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1
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.
Testo completo
2
Bonnaud, Irène. "Brecht, période américaine." Paris 3, 2001. http://www.theses.fr/2001PA030007.
Testo completoAbstract (sommario):
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.
3
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.
Testo completoAbstract (sommario):
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.
4
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.
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Miranda, Rita Alves. "O teatro experimental de Brecht." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/11641.
Testo completoAbstract (sommario):
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: 2013-10-23<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>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<br>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
6
Baker, Clara Martha. "Bertolt Brecht and the Bible." PDXScholar, 1985. https://pdxscholar.library.pdx.edu/open_access_etds/3436.
Testo completoAbstract (sommario):
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.
7
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.
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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.
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Schmidt, Thomas. "Brechts Dreigroschenroman ein Kriminalroman? /." [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB10605127.
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Bai, Rongning. "Brecht and China : a mutual response." Thesis, University of Warwick, 1996. http://wrap.warwick.ac.uk/4493/.
Testo completoAbstract (sommario):
This thesis deals with the cross-cultural relations between Brecht and China through an analysis of how Brecht responded to the traditional Chinese theatre and how his drama was received in turn by modern Chinese theatre. It attempts to examine the respective socio-cultural or political contexts wherein such kind of crosscultural contacts were needed, and the consequent aesthetic-theatrical as well as socio-cultural or political changes brought about by these contacts that have produced two distinctively independent yet related forms of theatre. It is argued that Brecht's search for a theatre style of his own amidst the sociocultural as well as political crises between the two world wars made him look to the East for inspirations, and his direct encounter with Mei Lanfang enabled him to interpret the latter's acting in such a way that he responded to it with his postulation of the alienation effect and modification of a gestic performance style. His repudiation of the well-made dramatic theatre brought his epic theatre closer to the traditional Chinese theatre whose aesthetic principles he shared in constructing a non- Aristotelian episodic form of drama. In his experimentations with new modes of theatrical expressions, he did not simply borrow or copy the forms and content of classical Chinese drama; he appropriated, transformed and renewed them, for example, in The Caucasian Chalk Circle, for the particular purpose of instructing audiences in a scientific age. China! s reception of Brecht has had much to do with the country's changing socio-cultural as well as political situations. Chinese theatre practitioners responded to him because he was a politically, culturally and aesthetically suitable figure. His epic drama provided an alternative style for the Chinese in their attempt to innovate their realist spoken drama imported from the West, and was also introduced into local forms of performing arts in hope that the traditional Chinese theatre could be resurrected. Furthermore, he prompted Huang Zuolin to theoretically re-examine Chinese operas, which the latter integrated with techniques of Brecht and Stanislavsky into spoken drama to establish a new theatre style called Xieyi drama.
11
Tackels, Bruno. "Histoire d'aura. Benjamin, brecht, adorno, heidegger." Université Marc Bloch (Strasbourg) (1971-2008), 1994. http://www.theses.fr/1994STR20043.
Testo completoAbstract (sommario):
Des la premiere lecture du fameux essai de walter benjamin, l'oeuvre d'art a l'epoque de sa reproductibilite technique. J'ai percu une hesitation, un flottement, ou plutot un malaise a meme le texte. Au point que je n'ai jamais vraiment compris sur quoi se fondait sa celebrite. Je n'ai jamais vraiment pu me satisfaire des deux idees (parfaitement contradictoires9 qui structurent ce texte : la reproduction dans les oeuvres fait disparaitre l'art et l'on peut penser cette disparition comme un declin, le mal de l'occident. On en arrive donc a regretter l'age du "grand art" qui devrait etre imperativement restaure pour sauver l'humanite. Mais le texte permet aussi de lire cette disparition de l'art comme une chance (messianique) qui ouvre l'espace et le temps utopiques d'un monde nouveau, desenchaine. Ces deux visions contradictoires ne me paraissaient pas satisfaisantes ou, pour etre plus precis, il me semblait qu'a travers ces deux perspectives de lecture le texte disait tout autre chose : ni la nostalgie, ni l'utopie, mais une traversee de ces visions du monde, qui elabore une perspective veritablement politique. Cette intuition m'a donne l'idee de remonter aux sources du texte et de comparer les auatres versions successives que benjamin a
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Avert, Erik. "George Brecht, figure du chercheur transdisciplinaire." Thesis, Université de Lorraine, 2017. http://www.theses.fr/2017LORR0371/document.
