Journal articles: 'Brecht'

1

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

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

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Der vorliegende Aufsatz versucht, Argumente für die Aktualität Berltolt Brechts zu finden. Es werden Parallelen zwischen Brechts epischem Theater und der Musik, insbesondere der Oper, aufgezeit. Dabei spielt die für Brecht so wichtige Ästhetik der Form eine zentrale Rolle, die entscheidend für seine Modernität ist.

3

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

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4

Westermann, Bernd. "Hundert Jahre Brecht – Brechts Jahrhundert?" Informationen Deutsch als Fremdsprache 27, no. 2-3 (June 1, 2000): 238–41. http://dx.doi.org/10.1515/infodaf-2000-2-363.

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5

MARKELL, PATCHEN. "POLITICS AND THE CASE OF POETRY: ARENDT ON BRECHT." Modern Intellectual History 15, no. 2 (November 22, 2016): 503–33. http://dx.doi.org/10.1017/s1479244316000366.

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Hannah Arendt's essay on Bertolt Brecht has often been understood as an indictment of Brecht's postwar accommodation with the Stalinist regime in East Germany, in line with Arendt's supposed commitment to a firm separation between poetry and politics. Offering the first full reconstruction of the transnational history of Arendt's writing on Brecht, this article shows instead that Arendt's essay was a defense of Brecht against the polemics it is often taken to exemplify. Joining poetry to politics by holding both at a distance from philosophy, Arendt assigned poetry the vocation of disruptive faithfulness to factual reality, which allowed her to praise Brecht on political grounds and to leverage forbearance for his political “sins.” Indeed, by narrating Brecht's “sins” and “punishment” against the grain of Cold War discourse about the poet, Arendt's essay emulated aspects of the poetic practice she admired in Brecht's writing.

6

Asimakoulas, Dimitris. "Brecht in dark times." Target. International Journal of Translation Studies 17, no. 1 (December 31, 2005): 93–110. http://dx.doi.org/10.1075/target.17.1.06asi.

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This paper will place Brecht’s published works within the socio-political context of the Greek junta (1967–1974). After preventive censorship was lifted in 1969, a massive import of Brecht’s works occurred. Brecht was immediately incorporated in the recently established tradition of serious books addressing important social issues, bringing the reader closer to modern thought and kindling the desire for democracy. Two of the most influential publishers of the time published Brecht’s works and actively subscribed to this trend of defiance against the regime in the publishing industry. The publishers’ activity as well as the content and paratextual elements of Brecht’s works they launched constituted instantiations of the discursive motif of dark times introduced by Brecht himself to describe oppression and distortion of truth.

7

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

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

8

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

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

9

Evenden, M. "Die Burgschaft, or "Brecht ohne Brecht"." Theater 30, no. 3 (January 1, 2000): 63–75. http://dx.doi.org/10.1215/01610775-30-3-63.

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10

Costa, Iná Camargo. "O teatro épico de Brecht." Pandaemonium Germanicum, no. 4 (November 5, 2000): 27. http://dx.doi.org/10.11606/1982-8837.pg.2000.64058.

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Dieser Artikel ist eine gekürzte Fassung des Kapitels "Sinta o drama" aus dem gleichnamigen Buch. Er untersucht Brechts Gründe, sein Theater als episch zu bezeichnen, ausgehend von wichtigen Literaturkritikern wie Peter Szondi, Adorno, Lukács und Anatol Rosenfeld sowie Brecht selbst.

11

Smith, James. "Brecht, the Berliner Ensemble, and the British Government." New Theatre Quarterly 22, no. 4 (October 20, 2006): 307–23. http://dx.doi.org/10.1017/s0266464x06000509.

