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Beer Hall Putsch
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Denmark
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East Berlin
East Berlin was the name given to the eastern part of Berlin between 1949 and 1990. It consisted of the Soviet sector of Berlin that was established in 1945. The American, British and French sectors became West Berlin, a part strongly associated with West Germany but a free city. Despite its status as part of an occupied city, East Berlin was claimed as the capital of East Germany, as the Soviets did not honor the distinction of a free city for their sector. From 13 August 1961 until 9 November 1989 East Berlin was separated from West Berlin by the Berlin Wall. The East German government referred to East Berlin simply as "Berlin" or often "Berlin, Hauptstadt der DDR" (Berlin, capital of the GDR). The term "Democratic Sector" was also used until the 1960s. (See also Naming conventions).
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East Germany
The German Democratic Republic (GDR; German: Deutsche Demokratische Republik or DDR), informally called East Germany by the West, was the socialist state established in 1949 in the Soviet zone of occupied Germany and in the East Berlin portion of the Allied-occupied capital city. The German Democratic Republic, which consisted geographically of northeast Germany rather than all of eastern Germany, had an area of 107,771 km2. (41,610 mi.2), bordering Czechoslovakia in the south, West Germany (officially: Federal Republic of Germany) in the south and west, the Baltic Sea to the north, and Poland in the east.
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Finland
Finland (pronounced ), officially the Republic of Finland, is a Nordic country situated in the Fennoscandian region of Northern Europe. It is bordered by Sweden on the west, Norway on the north and Russia on the east, while Estonia lies to its south across the Gulf of Finland.
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German Empire
http://wn.com/German_Empire -
Helsinki
Helsinki (; , ) is the capital and largest city in Finland. It is in the southern part of Finland, in the region of Uusimaa/Nyland, on the shore of the Gulf of Finland, by the Baltic Sea. The population of the city of Helsinki is (), making it the most populous municipality in Finland by a wide margin. Helsinki is located some east of Stockholm, Sweden, west of St. Petersburg, Russia and north of Tallinn, Estonia. Helsinki has close connections with these three cities.
http://wn.com/Helsinki -
Mitte
{| border="3" cellpadding="2" cellspacing="1" bgcolor="#FFFFFF" align="right" style="margin-left:0.5em;" width="150"
http://wn.com/Mitte -
Nazi Germany
http://wn.com/Nazi_Germany -
Norway
http://wn.com/Norway -
Odéon Theatre
:''for other theatres with this name, see Odeon
http://wn.com/Odéon_Theatre -
Prague
http://wn.com/Prague -
Schutzstaffel
http://wn.com/Schutzstaffel -
Sodom and Gomorrah
http://wn.com/Sodom_and_Gomorrah -
Soviet Union
http://wn.com/Soviet_Union -
Stalinallee
http://wn.com/Stalinallee -
Stockholm
http://wn.com/Stockholm -
Svendborg
Svendborg () is a town on the island of Funen in central Denmark. The town is in Svendborg municipality (population 58,998 in 2010). Svendborg is the second-largest city on Funen and has a population of 27,113 (1 January 2010).
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Sweden
http://wn.com/Sweden -
United States
The United States of America (also referred to as the United States, the U.S., the USA, or America) is a federal constitutional republic comprising fifty states and a federal district. The country is situated mostly in central North America, where its forty-eight contiguous states and Washington, D.C., the capital district, lie between the Pacific and Atlantic Oceans, bordered by Canada to the north and Mexico to the south. The state of Alaska is in the northwest of the continent, with Canada to the east and Russia to the west across the Bering Strait. The state of Hawaii is an archipelago in the mid-Pacific. The country also possesses several territories in the Caribbean and Pacific.