Testo completoAbstract (sommario):
Nous nous sommes questionnés dans cette thèse sur les apports des paradigmes scientifiques, spirituels et philosophiques dans la pensée et les œuvres de George Brecht. À travers la synthèse de ceux-ci, nous avons tenté de voir ses travaux comme des outils à faire l'expérience de la connaissance, à l'intégrer d'une façon non mentale. Nous avons souhaité redéfinir le statut de l'artiste, et voir dans son œuvre les prémices d'une conception nouvelle de l'art en tant que recherche transdisciplinaire concrétisée en objets artistiques<br>We questionned, during this work of thesis, about the contributions of spiritual, philosophical and scientific paradigms in work and thinking of George Brecht. Through their synthesis we tried to see his artworks as experiencing tools, integrating knowledge in a non-mental way. We wanted to redefine artist’s status through Brecht and tried to sight in his artwork the firstfruits of a new art’s conception as a transdisciplinary research shaped in artistical objects
13
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.
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Ropero, Adriano. "Traduzindo a tradução de Brecht no Brasil: estudo do caso brasileiro da recepção à obra de Brecht." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-14012015-113346/.
Testo completoAbstract (sommario):
Esta pesquisa tem como objetivo descrever e analisar a recepção da obra de Bertolt Brecht no Brasil, tendo como guia o processo de tradução, que teve início no Brasil em 1948. A teoria que norteia essa pesquisa é fundamentada nos Estudos Descritivos da Tradução, mais precisamente na Teoria dos Polissistemas de Itamar Even-Zohar, os conceitos de reescritura e patronagem de André Lefevere, as normas da tradução de Gideon Toury, somados à obra de Gérard Genette Paratextos Editoriais. Essa teoria é a base para que esta pesquisa faça a distinção entre quatro períodos de tradução observados no material que compõe o corpus dessa pesquisa. Além da fortuna crítica sobre Brecht no Brasil, faz parte dessa pesquisa notícias sobre o dramaturgo nos jornais do Grupo Folha (Folha da Noite, Folha da Manhã e Folha de São Paulo) e do jornal O Estado de São Paulo, disponíveis na internet nos acervos digitais dos respectivos veículos de comunicação. Através da análise da atitude tradutória em cada período são contrapostos os resultados obtidos pelo sistema teatral brasileiro dessa recepção com as teorias de Brecht para o teatro e para a tradução. Dessa maneira, faz-se um estudo minucioso de cada período: 1) 1948 a 1958 quando há apenas a tradução cultural das ideias e dos aspectos do teatro de Brecht no Brasil abordando sua obra como clássica; 2) 1958 a 1968 respeitando o modelo estabelecido no período anterior inicia a tradução de textos de Brecht como uma obra clássica, contradizendo a visão de teatro de Brecht e enfrentando muitos problemas de ordem técnica para encenar Brecht; 3) 1968 a 1998 marcado fortemente pela experimentação teatral, encontra seu maior expoente no Grupo Oficina, que renova a linguagem teatral brasileira e dá novos rumos à tradução de Brecht, se aproximando muito da visão de teatro de Brecht; 4) depois de 1998 contando com mais recursos técnicos e com menos grupos de repertório, o cenário teatral volta a buscar uma encenação mais fiel a Brecht se aproximando mais do segundo momento de recepção<br>This research has the goal of describing and analyzing the history of the reception of Brechts work in Brazil, having as a guideline the process of translation, which began in Brazil in 1948. The theory that helps us to accomplish this task is the Descriptive Translation Studies, more precisely the Polysystem Theory by Itamar Even-Zohar, the translation norms by Gideon Toury, and the concepts of rewriting and patronage by André Lefevere. In addition to this base theory, the work of Gérard Genette, Paratexts, supports the identification of distinct periods of reception, also the agents involved in each period and the turning points that led to new approaches to the work of Brecht in Brazil. Besides the bibliography about Brecht in Brazil, the corpus of this research is composed by news published in two major Brazilian newspapers, Folha de São Paulo (before 1960 it was called Folha da Manhã morning edition and Folha da Noite evening edition) and O Estado de Sao Paulo, which have all editions in digital format available online. By analyzing the approach translators had towards Brechts work in each period in Brazil, it is possible to analyze the productivity each different approach had in comparison to Brechts own theory for theater and translation. Therefore, a thorough analysis is made of this material in each period: 1) 1948 to 1958 period in which there is a cultural translation of Brechts ideas, but there are no plays on stage and no texts published, in this period Brecht is considered a classic author; 2) 1958 to 1968 the first plays by Brecht are taken to stage, and few texts are published, the agents involved face a lot of technical problems to accomplish this task but nonetheless they comply with the image stablished in the previous period, which contradicts Brechts conception of theatre and translation; 3) 1968 to 1998 there is a turning point to Brazilian theatre scene marked by extreme experimentation, the Oficina Theatre is the major exponent of this period, Brechts work is no longer considered a classic, which cannot be tempered with, and this approach is the closest that Brazil gets to Brechts ideal of theatre; 4) after 1998 with more technical resources Brazilian theatre once more approaches Brecht as a classic and try to recreate his plays in Brazil
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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 /." Frankfurt am Main [u.a.] : Lang, 2003. http://www.loc.gov/catdir/toc/fy0608/2003274494.html.