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It is well known that Bertolt Brecht, during his time in the United States of America, attracted the surveillance of anti-communist forces, with Brecht's sly testimony to the House Committee on Un-American Activities becoming one of his most famous public performances. Recently declassified files from Her Majesty's Government reveal that Britain, too, undertook extensive campaigns to monitor and censor Brecht and the Berliner Ensemble. James Smith considers material from British governmental agencies such as MI5, the Foreign Office, and the Cabinet Office, which detail the activities undertaken by the British government concerning Brecht and the Ensemble. Such activities took the form not only of monitoring Brecht and his circle, both in Britain and overseas, but also of active attempts to block the visits of Brecht and the Ensemble, and to pressure theatre festivals and promoters into refusing to facilitate tours. The issue of the Berliner Ensemble caused debates at the highest levels of Whitehall, influencing the delicate area of British and NATO policy regarding the diplomatic status of East Germany during the Cold War. James Smith has completed a doctoral dissertation at Cambridge examining the influence of Brecht on British theatre. He currently teaches modern drama in the Faculty of Education and at Homerton College, Cambridge.

12

BARNETT, DAVID. "On Being Had: Publishing an Article on a Literary Fake." Theatre Research International 47, no. 2 (June 22, 2022): 200–202. http://dx.doi.org/10.1017/s0307883322000098.

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In 2002, I published an article in Theatre Research International called ‘Heiner Müller as the End of Brechtian Dramaturgy: Müller on Brecht in Two Lesser-Known Fragments’. I had written my doctoral dissertation on Müller, and, in the course of my studies, had come across two shorter pieces that, to my knowledge, had not been discussed by scholars. The first was Philoktet 1979 (Philoctetes 1979), a short, parodic and grotesque treatment of the Philoctetes myth, something very different from Müller's more sombre adaptation of the same material, published in 1965. I had heard Müller read the comic piece at the Berliner Ensemble in March 1995 and located the source in a copy of the German weekly newspaper Die Zeit, printed in December 1978. The second piece was also parodic and also appeared in a newspaper. Nachleben Brechts Beischlaf Auferstehung in Berlin (Brecht's Afterlife Intercourse Resurrection in Berlin) featured in the Volkszeitung in July 1990.1 The title suggested that Müller was ironically quoting his own back catalogue, echoing his play Leben Gundlings Friedrich von Preußen Lessings Schlaf Traum Schrei (Gundling's Life Frederick of Prussia Lessings Sleep Dream Cry) (1977) and Germania Tod in Berlin (Germania Death in Berlin) (1978). Stylistically, it looked like a heightened version of the technique employed in Philoktet 1979, in that it drew on and collided more Brechtian intertexts, and referenced Müller's own work more extensively. My doctoral supervisor had found the short playlet in the Volkszeitung. It was one of five responses to Brecht from prominent German literary figures, including Peter Handke and Martin Walser, collected under the title ‘Brecht: Stimmen der Dichter’ (Brecht: The Writers Speak). In my article's fifth footnote, I observed that while Philoktet 1979 appeared in the only extant bibliography of the playwright at the time, Nachleben Brechts did not. It would be hard to conceal an amount of smugness in my observation. But such self-satisfaction is not a quality worth airing too publicly, as will become evident soon.

13

Coelho, Caco, Fernando Peixoto, and Willi Bolle. "Mesa-redonda - A estética do teatro de Brecht." Pandaemonium Germanicum, no. 4 (November 5, 2000): 125. http://dx.doi.org/10.11606/1982-8837.pg.2000.64191.

