especially emphasized in poetical writing: the one between the practice of lyrical arts, valuable per se, and the claim for a social purpose of writing, which submits it to an outside finality. By undertaking this instrumental necessity in his writing, the poet expose himself to the functionalisation of language, this very functionalisation that is supported by the market means which the poet however intends to deal with. How can poetry define itself as a tool, without abolishing the specifically artistic content of its production? How to maintain poetic consistency and political efficiency simultaneously ?This thesis examines the corpus of Brechtian poems written from the mid-1920s until the late 1940s. It aims at identifying the formal operations that the poet engages for each political moments he faces : the Weimar Republic (cynical poetry), the Third Reich (anti-fascist poetry), the second World War (the poetry of exile). We intend to show how a specific materialism is being developed, in a both inventive and dissent relation to the traditional Marxist dialectic
36
Castanheira, Carla Isabel Parreira Chora Carvalho. "A metamorfose do ator – Investigação baseada nas metodologias de Constantin Stanislavski e Bertolt Brecht." Master's thesis, Universidade de Évora, 2022. http://hdl.handle.net/10174/31710.
Full textAbstract:
Pela sua capacidade de adaptação e transformação, o trabalho do ator é, na minha opinião, um processo teatral caracterizado por várias fases - desde a construção de personagem à interpretação da mesma – e, por isso, o elemento central no exame crítico da cena teatral.
A presente dissertação tem como principal objetivo investigar a fim de perceber a que meios/técnicas o ator recorre no seu processo de construção de personagem e como as metodologias utilizadas por quem o dirige influenciam o resultado do seu trabalho.
Nesta minha pesquisa laboratorial, que consistia numa comparação de metodologias onde o foco foi todo o processo criativo desencadeado pelos atores, priorizarei as metodologias desenvolvidas por Constantin Stanislavski e Bertolt Brecht. Entendo que tanto um como outro trouxeram contributos decisivos para o desenvolvimento do trabalho do ator e influenciaram igualmente as várias linhas e escolas no âmbito do pensamento e realização teatrais. Interessou-me analisar as suas diferenças metodológicas e perceber como cada um dos métodos desenvolvidos por cada um destes pensadores de teatro acabam por influenciar e determinar o processo criativo do ator. Para além da análise comparativa, relativa à receção que cada uma das metodologias encontrou junto de teatrólogos de renome, pretendi - com base no texto de Henrik Ibsen “A Casa de bonecas” - construir um laboratório de experimentação e investigação, no qual foram utilizadas as duas metodologias, numa estratégia comparativa, na construção cénica.
Numa altura em que a encenação adquire o valor de obra de arte, este estudo desenvolve o conceito de metamorfose do ator em personagem, valorizando/destacando todo o seu trabalho; ABSTRACT: Ator’s metamorphosis – Research based on Constantin Stanislawski and Bertolt Brecht’s methodologies -
Due to his ability to adapt and transform, the actor's work is, in my opinion, a theatrical process characterized by several moments – from the construction of the character to its interpretation – and, therefore, it is the central element in the critical examination of the theatrical scene.
The main objective of this dissertation is to investigate, to understand which means/techniques the actor uses in the process of character construction and how the methodologies used by those who direct him influence the result of his work.
In this laboratory research, which consisted in a comparison of methodologies where the focus was on the entire creative process triggered by the actors, I will prioritize the
methodologies developed by Constantin Stanislavski and Bertolt Brecht.
From my point of view, they have both brought decisive contributions to the development of the actor's work and they have also influenced the various lines and schools in the scope of theatrical thinking and performance. I was interested in analysing their methodological differences and in understanding how each of the methods developed by each of these theatre thinkers end up influencing and determining the actor's creative process.
Apart from the comparative analysis, regarding the reception by renowned playwrights of each of these methodologies, I intended – based on the text by Henrik Ibsen "The Dolls House" – to build an experimentation and research laboratory, in which the two methodologies were used, in a comparative strategy, in the scenic construction.
At a time when staging acquires the value of a work of art, this study develops the concept of metamorphosis from actor into character, valuing/highlighting all his work.
37
Qiao, Yiyuanfang. "“A FRIEND FROM FAR AWAY”: BERTOLT BRECHT AND HIS CHINESE-INFLUENCED WORKS." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4162.