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MacNintch, Eileen Abrams. "Four mother figures from Lessing to Brecht." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/NQ35972.pdf.
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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.
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Brecht, Benjamin [Verfasser]. "Engineering ultrafast quantum frequency conversion / Benjamin Brecht." Paderborn : Universitätsbibliothek, 2014. http://d-nb.info/1049981626/34.
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Von, Held Phoebe Annette. "Alienation and theatricality in Brecht and Diderot." Thesis, University College London (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251595.
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Breuer, Ingo. "Theatralität und Gedächtnis : deutschsprachiges Geschichtsdrama seit Brecht /." Köln ; Weimar ; Wien : Böhlau, 2004. http://catalogue.bnf.fr/ark:/12148/cb391503626.
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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.
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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.
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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.
Testo completoAbstract (sommario):
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.
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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.
Testo completoAbstract (sommario):
Thesis (MDram (Drama))--University of Stellenbosch, 2009.<br>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.
25
El-Sayyid, Atef Ahmed. "The influence of Brecht on contemporary Egyptian dramatists." Thesis, University of Exeter, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294453.
Testo completo
26
Haviaras, Sotirios. "La Réception de Brecht en Grèce, 1955-1981." Paris 7, 1989. http://www.theses.fr/1989PA070056.
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27
Bräuer, Gerd. "Lernen im Dialog : Untersuchungen zu Bertolt Brechts "Flüchtlingsgesprächen /." Pfaffenweiler : Centaurus-Verl.-Ges, 1991. http://catalogue.bnf.fr/ark:/12148/cb35571297c.
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28
Wilke, Judith. "Brechts "Fatzer"-Fragment : Lektüren zum Verhältnis von Dokument und Kommentar /." Bielefeld : Aisthesis Verl, 1998. http://catalogue.bnf.fr/ark:/12148/cb39282855k.
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29
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.
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30
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.
Testo completo
31
Grubisich, Teresa Maria [UNESP]. "A parábola teatral de Bertolt Brecht: tese ou antítese?" Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/102390.
Testo completoAbstract (sommario):
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grubisich_tm_dr_arafcl_prot.pdf: 621650 bytes, checksum: a31036a044e0c160bb04c93a8839cf33 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>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.<br>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.
32
Trovo, Maria Caroline [UNESP]. "Teatro épico no Brasil: sobre a atualidade de Brecht." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/106232.
Testo completoAbstract (sommario):
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trovo_mc_dr_arafcl.pdf: 609055 bytes, checksum: 3abd2fe04f53739dc33146aa29ffdf36 (MD5)<br>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<br>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
33
Kerr, William Ryan. "Crippled transcendence, Brian Friel's use of Stanislavski and Brecht." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ60312.pdf.
Testo completo
34
Emslie, Barry. "Bertolt Brecht and the problem of a Marxist dramaturgy." Thesis, University of East London, 1988. http://roar.uel.ac.uk/1229/.
Testo completoAbstract (sommario):
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.
35
Lugo, Joanna. "From Brecht to Butler: an Analysis of Dirty Grrrls." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700079/.
Testo completoAbstract (sommario):
“From Brecht to Butler: An Analysis of Dirty Grrrls” is a production centered thesis focusing on the image of the mudflap girl. The study examines the graduate production Dirty Grrrls as a form of praxis intersecting the mudflap girl, the theory of gender performativity, and Brechtian methodology. As a common yet unexplored symbol of hypersexual visual culture in U.S. American society, the mudflap girl acts as a relevant subject matter for both the performance and written portion of the study. Through the production, mudflap girl materializes at the meeting point of the terms performance and performativity. The written portion of this project examines this intersection and discusses the productive cultural work accomplished on the page and on the stage via live embodiment of performativity.
36
Oliveira, Gislaine Cristina de 1982. "Desemaranhar = estudo de O método Brecht de Fredric Jameson." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269962.