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Drei Erfahrungsberichte über Bertolt Brechts Theater auf brasilianischen Bühnen. Caco Coelho spricht über den Zyklus der Brecht-Lesungen, -Aufführungen und -Vorträge seiner Theatergruppe Os Fodidos Privilegiados 1998 in Rio de Janeiro. Fernando Peixoto vertritt die Ansicht, daß der zentrale Punkt von Brechts Theater darin besteht, Emotionen im zwischenmenschlichen Verhalten und in ihren politisch-historischen Kontexten verstehbar zu machen. Er erzählt unter anderm von einer "Wiederentdeckung" der Brechtschen Theaterästhetik durch eine Laiengruppe in Amazonien und vertritt insgesamt ein undogmatisches, auf die heutigen Verhältnisse ausgerichtetes Lernen mit Brecht. Willi Bolle berichtet von seiner Inszenierung von Brechts Die Hochzeit (1919) mit einer Laien-Theatergruppe in São Paulo 1997-1998, in der die lineare Struktur des Textes durchbrochen wurde durch die Einführung einer neuen Perspektive sowie einer neuen Figur, der Braut, die sich das Hochzeitsfest in der Erinnerung vergegenwärtigt.

14

De Vos, Laurens. "A Tale of Truth." Theater 51, no. 2 (May 1, 2021): 74–83. http://dx.doi.org/10.1215/01610775-8920538.

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Laurens De Vos examines the ways in which director Milo Rau incorporates the poetic and aesthetic techniques of alienation theorized and pioneered by German director Bertolt Brecht for purposes similar to but distinct from Brecht’s. Like Brecht, De Vos argues, Rau exploits the “cesura between actor and character” to highlight the nature of the theatrical event for purposes that are largely social, drawing attention to systems of power, privilege, and violence. De Vos posits that unlike Brecht, however, Rau does not use these techniques to draw attention to the constructedness of the theatrical event—instead, Rau seeks to make the representation itself real, blurring the line between fiction and reality to trouble and implicate the audience.

15

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

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16

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

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17

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

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18

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

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19

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

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20

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

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21

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

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22

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

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23

Schoeps, Karl-Heinz J., Siegfried Mews, Philip Thomson, Dieter Wohrle, Detlev Schottker, Robert Heinz Vellusig, Elizabeth Wright, Michael John T. Gilbert, and Roswitha Mueller. "Brecht und kein Ende? Acht Bucher zu Brecht." German Quarterly 64, no. 4 (1991): 557. http://dx.doi.org/10.2307/406671.

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24

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

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25

Haryati, Isti. "Providing Space to the Marginalized: Bertolt Brecht’s Reception of John Gay’s The Beggar’s Opera." Poetika 10, no. 2 (October 31, 2022): 99. http://dx.doi.org/10.22146/poetika.v10i2.76100.

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The popularity of John Gay’s political satire play The Beggar’s Opera in the English literary world prompted a German writer, Bertolt Brecht, to respond to the work. The purpose of this study is to describe Bertolt Brecht's reception of Gay’s Play The Beggar’s Opera in Brecht’s Play Die Dreigroschenoper. The data sources in this study are the text of Brecht’s play entitled Die Drei Groschenoper and the text of Gay’s play The Beggar's Opera. This research is based on the theory of Reception Aesthetics by Hans Robert Jauss. The results show that Brecht’s reception was influenced by his horizon of expectations, which plays a central role in determining a writer’s reception of a work of literature. Brecht’s horizon of expectations, which is related to his Marxist view, distinguishes Brecht’s play from that by Gay. Brecht’s intention to make a play that enlightens his audience made him present a more explicit depiction of marginalized people in Die Dreigroschenoper, which was performed in the form of epic theater (episches Theater). By providing space to the marginalized, Brecht aimed to criticize capitalism which began to grow in Germany after the country’s loss in the First World War and divided the German society into two classes, resulting in various social issues. Brecht’s criticisms are different from Gay’s criticisms in shedding some light on the moral degradation in England at the time.

26

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

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27

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

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

28

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

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

29

Haryati, Isti. "TRANSFORMASI TOKOH PEACHUM DARI DRAMA THE BEGGAR’S OPERA KARYA JOHN GAY KE DRAMA DIE DREIGROSCHENOPER KARYA BERTOLT BRECHT." Metahumaniora 12, no. 3 (December 2, 2022): 264. http://dx.doi.org/10.24198/metahumaniora.v12i3.41211.