Full textAbstract:
In the theatre field, Bertolt Brecht could be counted as a representation of cross-cultural phenomenon. His Verfremdungseffekt theory, Marxist beliefs and wide application of Chinese elements made him a significant stop for every person in theatre who has a passion for Chinese culture. For this reason, I am studying Brecht as a representative innovator who adapted the Eastern Asian elements, especially those from China, into his work, to illustrate this cultural phenomenon and the artistic achievement of his works as well. As an old saying in the Confucian Analects, “Isn’t it delightful to have friends coming from far away? ”, Brecht is like an old friend of China even though he never went to there. Since his works have been introduced into China from 1930s to 1940s, research of Brecht experienced ups and downs through the different political eras.
Even now, Brecht’s theory and practice still has a deep impact on the Chinese drama. I particularly focus on Brecht’s works toward China, and try to illustrate them based on the former research from the European and American scholars as well as from Chinese scholars. I will clarify the Chinese traditional philosophy as the foundation of the whole thesis as well as the beginning of the first chapter, and analyze the Chinese-styled abstraction of Brecht’s poetry. In Chapter Two, I will illuminate the interaction between Brecht and traditional Chinese opera based on Huang Zuolin’s research. In addition, I will clarify the long-term misunderstanding that Chinese drama had for Brecht. In Chapter Three, I will focus on A Good Woman of Sichuan and The Caucasian Chalk Circle as representations to interpret the relationship between Brecht’s and the original versions as well as the Chinese philosophy that Brecht’s version has employed. Finally, the conclusion contains not only the summary, but also the possibilities for Brecht research in the future. Hopefully my work could balance both the objective truth and my personal thoughts, and contribute to the ones who may need them in the future.
38
Thomsen, Frank. "Von der Taktik zur Tugend Wandlung des Ethikkonzepts in Brechts marxistischen Dramen von 1929-1945 /." Frankfurt : Lang, 2008. http://catalog.hathitrust.org/api/volumes/oclc/272561135.html.
Full text
39
Soman-Çelik, Türkan. "Die ethischen Werte in Sophokles', Bertolt Brechts und Kemal Demirels Antigone." Berlin Avalon, 2009. http://d-nb.info/999315838/04.
Full text
40
Lee, Kyung-Kyu. "Eine vergleichende Studie: Lessings "Nathan der Weise" und Brechts "Der kaukasische Kreidekreis" /." München : Utz, 2007.
Find full text
41
Thomsen, Frank. "Von der Taktik zur Tugend Wandlung des Ethikkonzepts in Brechts marxistischen Dramen von 1929 - 1945." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2007. http://d-nb.info/990622231/04.
Full text
42
Kratzmeier, Denise. "Es wechseln die Zeiten zur Bedeutung von Geschichte in Werk und Ästhetik Bertolt Brechts." Würzburg Königshausen & Neumann, 2010. http://d-nb.info/999697145/04.
Full text
43
Karir, Simran. "Der Liebescode : zur poetischen Korrespondenz Bertolt Brechts und Margarete Steffins." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79953.
Full textAbstract:
In the present study, the sonnets Margarete Steffin and Bertolt Brecht wrote each other will be examined both in regard to the form of the sonnet as well as the tradition with which this form is associated. A second point of consideration, which stands to a certain extent in conflict with the first, is the dialogue which these sonnets constitute. This dialogue provided Steffin and Brecht the forum and opportunity to be equal partners, contrary to their real-life situations, where equality between the two did not exist. This forum allowed them to witness and experience each other simultaneously both as subjects and objects both in terms of longing and desire, as in poetic discourse, enabling them to mutually influence each other. And as the sonnets show, this influence did in fact occur regarding their different ideas, attitudes and needs in their relationship to each other.
44
Trovo, Maria Caroline [UNESP]. "Teatro épico no Brasil: sobre a atualidade de Brecht." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/106232.
