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Academic literature on the topic 'Brechtian dialectics'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Brechtian dialectics"

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Barnett, David. "Dialectics and the Brechtian Tradition." Performance Research 21, no. 3 (May 3, 2016): 6–15. http://dx.doi.org/10.1080/13528165.2016.1176732.

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Stamatiou, Evi. "A Brechtian perspective on London Road: Class representations, dialectics and the ‘gestic’ character of music from stage to screen." Studies in Musical Theatre 13, no. 3 (December 1, 2019): 287–98. http://dx.doi.org/10.1386/smt_00007_1.

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This article uses Brechtian philosophy to assess the role of music and song in the audience reception of the ‘verbatim musical’ London Road. The first section analyses class representations in London Road, with a particular focus on the dialectics and the ‘gestic’ role of the music and song. The second section explores how the adaptation from stage to screen further affects the dialectics of the musical and, paradoxically, serves key Brechtian aims. I focus on two dramaturgical changes in the adaptation from stage to screen: the chronological order of the narrative and the alternation of interview sections and dramatized sections, which resembles the structure of the popular drama-doc genre. Given that reordering and restaging the original verbatim numbers affected audience reception, I analyse the way the meaning is affected through the Brechtian notions of alienation and the gestic character of music. Throughout, I discuss class representations and relevant dialectical implications.
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Rodríguez, Verónica. "“Who Would Disagree that in a World of Trump and Putin and Boris Johnson ... Brecht Is Not the Theorist and Playwright of Our Times?”: Bertolt Brecht’s Influence on David Greig’s Work." Journal of Contemporary Drama in English 7, no. 2 (November 7, 2019): 242–58. http://dx.doi.org/10.1515/jcde-2019-0025.

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Abstract This article maps out David Greig’s engagement with the figure of Bertolt Brecht, both the ‘theorist’ and the ‘playwright.’ It addresses this engagement in terms not just of influence but also of creative dialogue and enduring inspiration. The first part of this article looks at Brecht and Greig’s similarities and Greig’s Brechtian influence generally, which are explored, for instance, through Brechtian concepts such as “breaking the rules,” “critical stance” and “entertainment.” The second part focuses on the idea of “making political theatre politically” (Thamer and Turnheim 90; emphasis original) and argues that the most relevant Brechtian aspect in Greig’s work is the way it envisions and politicizes the relationship between the play and the audience via the use of some strategies that draw on epic theatre, which, in Greig’s work, operate under “post-Brechtian dialectics” (Barnett, “Performing”). The third part of the article illustrates the Brechtian import of Greig’s work by exploring two case studies, The American Pilot (2005) and The Events (2013). In analyzing these two paradigmatically Brechtian plays, this article illustrates how understanding Brecht’s influence on Greig’s work is essential in order to understand the politics of Greig’s theatre. More widely, this article contributes towards understanding Brecht’s legacy with regard to political British theatre in the age of globalization.
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Ejiofor, Benjamin Asodionye, and Tekena Gasper Mark. "Brechtian Methodology in Wise’s The Sound of Music: Insights into Theatre in Education." AFRREV IJAH: An International Journal of Arts and Humanities 9, no. 1 (April 28, 2020): 28–43. http://dx.doi.org/10.4314/ijah.v9i1.4.

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Methods are problem solving devices for the benefit of education in society. When a method assumes regimental fixations, society suffers hackneyed bouts of limitation and contention necessitating flux. This paper examines issues of regimentalism as they affect society in Robert Wise’s The Sound of Music, and the staccato notes of change inevitably mobilizing a Brechtian methodological reading amplifying social change, in a Theatre in Education performance. Bertolt Brecht (1898-1965), accomplished German director, playwright and theorist, mobilized theatre for social change by setting up Marxist dialectics in pursuit of retrenchment of total empathy; giving free reign to critical consciousness in theatrical productions. This paper has investigated analytically, the representations of this Brechtian methodology in The Sound of Music with the manifest result that the experiment in the movie has produced a healthier and better organized society than the German regimental machine. Key Words: Education, Theatre in Education, Brecht, Alienation Effect, Social Change, Family, Critical, Learning and Socialization
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Koutsourakis, Angelos. "Politics and open-ended dialectics in Lars von Trier'sDogville: a post-Brechtian critique." New Review of Film and Television Studies 11, no. 3 (September 2013): 334–53. http://dx.doi.org/10.1080/17400309.2012.750537.

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Barnett, David. "Heiner Müller as the End of Brechtian Dramaturgy: Müller on Brecht in Two Lesser-Known Fragments." Theatre Research International 27, no. 1 (February 14, 2002): 49–57. http://dx.doi.org/10.1017/s0307883302001050.