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Tranformasi tokoh bisa terjadi ketika sebuah karya diresepsi oleh karya lain. Drama Die Dreigroschenoper karya Bertolt Brecht merupakan karya resepsi dari drama The Beggar’s Opera karya Jogn Gay yang tokoh utamanya, yakni Peachum mengalami tranformasi. Artikel ini membahas transformasi tokoh Peachum dari drama The Beggar’s Opera karya John Gay ke dalam drama Die Dreigroschenoper karya Bertolt Brecht. Studi ini mengaplikasikan teori resepsi hans Robert Jauss. Data penelitian ini berupa Hauptext dalam bentuk dialog dan monolog, serta Nebentext dalam drama The Beggar’s Opera dan Die Dreigroschenoper, serta data-data lain yang memuat informasi mengenai bagaimana trasformasi peran tokoh Peachum drama Die Dreigroschenoper. Sumber data dalam penelitian ini adalah teks drama berjudul Die Drei Groschenoper karya Bertolt Brecht, dan teks drama The Beggar’s Opera karya John Gay. Hasil analisis menunjukkan bahwa tokoh Peachum dalam drama Die Dreigroschenoper karya Bertolt Brecht mengalami transformasi peran dan karakter. Transformasi peran dan karakter Peachum dari drama The Beggar’s Opera karya Gay dan ke tokoh Peachum dalam drama Die Dreigroschenoper karya Bertolt Brecht disebabkan karena pengaruh horison harapan yang dipunyai oleh Brecht. Transformasi peran dan karakter yang terjadi dari resepsi karya tersebut berlatar ideologis. Idiologi marxisme yang dianut oleh Brecht menyebabkan Brecht menciptakan tokoh Peachum yang berbeda dan mementingkan materi (kapital) di atas segala-galanya.

30

Timberlake, Anicia Chung. "Brecht for Children." Representations 132, no. 1 (2015): 30–60. http://dx.doi.org/10.1525/rep.2015.132.1.30.

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East German music educators developed new children’s operas on the model of Brechtian Lehrstücke to teach critical, “dialectical” thinking, a skill they considered essential for young socialists. This essay examines how the operas offered an alternative political education to the GDR’s official program of state-loyal patriotism and explores the conflicts that arose when Brecht’s theories of gestus and estrangement came into contact with the fairy tale tradition long thought to be the center of German children’s culture.

31

Bohnert, Christiane, Ingrid Hasselbach, and Karlheinz Hasselbach. "Bertolt Brecht: Kalendergeschichten." German Quarterly 65, no. 1 (1992): 89. http://dx.doi.org/10.2307/406830.

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32

Światłowski, Zbigniew. "Brecht – ein Frauenliebling?" Germanistische Kontexte 1, no. 1 (2015): 173–87. http://dx.doi.org/10.15584/germkon.2015.1.12.

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33

Glahn, Philip. "The “Brecht Effect”." Afterimage 34, no. 3 (December 1, 2006): 29–33. http://dx.doi.org/10.1525/aft.2006.34.3.29.

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34

Vallias, André. ""Brecht Atenção" (intradução)." Cadernos de Tradução 41, no. 3 (October 6, 2021): 19–20. http://dx.doi.org/10.5007/2175-7968.2021.e83702.

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35

Kiralyfalvi, Bela, and David Pike. "Lukacs & Brecht." Theatre Journal 38, no. 1 (March 1986): 121. http://dx.doi.org/10.2307/3207842.

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36

Hornby, Richard, and Eric Bentley. "The Brecht Memoir." Theatre Journal 38, no. 3 (October 1986): 379. http://dx.doi.org/10.2307/3208065.

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37

Mueller, Roswitha. "Montage in Brecht." Theatre Journal 39, no. 4 (December 1987): 473. http://dx.doi.org/10.2307/3208249.