Full textAbstract:
Made available in DSpace on 2014-06-11T19:35:18Z (GMT). No. of bitstreams: 0
Previous issue date: 2012-12-11Bitstream added on 2014-06-13T19:05:40Z : No. of bitstreams: 1
trovo_mc_dr_arafcl.pdf: 609055 bytes, checksum: 3abd2fe04f53739dc33146aa29ffdf36 (MD5)O final da década de 1950 marca o início do percurso que levou ao desenvolvimento do teatro épico de Bertolt Brecht no Brasil. No ano de 1958,a primeira encenação profissional do dramaturgo alemão e o sucesso da apresentação de Eles não Usam Black-tie, de Gianfrancesco Guarnieri, no Teatro de Arena, levaram à criação do Seminário de Dramaturgia do Arena, aos estudos da obra de Brecht e à apropriação dos procedimentos artísticos brechtianos. Por sua vez, os Centros Populares de Cultura (CPC), criados em 1962 e extintos pelas forças militares em 1964, foram fortemente influenciados pela teoria e prática teatral brechtiana. O direcionamento da cena teatral brasileira ao teatro épico coadunou-se com o movimento ascensional das massas do início dos anos 1960 e à perspectiva de transformação social via revolução socialista. O golpe militar de 1964, no entanto, que interrompeu a mobilização política do início da década e pôs em refluxo a agitação cultural, teria retirado a perspectiva empírica de transformação que embasava o teatro épico de Brecht e tornado-o obsoleto. Portanto, nos anos 1990, no contexto de retomada do teatro político, coloca-se a questão da atualidade de Brecht, da potência crítica de suas técnicas artísticas, como o efeito de distanciamento. O presente trabalho, nesse sentido, analisa a peça Ópera dos Vivos. Estudo Teatral em Quatro Atos, da Companhia do Latão, grupo teatral paulistano que se propõe a efetivação de um teatro épico brechtiano, como ponto de partida da discussão da atualidade do dramaturgo na sociedade brasileira contemporânea
The end of the 1950s marks the beginning of the path that led to the development of the Bertolt Brecht epic theater in Brazil. In 1958, the first professional staging of the German dramatist and success submitting They do not Wear Black-tie, by Gianfrancesco Guarnieri, at the Arena Theatre, led to the creation of the Dramatic Arena Workshop, to the studies Brecht’s work and the appropriation of Brechtian artistic procedures. On the other hand, the Popular Culture Centers (CPC), created in 1962 and abolished by the military in 1964, were strongly influenced by Brechtian theater theory and practice. The direction of the Brazilian theater scene to the epic theater conformed to the ascension movement of the masses in early 1960s and the prospect of social change through socialist revolution. The military coup in 1964, however, interrupted the political mobilization in the decade beginning and put in reflux cultural agitation, it would have removed the empirical perspective transformation that based the Brecht epic theater and became obsolete. Therefore, in the 1990s, in the context of renewed political theater, there is the issue of Brecht relevance, the critical power of his artistic techniques, such as distancing effect. This research, in this sense, examines the Living Opera play. The Theatrical Study in Four Acts, the Latão Company, São Paulo theater group proposes to establish a Brechtian epic theater, as the starting point of the discussion of today's playwright in contemporary Brazilian society
45
Lang, Joachim. "Episches Theater als Film Bühnenstücke Bertolt Brechts in den audiovisuellen Medien." Würzburg Königshausen und Neumann, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2864715&prov=M&dok_var=1&dok_ext=htm.
Full text
46
Mello, Suzana Campos de Albuquerque. "A Exceção e a Regra de Bertolt Brecht ou a exceção como regra: uma leitura." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-01122009-125813/.
Full textAbstract:
Com este trabalho apresentamos uma leitura do texto da peça didática Die Ausnahme und die Regel (A exceção e a regra) do dramaturgo alemão Bertolt Brecht, escrita em 1929/1930. Trata-se de uma leitura feita a partir de uma ótica acadêmica brasileira, que leva em consideração aspectos do procedimento estilístico do autor, sua posição em relação ao teatro, o contexto em que a peça foi produzida, o público a que a peça se destina, o seu lugar dentro do conjunto das outras peças didáticas e o resgate de textos inéditos para dois coros, bem como indicações para outras leituras e encenações. A partir destes pressupostos, busca-se delinear ao final um possível diálogo que Brecht estabelece com o jurista Carl Schmitt e com a sociedade de seu tempo.This work consists of a reading of the text of the German playwright Bertold Brechts didactic play Die Ausnahme und die Regel (The exception and the rule), written in 1929/1930. This is a reading from a Brazilian academic perspective which takes into consideration aspects of the authors stylistic procedure, his positioning towards theater, the context in which the play was written, the audience to whom it was produced, its place in Brechts set of didactic plays and the review of unpublished texts for two choruses, as well as indications for other readings and stagings. From these assumptions, in the end of the work, we aim at outlining a possible dialogue Brecht established with the jurist Carl Schmitt and with society in his times.
