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Bibliografias temáticas / Dreigroschenoper (Brecht)

Literatura científica selecionada sobre o tema "Dreigroschenoper (Brecht)"

Autor: Grafiati

Publicado: 25 de julho de 2024

Última modificação: 26 de julho de 2024

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Artigos de revistas sobre o assunto "Dreigroschenoper (Brecht)"

1

Haryati, Isti. "TRANSFORMASI TOKOH PEACHUM DARI DRAMA THE BEGGAR’S OPERA KARYA JOHN GAY KE DRAMA DIE DREIGROSCHENOPER KARYA BERTOLT BRECHT". Metahumaniora 12, n.º 3 (2 de dezembro de 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.

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2

Weidringer, Walter. "GANZ IN WEISS". Opernwelt 64, n.º 1 (2023): 45–46. http://dx.doi.org/10.5771/0030-3690-2023-1-045.

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3

Haryati, Isti. "Providing Space to the Marginalized: Bertolt Brecht’s Reception of John Gay’s The Beggar’s Opera". Poetika 10, n.º 2 (31 de outubro de 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.

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4

Otten, Jürgen, e Peter Krause. "Die zarte Pflanze Glück". Opernwelt 64, n.º 8 (2023): 4–11. http://dx.doi.org/10.5771/0030-3690-2023-8-004.

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Das Festival d’Aix-en-Provence feiert seinen 75. Geburtstag mit Brecht/Weills «Dreigroschenoper», der Uraufführung von Benjamins «Picture a day like this», Mozarts «Così fan tutte», Bergs «Wozzeck» sowie Werken von Strawinsky und Venables VON JÜRGEN OTTEN UND PETER KRAUSE

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5

Bastos, Manoel Dourado. "Cinema, música e política em A ópera dos três vinténs e Kuhle wampe". Significação: Revista de Cultura Audiovisual 45, n.º 49 (27 de abril de 2018): 39. http://dx.doi.org/10.11606/issn.2316-7114.sig.2018.138123.

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Este artigo desenvolve uma análise contextual dos filmes Die Dreigroschenoper (A ópera dos três vinténs, 1931) e Kuhle wampe (1932). Buscamos mostrar as diferentes caracterizações da crítica política nos filmes, a partir da relação entre som e imagem. Por isso, a participação dos compositores Kurt Weill e Hanns Eisler na fatura final dos filmes é decisiva. Após observar a parceria de Brecht e Weill, focamo-nos na trajetória de Eisler e sua parceria com Brecht, pelo prisma conceitual de Walter Benjamin, avaliando a presença da música nos filmes, a fim de mostrar a correlação estética e política entre imagem e som a partir da relação entre o audiovisual, teatro e a música de vanguarda.

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6

Macenka, S. "SONGS FROM BERTOLT BRECHT’S THE THREEPENNY OPERA: FUNCTIONING WITHIN THE DRAMATIC TEXT AND BEYOND IT". Brecht-Magazine: Articles, Essays, Translations, n.º 8 (28 de fevereiro de 2023): 52–64. http://dx.doi.org/10.35433/brecht.8.2022.52-64.

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The history of Bertolt Brecht's The Threepenny Opera ("Die Dreigroschenoper", 1928) reception has been used to analyze the literary and musical genre of song, its specificity for the German cultural space of the time, attachment to the new American and long-standing German song tradition, its dependence on the manner of performance, voice performability, gesture character and aesthetic requirements of epic theatre. Based on the theoretical considerations of the German playwright and his own experience of performing, songs are viewed both as an element of "play with music" with an emphasis on their innovative functioning within the text and as independent art phenomena which played an essential role in popularizing The Threepenny Opera in general and its specific ideas and ways of their implementation in particular. A significant characteristic of Brecht's songs has been highlighted – their focus on impacting the public, which resulted in their great popularity. In this respect, a connection with the aesthetic experience of street musicians should be mentioned as the founding element in the aesthetics of Brecht's songs, with an accent on the link with jazz as a popular performative art; on the importance of the voice of performer, which was supposed to reflect interactions with the author, character, and composer; on the masterful music created by Kurt Weill for the songs. A new link between text and music, defined by Bertolt Brecht and Kurt Weill as "gestic music", has been characterized. A claim is made that songs like texts designed for singing, where the form and language are aimed at making an impact on the listener, which serve as an attraction in the general performance, work successfully due to relevance, ballad nature, cognizability, repetition, external simplicity and even banality, aphoristic nature, satiricalness, indexicality and performability of the ideas they contain. Analysis of the most popular songs ("Mack the Knife", "Pirate Jenny") involves ideas of the philosophers Theodor W. Adorno and Ernst Bloch.