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38

Lyon, James K. "Brecht and Money." Theatre Journal 39, no. 4 (December 1987): 487. http://dx.doi.org/10.2307/3208250.

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39

Silberman, Marc. "A Postmodernized Brecht?" Theatre Journal 45, no. 1 (March 1993): 1. http://dx.doi.org/10.2307/3208579.

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40

Glade, Henry, and David Pike. "Lukacs and Brecht." American Historical Review 92, no. 1 (February 1987): 123. http://dx.doi.org/10.2307/1862820.

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41

Bolognesi, Mário Fernando. "Brecht e Aristóteles." Trans/Form/Ação 25, no. 1 (2002): 67–78. http://dx.doi.org/10.1590/s0101-31732002000100005.

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A concepção teatral de Brecht não é radicalmente oposta à de Aristóteles. A estética brechtiana, em muitos aspectos, é herdeira das idéias de Aristóteles. O teatro épico proposto por Brecht tem em seu horizonte de combate o teatro de matriz naturalista e o drama psicológico. Mimese e catarse não significam identificação do público com a cena e com o herói.

42

Eagleton, Terry. "Brecht and Rhetoric." New Literary History 16, no. 3 (1985): 633. http://dx.doi.org/10.2307/468845.

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43

Campos Filho, Lindberg. "Schwarz lê Brecht." Magma, no. 15 (December 27, 2019): 67–91. http://dx.doi.org/10.11606/issn.2448-1769.mag.2019.173825.

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É possível dizer que há uma mudança considerável na leitura que Roberto Schwarz faz de Bertolt Brecht. Se por um lado seu comentário – por ocasião da tradução de A Santa Joana dos matadouros – é determinado por uma admiração estética e intelectual em relação à obra do dramaturgo, por outro lado o tom de seu provocativo ensaio – “Altos e baixos da atualidade de Brecht”– é mais crítico e até, em certo modo, pessimista a respeito das potencialidades abertas pela insistência contemporânea nos procedimentos do teatro épico brechtiano devido, sobretudo, às suas correspondentes transformações em “artigos de consumo” em meio à extinção do antigo movimento operário e da era das revoluções, bem como ao fato do capitalismo ter supostamente se tornado um fator dinâmico. É nesse sentido que essa reflexão visa recuperar os argumentos desenvolvidos nesses dois textos e propor e delimitar ao menos dois momentos da leitura que Schwarz faz de Brecht, levando em consideração sua explicação fundamental para tal metamorfose – a ausência de um referente de revolução social que conferisse fôlego e sentido às teorias e ao teatro brechtianos.

44

Seymour, Anna. "Brecht in Italy." Dramatherapy 31, no. 1 (March 2009): 15–20. http://dx.doi.org/10.1080/02630672.2009.9689764.

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45

Haberl, Franz P., and Eric Bentley. "The Brecht Memoir." World Literature Today 66, no. 3 (1992): 513. http://dx.doi.org/10.2307/40148451.

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46

Ley, Ralph, and David Pike. "Lukacs and Brecht." German Studies Review 10, no. 3 (October 1987): 612. http://dx.doi.org/10.2307/1430948.

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47

Glahn, Philip. "21st-Century Brecht." Afterimage 38, no. 6 (May 1, 2011): 12–15. http://dx.doi.org/10.1525/aft.2011.38.6.12.

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48

Friedrich, R. (Rainer). "Brecht and Postmodernism." Philosophy and Literature 23, no. 1 (1999): 44–64. http://dx.doi.org/10.1353/phl.1999.0014.

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49

Barnett, David. "Brecht / Directing / Acting." New Theatre Quarterly 17, no. 1 (February 2001): 88–89. http://dx.doi.org/10.1017/s0266464x00014366.

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50

Grimm, Reinhold. "Brecht in Spain." MANUSYA 2, no. 1 (1999): 25–36. http://dx.doi.org/10.1163/26659077-00201003.

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Journal articles on the topic 'Brecht'

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