47
Lobjoit-Chaumont, Marie-Ange. "Bertolt Brecht, Paul Claudel et la vie de Jeanne d'Arc entourée de parodie." Dijon, 1995. http://www.theses.fr/1995DIJOL016.
Full textAbstract:
Cette étude s'intéresse à Jeanne d'Arc, plus particulièrement à deux de ses avatars littéraires, la salutiste de B. Brecht et la suppliciée de P. Claudel. Elle n'a pas pour objet la recherche d'une symbiose de ces deux écrivains contrastés, mais la découverte par le truchement de leur protagoniste de champs de taches tantôt différentes tantôt similaires, se recoupant plus souvent qu'il ne nous était donné de l'imaginer. Pour ce faire, elle s'articule autour de plusieurs chapitres allant du concret vers l'abstrait. Le premier relate le contexte historique et littéraire des pièces de notre corpus, Die Heilige Johanna de Schlachthofe (1928-1932) et Jeanne au bucher (1934). Le deuxième étudiant la genèse et les variantes de ces drames met en lumière l'esprit de coopération, le regard critique et l'attirance scénique de leur auteur. Le troisième témoigne de l'attitude complexe adoptée par ces écrivains à l'égard du personnage historique qui devient alors un prête-nom servant à l'élaboration d'un récit politise pour le marxiste, à la création d'une œuvre spiritualisée pour le mystique. La sainte de la patrie française a laissé place à une conscience enténébrée parvenant à la connaissance en suivant un itinéraire retrace dans le dernier chapitre; un cheminement initiatique qui valorise la nécessité du sacrifice humain et unit par l’ anthropocentrisme brechtien et théocentrisme claudélienThis study focuses on Joan of arc, and particularly on two of her literary manifestations, Brecht’s salvationist and Claudel’s tortured maid. It does not strive to operate the symbiosis of these two contrasting writers but to uncover through their protagonist two types of work which are both different and a like at different times, and which overlap more often than is usually thought. The progression is over several chapters which range from the real to the abstract. Chapter i looks at the historical and literary context of the two plays under scruting Die Heilige Johanna der schlachthofe (1928-1932) and Jeanne au bucher (1934). Chapter 2 studies the genesis of the two dramas featuring Joan but also the differences between them, the spirit of cooperation, the critical stance and stagecraft of each playwright. Chapter 3 testifies to the complex approach that both authors use regarding the historical figure. They both make her into a figurehead allowing the marxist to work out a politicized tale and the mystic to create a spiritualized work. The saint of French patriots has been eschewed in favor of a heroin whose murky conscience reaches knowledge at the end of a progress mapped out in the last chapter. Joan's initiatory journey enhances the necessity of human sacrifice, thereby uniting Brecht’s anthropocentrism and Claudel’s theocentric vision
48
Miranda, Rita Alves. "O teatro experimental de Brecht." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/11641.
Full textAbstract:
Made available in DSpace on 2016-04-27T17:27:05Z (GMT). No. of bitstreams: 1
Rita Alves Miranda.pdf: 2197473 bytes, checksum: 27e1b604e4f02f387a522aa42435e2a0 (MD5)
Previous issue date: 2013-10-23Conselho Nacional de Desenvolvimento Científico e Tecnológico
This master s thesis aims to approach the passage of Bertolt Brecht through the theater history and the influence of his proposal for the contemporary art. Initially, we analyzed Brecht s criticism towards some traditional conceptions of theater and the path taken by the author to think the crisis of drama that had settled times before. Along the way were considered some references and possible objections from Brecht to Aristotle and the Aristotelian model of theater. In this controversial debate, we analyzed the references to the Greek philosopher, to clarify weather Brecht really wanted to reject Aristotle, or he proposed an appropriation of that formal model. It is known that the Aristotelian model of theater was removed from the Poetics of Aristotle and suffered different appropriations in different epochs, one of them being the bourgeois reading. This view is refuted by Brecht, when he analyzes the reality of bourgeois drama and realizes that it was necessary that it be revised immediately, because the theater is no longer affecting the people, in the sense that their willingness depended on a relationship of passivity on the part of viewers. Facing this crisis of drama, some artists tried to reformulate it without however succeeding. Brecht, when began his work, had knowledge of these attempts and