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7

Rokem, Freddie. "Theatralische Immanenz: Der deus ex machina nach dem Tod Gottes". Performance Philosophy 3, n.º 2 (21 de dezembro de 2017): 548. http://dx.doi.org/10.21476/pp.2017.32181.

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Das Auftreten übernatürlicher Geschöpfe auf der Theaterbühne, die in den Verlauf der Handlung intervenieren – wie der deus ex machina – ist mit dem „Tod Gottes“ nicht zu einem Ende gekommen. Es kann von zwei Perspektiven betrachtet werden: zuerst als ein meta-theatralisches Instrument, durch welches das theatralische Medium selbstreflexiv, manchmal sogar spielerisch, seine eigenen Bedingungen und Grenzen erforscht, als integraler Aspekt des theatralischen Apparates, oder seines Dispositivs; und zweitens von einer philosophischen oder theologischen Perspektive, wobei es die Frage aufwirft, warum es weiterhin als eine machtvolle Metapher dient – nicht nur für eine offene Zukünftigkeit, durch die utopische Begriffe kritisch reflektiert und neu figuriert werden, sondern auch für ideologische, soziale und persönliche Konflikte, wobei es oftmals sogar starke Elemente von Exzess, Gewalt und Grausamkeit impliziert. Der Artikel diskutiert diese theoretischen Fragen und erläutert sie anhand von Beispielen aus der Dreigroschenoper von Bertolt Brecht und Elisabeth Hauptmann.

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8

Wille, Franz. "Im rechten Spektrum". Theater heute 64, n.º 12 (2023): 16–19. http://dx.doi.org/10.5771/0040-5507-2023-12-016.

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9

Haryati, Isti. "FROM THE PLAY DIE DREIGROSCHENOPER TO OPERA IKAN ASIN: A STUDY ON HANS ROBERT JAUSS’ HORIZON OF EXPECTATION". RETORIKA: Jurnal Bahasa, Sastra, dan Pengajarannya 13, n.º 1 (23 de fevereiro de 2020): 44. http://dx.doi.org/10.26858/retorika.v13i1.9961.

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This article aims to reveal how Riantiarno's horizon of expectation before reading the play Die Dreigroschenoper affects the results of his actualization in his play Opera Ikan Asin. The method that being used here is comparison and literature study method. The results show that not all of Riantiarno’s expectation were fullfiled. To fullfill the horizon of expectation, Riantiarno makes and adjustment. The unfulfillment in terms of theater norms have led to the inclusion of traditional elements into the play Opera Ikan Asin. Therefore, Brecht's play Die Dreigroschenoper gets Riantiarno closer to the tradition.

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10

Barnett, David, e Reinhold Grimm. "Die Erweiterung des Kontinents: Brechts 'Dreigroschenoper' in Nigeria und in der Türkei". Modern Language Review 103, n.º 2 (1 de abril de 2008): 596. http://dx.doi.org/10.2307/20467879.

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Teses / dissertações sobre o assunto "Dreigroschenoper (Brecht)"

1

Trubert, Jean-François. "La mise en oeuvre du "caractère gestuel de la musique" chez Kurt Weill dans les années 1927-1929 et ses incidences sur la forme de l'opéra "Aufstieg und Fall der Stadt Mahagonny"". Nice, 2005. http://www.theses.fr/2005NICE2012.