Testo completoAbstract (sommario):
Orientador: Fabio Akcelrud Durão<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-19T03:06:15Z (GMT). No. of bitstreams: 1
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Previous issue date: 2011<br>Resumo: Este trabalho consiste em uma leitura do livro O método Brecht de Fredric Jameson. Um dos mais importantes teóricos do pós-modernismo, Jameson, discute nesse livro a validade de Brecht para os dias de hoje e demonstra como as ideias, narrativas e linguagem brechtianas constituem um método que também se confunde com certa atitude dialética. Devido à complexidade da exposição de Jameson, foram eleitos alguns fios condutores para organizar as discussões. Os objetivos do trabalho são, portanto, explorar os argumentos do crítico, desemaranhá-los e tentar explicitar seu funcionamento, em especial no contexto brasileiro. Para esse propósito, procedeu-se uma leitura detalhada das proposições de Jameson e foram levadas em conta outras contribuições de estudiosos a respeito dos mesmos temas. Os resultados foram três textos que constituem os capítulos desse trabalho: uma reflexão sobre o histórico de Brecht no Brasil confrontada aos pressupostos e conhecimentos necessários à leitura de O método Brecht, uma paráfrase das ideias e hipóteses principais do livro juntamente com a discussão sobre a centralidade do ator no trabalho brechtiano e, por fim, o comentário sobre a própria escrita de Jameson<br>Abstract: This work consists of a reading of Fredric Jameson's book, Brecht and Method. One of the most important theorists of postmodernism, Jameson discusses in this book the validity of Brecht to the present day; he shows how ideas, narratives and language make up a brechtian method that also merges with what could be called a dialectical attitude. Due to the complexity of Jameson?s exposition, some theoretical threads were choosen to organize the discussion. The objectives of this study are therefore exploring the critic?s arguments, unraveling them and trying to explain the way they operate, particularly in the Brazilian context. For this purpose, a detailed reading of Jameson?s propositions was carried out and contributions from other scholars about the same topics were taken into account. From that the three chapters this thesis result: a confrontation between the reflection on Brecht's history in Brazil and an explanation of the knowledge required to read Brecht and Method, a paraphrase of the book's main ideas and hypothesis along with the discussion of the centrality of the actor in Brechtian work and, finally, a commentary on Jameson's writing<br>Mestrado<br>Teoria e Critica Literaria<br>Mestre em Teoria e História Literária
37
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.
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000859851.pdf: 1071534 bytes, checksum: 4b1b229e9b422570d5972fcbf79ab7be (MD5)<br>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.<br>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.
38
Silva, Anderson de Souza Zanetti da. "Augusto Boal: alguns encontros e desencontros com Bertolt Brecht /." São Paulo, 2015. http://hdl.handle.net/11449/136786.
Testo completoAbstract (sommario):
Orientador: Mario Fernando Bolognesi<br>Banca: Alexandre Luiz Mate<br>Banca: Célia Tolentino<br>Banca: Fátima Cabral<br>Banca: Sérgio de Carvalho<br>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.<br>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.<br>Doutor
39
Trovo, Maria Caroline. "Teatro épico no Brasil : sobre a atualidade de Brecht /." Araraquara, 2012. http://hdl.handle.net/11449/106232.
Testo completoAbstract (sommario):
Orientador: Eliana Maria de Melo Souza<br>Banca: Rosângela Patrota<br>Banca: José Adriano Fenerick<br>Banca: Natália M. Fernandes<br>Banca: Renata Soares Junqueira<br>Resumo: 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<br>Abstract: 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<br>Doutor
40
Grubisich, Teresa Maria. "A parábola teatral de Bertolt Brecht : tese ou antítese? /." Araraquara : [s.n.], 2007. http://hdl.handle.net/11449/102390.
Testo completoAbstract (sommario):
Orientador: Wilma Patrícia Marzari Dinardo Maas<br>Banca: Maria Celeste Consolin Dezotti<br>Banca: Renata Soares Junqueira<br>Banca: Jorge Mattos Brito de Almeida<br>Banca: Marcus Vinicius Mazzari<br>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.<br>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.<br>Doutor
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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.
Testo completoAbstract (sommario):
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.<br>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.<br>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.
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Carson, David J. "Epic Tanztheater: Bausch, Brecht, and Ballet Opera." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1399944052.
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Rice, Andrea. "Rebooting Brecht: Reimagining Epic Theatre for the 21st Century." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555688903742283.
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Russo, Anna. "Bertolt Brecht und Dario Fo : Wege des epischen Theaters /." Stuttgart ; Weimar : J. B. Metzler, 1998. http://catalogue.bnf.fr/ark:/12148/cb38814203m.
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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.
Testo completoAbstract (sommario):
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.