facing their failures, the goal was to make theater inaugurate a new place in society. In search of the best place he has in mind a place of production of consciousness, radically opposed to the bourgeois-capitalist logic that sought the alienation of individuals. So, now located outside the debate of reckoning with the past, Brecht focuses on your present and faces the ideas of György Lukács which oppose Brecht by thinking art in a different manner and attributing to him the image of Formalist. We also deal whit defending Brecht from these charges. This dissertation, different from common aspect of texts on Bertolt Brecht is not intended to scrutinize the techniques developed by the playwright in the formulation of the Epic Theater, or talking about the formal aspects of his work, but it is based on a philosophical approach, passing briefly through a few moments of the author s thought until it reaches the stage considered as a mature conception of theater, which is also the last phase of his career, when he revised many of his previous positions. This phase is one in which he writes pieces like The Good Soul of Setsuan (1939-1942) and Life of Galileo (1938-1939). Being so, our focus was this mature conception of the author s work and the characteristics of his thinking at that time, thinking that we take as very Brechtian itself. We focus at this moment of his work, to show the compatibility of his thought and a contemporary conception of theater
Este trabalho tem por objetivo abordar a passagem de Bertolt Brecht pela história do teatro e a influência de sua proposta na fase contemporânea da arte. Inicialmente, analisamos a crítica de Brecht dirigida a algumas concepções tradicionais de teatro e o caminho percorrido pelo autor para pensar a crise do drama que se instalara tempos antes. Nesse percurso foram consideradas algumas referências e possíveis objeções de Brecht a Aristóteles e ao modelo aristotélico de teatro. Nesse debate polêmico, analisamos as referências ao filósofo grego, a fim de esclarecer se o que Brecht pretendia era rejeitar mesmo Aristóteles, ou mais uma apropriação daquele modelo formal. Sabe-se que o modelo aristotélico de teatro foi retirado da obra Poética de Aristóteles e que sofreu apropriações segundo as épocas, sendo uma delas a leitura burguesa. Essa leitura é rebatida por Brecht que revê a realidade do drama burguês e percebe que era preciso que ele fosse revisto imediatamente, pois o teatro já não atingia mais as pessoas, mas sua disposição dependia de uma relação de passividade por parte dos espectadores. Frente a dessa crise do drama, alguns artistas, tentaram reformulá-lo sem, no entanto, obter sucesso. Brecht, quando deu início a seu trabalho, já tinha conhecimento dessas tentativas e diante desses fracassos, o objetivo era fazer o teatro inaugurar um novo lugar dentro da sociedade. Em busca do melhor lugar, ele tem em mente um lugar de produção de consciências, opondo-se radicalmente à logica burguesa-capitalista que buscava a alienação dos indivíduos. Assim, localizado já fora do debate de acerto de contas com o passado, Brecht concentrase em seu presente e enfrenta György Lukács que se opõe a Brecht ao pensar a arte de uma forma diferente, atribuindo a este a imagem de Formalista. Nos ocupámos de defender Brecht também dessas acusações. Esta dissertação, diferente do aspecto comum de textos sobre Bertolt Brecht não se propõe a analisar minuciosamente as técnicas desenvolvidas pelo dramaturgo na formulação do Teatro Épico, ou a falar dos aspectos formais de sua obra, senão que se apoia numa abordagem filosófica, que passa rapidamente por alguns momentos do pensamento do autor até chegar à fase considerada como fase de uma concepção madura de teatro, que é também a última fase de sua carreira, quando ele reviu muitas de suas posições anteriores. Esta fase é aquela em que ele escreve peças como A Alma Boa de Setsuan (1939-1942) e Vida de Galileu (1938- 1939). Neste momento do trabalho nosso foco foi essa dada concepção madura da obra do autor e as características de seu pensamento nessa época, pensamento que tomamos como próprio brechtiano. Concentramos nossa atenção neste momento da obra, a fim de mostrar a compatibilidade desse pensamento e uma concepção de teatro contemporânea
49
Williams, Katherine J. "Translating Brecht : versions of "Mutter Courage und ihre Kinder" for the British stage." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/761.
Full text
50
Ridley, Barbara. "The Cinderella service : the education of exclusions and refusers." Thesis, University of East Anglia, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267777.
Full text