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Le tandem formé par Kurt Weill et Bertolt Brecht s'est imposé comme l'un des plus prolifiques de la République de Weimar. Emblème de cette collaboration, l'opéra Aufstieg und Fall der Stadt Mahagonny composé entre 1927 et 1929 est l'enjeu d'idées théoriques comme l' "opéra épique" ou encore le "Song". Dans un article de 1929, Weill décrit le "caractère gestuel de la musique" qui participe de la manifestation d'événements scéniques et de la construction de la forme du drame comme synthèse de ses expériences. Le but de cette étude est d'interroger sa mise en œuvre musicale dans le cadre de la collaboration avec Brecht pendant la phase de création de cet opéra. L'approche adoptée privilégie une analyse concrète des phénomènes musicaux dans le contexte de la représentation, en tentant de saisir comment la musique parvient à la fois à s'insérer dans une dramaturgie et à en modeler la forme
The Kurt Weill and Bertolt Brecht's partnership has established itself to the most significant of the Weimar Republic. Composed between 1927 and 1929, the opera Aufstieg und Fall der Stadt Mahagonny is both emblematic and purpose-made for such ideas like "epic opera" or "Song", that are resultant of the author's reflections about relationship between music and theatre. In a 1929 paper, Kurt Weill has lead to the "gestic character of music", which is relevant to local drama events as well as the global construction of the form. The aim of this study is to understand this particular musical feature in the period of the collaboration between Weill and Brecht during the creation phase of Mahagonny. The approach wants to focus on musical analysis, to understand how musical idiom can both lead the dramaturgy and shape its form

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2

Clasen, Merle [Verfasser]. ""Wie hast du's mit der Religion? : Studien zu Bertolt Brecht, Kurt Weill und ihrer Dreigroschenoper / vorgelegt von Merle Clasen". 2008. http://d-nb.info/989025993/34.

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3

Bremsteller, Marion [Verfasser]. "Didaktik der Verfremdung : Bertolt Brechts Theater und seine Bedeutung für die Pädagogik, gezeigt am Stück "Die Dreigroschenoper" / vorgelegt von Marion Bremsteller". 2007. http://d-nb.info/984647775/34.

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Livros sobre o assunto "Dreigroschenoper (Brecht)"

1

Wöhrle, Dieter. Bertolt Brecht, Die Dreigroschenoper. Frankfurt am Main: Diesterweg, 1996.

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2

Wöhrle, Dieter. Bertolt Brecht, Die Dreigroschenoper. Frankfurt am Main: Verlag M. Diesterweg, 1996.

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3

Joachim, Lucchesi, e Müller Ingolf, eds. Brandauer inszeniert Die Dreigroschenoper von Brecht & Weill. Frankfurt am Main: Suhrkamp, 2006.

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4

Csampai, Attila. Bertolt Brecht, Kurt Weill, Die Dreigroschenoper, Igor Strawinsky, The rake's progress: Texte, Materialien, Kommentare. Reinbek bei Hamburg: Rowohlt, 1988.

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5

Brecht, Bertolt. The threepenny opera. London: Methuen Drama, 2005.

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6

Grimm, Reinhold. Die Erweiterung des Kontinents: Brechts "Dreigroschenoper" in Nigeria und der Türkei. Würzburg: Königshausen & Neumann, 2007.

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7

Brecht, Bertolt. Die Dreigroschenoper: Text und Kommentar. Suhrkamp Verlag, 1998.

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8

Brecht, Bertolt. Die Dreigroschenoper. Suhrkamp, 1994.

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9

Bertold Brecht/Kurt Weill, Die Dreigroschenoper--Igor Stravinsky, The rake's progress: Texte, Materialien, Kommentare. Reinbek bei Hamburg: Rowohlt Taschenbuch, 1987.

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10

Büchner, Bogdan. Hollandia Meets Brecht. ein Vergleich der Montageelemente in der Dreigroschenoper Bertolt Brechts und der Inszenierung der Fall der Götter Holland. GRIN Verlag GmbH, 2014.

