Get Brecht on Theatre PDF

By Bertolt Brecht

ISBN-10: 0809005425

ISBN-13: 9780809005420

This quantity deals an important choice of Bertolt Brecht's groundbreaking severe writing. right here, prepared in chronological order, are essays from 1918 to 1956, during which Brecht explores his definition of the Epic Theatre and his idea of alienation-effects in directing, appearing, and writing, and discusses, between different works, The Threepenny Opera, Mahagonny, mom braveness, Puntila, and Galileo, additionally incorporated is a brief Organum for the Theatre, Brecht's so much whole exposition of his innovative philosophy of drama.

Translated and edited by means of John Willett, Brecht on Theater is key to an figuring out of 1 of the 20 th century's so much influential dramatists.

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Example text

The subj ect-matter is immense; our choice of dramatic means must take account of the fact. About the last stage: Oedipus. B. : 1 . The major form. 2. The tech­ nique of the second half (Oed i pu s on Colchis) when a story is told , and very effectively. Here words that used to be shouted are theatrically effective. Here the 'experience', if it comes from anywhere, comes from the philosophical realm. ' From Berliner Biirsm­ Courier, 1 February 1 929] N O T E : This referred to an arrangement by Heinz Lipmann of Oedipus Rex and Oedipus at Kolonnos, played in one evening at the Berlin Staatstheater.

From Die Szme, Berlin, April 1 927] N O T E : This talk on Berlin radio introduced a broadcast of Mann ist Mann on 27 March 1 927. It was reprinted in shortened and adapted form as a contribution to the opening programme of Erwin Piscator's 1 9 27-8 season at the Theater am Nollendorfplatz, where Brecht figured as one of Piscator's collaborators. It seems to mark the first stage in Brecht's social view of the arts, and of that idea of the comparative unimportance of individual identity which underlay much of his work up till 1 933, together with his collective method of working.

The sociologist knows that there are circumstances where improvement no longer does any good. His scale of j udgment runs not from 'good' to 'bad' but from 'correct' to 'false' . If a play is 'false' then he won't praise it on the grounds that it is 'good' (or 'beautiful'); and he alone will remain deaf to the aesthetic appeal of a 'false' production. Only he knows what is false; he does not deal in relativity; he bases himself on vital interests; he gets no fun from being able to prove everything but just wants to find out the one thing worth proving; he doesn't by any means take responsibility for everything, but only for one thing.

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Brecht on Theatre by Bertolt Brecht

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