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Two lesser-known fragments written by Heiner Müller in 1979 and 1990 openly refer to Brecht and offer perspectives on the problematic relationship between the two playwrights. Form and content in Brechtian dialectical theatre are treated ironically in both fragments. Müller reveals an ambivalence that accepts the tenets of Brechtian dramaturgy in order to surpass them. Müller criticizes perceived limitations in Brecht's poetics yet redirects the dialectic for the postmodern times in which he lived. The degree to which Müller radicalizes Brecht's principles and practice represents an endpoint of (but not an all-out break with) Brechtian dramaturgy. An important corollary of this conclusion is that Müller is still associated with the Enlightenment project. This latter assertion is at odds with many readings of the later plays as documentations of ‘the end of history’, a category Müller roundly criticized in his life and resisted in his own dialectical drama.
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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.
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Barnett, David. "Pressurizing the Politics of The Crucible: a Brechtian Production of Arthur Miller’s Modern Classic." New Theatre Quarterly 35, no. 04 (October 8, 2019): 325–40. http://dx.doi.org/10.1017/s0266464x1900037x.

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In this article David Barnett documents a practice-as-research project that employed Brechtian approaches to stage dramatic material. The Crucible by Arthur Miller is a realist text in which the protagonist, John Proctor, redeems himself for the sin of adultery by taking a heroic stand against the Salem witch-hunts. Existing scholarship has revealed a series of gendered biases in the form and content of the play, yet these findings have never been systematically realized in performance. While appearing to defend democratic values, the play’s dramaturgical strategies coerce agreement, and this represents a fundamental contradiction. Brecht offers a method that preserves the written dialogue, but interprets it critically onstage, deploying a range of devices derived from a materialist and dialectical interpretation. The aim of the production was to re-present a play with a familiar production history and problematize the political bases on which it conventionally rested. The article discusses the rationale for the theory and practice of contemporary Brechtian theatre and offers the production as a model for future critical realizations of other realist plays. David Barnett is Professor of Theatre at the University of York. His publications include A History of the Berliner Ensemble (CUP, 2015), Brecht in Practice: Theatre, Theory and Performance (Bloomsbury, 2014), amd Rainer Werner Fassbinder and the German Theatre (CUP, 2005).
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Brown, Jeffrey M. "“Something Is Happening”: Medical Realism and the Problem of Acting in Harold Pinter’s A Kind of Alaska." Modern Drama 65, no. 2 (June 1, 2022): 166–90. http://dx.doi.org/10.3138/md-65-2-1196.

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Harold Pinter’s A Kind of Alaska outlines and responds to a critical dilemma in the relationship between modern drama and medical practice. Focusing on a clinical encounter between a doctor and a patient, Pinter’s play was inspired by a real-life medical case history taken from neurologist Oliver Sacks’s Awakenings. Its engagement with medical reality, however, is disturbed by the aesthetic effects of Pinteresque dramaturgy, which subtly undermine the play’s presentation of bioethical dilemmas that are determined by authoritative acts of diagnosis and the control of doctor-patient communication. Reviewing the history of medical vision alongside theatrical realism reveals a paradoxical emphasis on pedagogy and unlearning within both traditions, wherein naïve acts of empiricism and a dutiful adherence to material presence are meant only to reinforce prescribed conclusions and extant structures of knowledge. A Kind of Alaska responds to this paradox by eliciting mutually exclusive attitudes toward narrative and acting, juxtaposing realist effects with those borrowed from the Brechtian Lehrstücke. As a result, the play challenges the kinds of closure implicit in both clinical vision and history, prioritizing instead the dialectical indeterminacies necessary to both the learning and the practice of medicine.
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Book chapters on the topic "Brechtian dialectics"

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Hartl, Anja. "Mark Ravenhill’s Dialectical Emotions: In-Yer-Face as Post-Brechtian Theater." In After In-Yer-Face Theatre, 71–85. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39427-1_5.

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"Chapter 7 Beyond Auteurism: the Dialectics of the Essay Film." In Rethinking Brechtian Film Theory and Cinema, 149–67. Edinburgh University Press, 2018. http://dx.doi.org/10.1515/9781474418911-011.

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"‘In-Yer-Face’ Theatre and the Crisis of Dialectics: Mark Ravenhill’s Post-Brechtian Drama in Anti-Dialectical Times." In Brecht and Post-1990s British Drama. Methuen Drama, 2021. http://dx.doi.org/10.5040/9781350172814.ch-001.

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