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Mais fontes

Capítulos de livros sobre o assunto "Dreigroschenoper (Brecht)"

1

Lucchesi, Joachim. "Die Dreigroschenoper". In Brecht Handbuch, 197–215. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-05612-2_18.

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2

Welz, Nicole, e Jan Knopf. "Brecht, Bertolt: Die Dreigroschenoper". In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_6050-1.

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3

Werner, Micha H. "Wie leben wir ein gutes Leben? Ansätze der Tugendethik". In Einführung in die Ethik, 19–64. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05293-3_2.

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ZusammenfassungGlücksstreben: Dieser häufig zitierte Ratschlag stammt aus Bertolt Brechts Dreigroschenoper, genauer aus der Ballade von der Unzulänglichkeit menschlichen Planens. Die provokativ-sarkastische Ballade erklärt den Menschen für grundsätzlich unfähig in genau demjenigen, worin die philosophische Ethik über viele Jahrhunderte ihre wichtigste Aufgabe gesehen hat: die Konturen eines guten Lebens zu umreißen und das menschliche Glücksstreben durch vernünftige Überlegung und Selbstkontrolle in gute Bahnen zu lenken. Die Auffassung, dass wir alle nach Glück streben, teilt Brechts moderne Ballade dabei mit den antiken Ethiken des guten Lebens, mit Aristoteles und den Autoren der Stoa, ebenso wie mit Kant und anderen neuzeitlichen Autoren.

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4

Weiss, Piero. "Brecht On “Epic Opera”". In Opera, 288–96. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195116373.003.0046.

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Abstract Kurt Weill’s and Bertolt Brecht’s opera Aufstieg und Fall der Stadt Mahagonny (Rise and Fall of the City of Mahagonny) had its first performance on 9 March 1930 in Leipzig. As Brecht’s footnote 3 below testifies, the event provoked riotous behavior in the audience, and protests on moral and political grounds accompanied the opera as it appeared in other cities-in stark contrast to the reception given to the same authors’ Die Dreigroschenoper (The Threepenny Opera), which, since its premiere three years earlier, was quickly becoming the biggest theatrical success of Weimar Germany. Social criticism already marked the earlier work. In Mahagonny it became the main message and, for Brecht, the only reason for any opera to exist. With the publication of his Remarks on the work in 1930, Brecht made the need for theatrical reform (or “innovation”) contingent on the reform of society as a whole. By now he was (and would remain for the rest of his life) a committed Marxist, and his comments on contemporary efforts to break with operatic convention are abrasive precisely because these efforts did not presuppose a simultaneous restructuring of society (see his references to Strauss’s Elektra, Krenek’s Jonny spielt auf, Stravinsky’s Oedipus Rex by innuendo, and finally on Cebrauchsmusik).

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5

"Ekstasen der Sachlichkeit: Zur Dreigroschenoper (1928) von Bertolt Brecht und Kurt Weill". In John Gay’s <i>The Beggar’s Opera</i> 1728-2004, 193–217. BRILL, 2006. http://dx.doi.org/10.1163/9789401203661_009.

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6

Cahn, Geoffrey S. "Weill, Kurt (1900–1950)". In Routledge Encyclopedia of Modernism. London: Routledge, 2021. http://dx.doi.org/10.4324/9780415249126-rem2133-1.

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Kurt Weill was one of the most inventive and prominent composers for musical theatre during the first half of the twentieth century. He wrote for the German stage during the turbulent years of the Weimar Republic (1919–1933) and for Broadway, after he emigrated to the United States (1935–1950). His stage works written on both sides of the Atlantic display remarkably versatile styles, including classicism and jazz. Best known for his collaborative efforts with dramatist-poet Bertolt Brecht for Die Dreigroschenoper (The Threepenny Opera, 1928) and Aufstieg und Fall der Stadt Mahagonny (Rise and Fall of the City of Mahagonny, 1930), Weill enjoyed additional success with other playwrights and librettists who also conveyed the despair of Germany during the 1920s and early 1930s. A number of successful and innovative Broadway shows added to his reputation as the paramount composer active in modern theatre during the 1940s.

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