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Botelho, Letícia Olano Morgantti Salustiano. "Engajamento e refuncionalização social do teatro: um debate entre Benjamin e Brecht." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-13072018-130157/.
Testo completoAbstract (sommario):
Este trabalho pretende reconstituir o debate entre Benjamin e Brecht durante a década de 1930 em torno da relação entre recursos formais e engajamento político na produção teatral brechtiana do período do fim da República de Weimar. Para isto, realizaremos um estudo de textos e montagens de determinadas peças, buscando trazer à tona, então, questões presentes nos comentários teóricos e interpretações realizadas pelos autores. O percurso deste trabalho divide-se em quatro partes. Primeiramente, nas duas partes iniciais, trataremos da crítica de Brecht à instituição teatral em seu teor ideológico e do início do desenvolvimento de seu projeto de refuncionalização social do aparelho produtivo teatral, bem como do papel da técnica neste contexto, valorizado por Benjamin. Para isso, realizaremos, inicialmente, uma reconstituição do panorama estético-político do período histórico e trataremos dos experimentos com A Ópera dos Três Vinténs e Ascensão e Queda da Cidade de Mahagonny. Em seguida, voltaremo-nos à peça radiofônica e ao Processo dos Três Vinténs, assim como, buscando aprofundar-nos na peça de aprendizagem, analisaremos o caso da peça A Medida. Em uma terceira parte, realizaremos um estudo da peça Um Homem é um homem, central para tal debate e tomada por Benjamin como modelo do teatro épico. Por fim, abordaremos o debate dos autores acerca da parábola em Kafka, a ser confrontada, então, com o trabalho brechtiano com a parábola. Pretende-se mostrar que se há, nas primeiras partes mencionadas, uma grande aproximação das perspectivas dos autores, nas duas últimas partes deste trabalho surgem, sobretudo em torno de uma tensão, de um conflito de compreensões entre a esfera gestual e a forma da parábola, diferentes interpretações do potencial crítico e da efetividade política do teatro épico. As divergências relacionam-se, em última instância, a diferentes compreensões dos vínculos entre arte e política, bem como a diferentes noções de dialética.<br>This work aims to reconstruct the debate between Benjamin and Brecht in the 1930\'s on the relation between formal resources and political engagement in Brecht\'s theatre works during the end of the Weimar Republic. To achieve so we will carry out a study of texts and staging of plays, with a view to surface then issues present in theoretical comments and interpretations by the authors. The path followed by this work is divided in four parts. In the first two parts we will deal with Brecht\'s critique to theatre as institution in its ideological content and with the beginning of the development of his project for social \"refunctioning\" of the theatrical production apparatus, in addition to the role of technique within this context, which is valued by Benjamin. In order to do so we will firstly reconstruct the aesthetical and political panorama of the historical period and consider the experiments with The Threepenny Opera and Rise and Fall of the City of Mahagonny. Subsequently, we will focus on the radio play and on The Threepenny Lawsuit, as well as on his \"learning play\" The Measures Taken. On a third part we will study the play Man equals Man, capital to such debate and understood by Benjamin as \"a model for epic theatre\". Finally, we will tackle the author debate as regards the use of parables by Kafka, which is to be compared to the use of parables by Brecht himself. It is intended to show that if at first there is a great approach of the authors\' prospects, in the last two parts of this work, different interpretations of the critical potential and the political effectiveness of epic theatre appear, especially around a tension, linked to a conflict of understandings between the gestural sphere and the form of the parable. The divergences are related, ultimately, to the different understandings of links between art and politics, as well as to the different notions of dialectics.
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Westen, Daniel. "Was der Tragödie die polis, ist dem Lehrstück der Kommunismus die Werkstruktur des genrevereinenden Theaters in Kohärenz mit den gesellschaftlichen, politischen und kulturellen Veränderungen der Zeit." Tönning Lübeck Marburg Der Andere Verl, 2009. http://d-nb.info/99703114X/04.
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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.
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Kloepfer, Albrecht. "Poetik der Distanz : Ostasien und ostasiatischer Gestus im lyrischen Werk Bertolt Brechts /." München : Iudicium, 1997. http://catalogue.bnf.fr/ark:/12148/cb39057248w.
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Desing, Lena Katrin [Verfasser], Ines [Akademischer Betreuer] Brecht, and Ines [Gutachter] Brecht. "Detaillierte Datenerhebung des Registers für Seltene Tumoren (STEP) im Analysezeitraum November 2012 bis November 2015 / Lena Katrin Desing ; Gutachter: Ines Brecht ; Betreuer: Ines Brecht." Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2021. http://d-nb.info/1232496944/34.
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