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Weimar Republic
The Weimar Republic (, ) is the name given by historians to the parliamentary republic established in 1919 in Germany to replace the imperial form of government. It was named after Weimar, the city where the constitutional assembly took place. Its official name was Deutsches Reich (sometimes translated as German Empire, but Reich can also mean realm or federal level of government), however, and it was usually known in English simply as Germany. Following World War I, the republic emerged from the German Revolution in November 1918. In 1919, a national assembly convened in Weimar, where a new constitution for the German Reich was written, then adopted on 11 August of that same year. Germany's period of liberal democracy lapsed in the early 1930s, leading to the ascent of the NSDAP and Adolf Hitler in 1933. Although the constitution of 1919 was never officially repealed, the legal measures taken by the Nazi government in February and March 1933, commonly known as Gleichschaltung ("coordination") meant that the government could legislate contrary to the constitution. The constitution became irrelevant; thus, 1933 is usually seen as the end of the Weimar Republic and the beginning of Hitler's Third Reich.
http://wn.com/Weimar_Republic
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Adalbert Stifter
http://wn.com/Adalbert_Stifter -
Adolf Hitler
http://wn.com/Adolf_Hitler -
Adolf Muschg
Adolf Muschg (* 13 May 1934 in Zollikon, canton of Zurich) is a writer and literature professor from Switzerland. Muschg was a member of the Gruppe Olten.
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Al Carmines
Reverend '''Alvin Allison 'Al' Carmines, Jr.''' (July 25, 1936–August 9, 2005) was a key figure in the expansion of Off-Off-Broadway theatre in the 1960s.
http://wn.com/Al_Carmines -
Alexander Granach
Alexander Granach (April 18, 1890 – March 14, 1945) was a popular German actor in the 1920s and 1930s.
http://wn.com/Alexander_Granach -
Alfred Döblin
http://wn.com/Alfred_Döblin -
Andreas Gryphius
http://wn.com/Andreas_Gryphius -
Angelus Silesius
Angelus Silesius (baptised December 25, 1624 – July 9, 1677) was a German mystic and poet.
http://wn.com/Angelus_Silesius -
Anna Seghers
http://wn.com/Anna_Seghers -
Arnolt Bronnen
Arnolt Bronnen (19 August 1895 in Vienna - 12 October 1959, in East Berlin) was an Austrian playwright and director.
http://wn.com/Arnolt_Bronnen -
Arthur Kutscher
http://wn.com/Arthur_Kutscher -
Arthur Schnitzler
Dr. Arthur Schnitzler (May 15, 1862, Leopoldstadt, Vienna - October 21, 1931, Vienna) was an Austrian author and dramatist.
http://wn.com/Arthur_Schnitzler -
August Strindberg
http://wn.com/August_Strindberg -
Augusto Boal
Augusto Boal (16 March 1931 - 2 May 2009) was a Brazilian theatre director, writer and politician. He was the founder of Theatre of the Oppressed, a theatrical form originally used in radical popular education movements. Boal served one term as a vereador (the Brazilian equivalent of a city counselor) in Rio de Janeiro from 1993 to 1997, where he developed legislative theatre.
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Benno Besson
http://wn.com/Benno_Besson -
Bertolt Brecht
http://wn.com/Bertolt_Brecht -
Bettina von Arnim
Bettina von Arnim (the Countess of Arnim) (4 April 1785, Frankfurt am Main – 20 January 1859, Berlin), born Elisabeth Catharina Ludovica Magdalena Brentano, was a German writer and novelist.
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Carl Spitteler
http://wn.com/Carl_Spitteler -
Carlo Goldoni
http://wn.com/Carlo_Goldoni -
Carola Neher
http://wn.com/Carola_Neher -
Caryl Churchill
http://wn.com/Caryl_Churchill -
Caspar Neher
Caspar Neher (born Rudolf Ludwig Caspar Neher, 11 April 1897 in Augsburg; died 30 June 1962 in Vienna) was an Austrian-German scenographer known principally for his career-long working relationship with Bertolt Brecht. They were school friends who were separated for a time by the first world war, during which Neher was awarded the Iron Cross, Second Class (on 2 February 1918). In 1919 he studied under Angelo Jank at the Munich Academy. He was first engaged professionally by the Munich Kammerspiele in 1922, although his designs for its production of Brecht's Drums in the Night were rejected. On 18 August 1923 Neher married Erika Tornquist in Graz. Their son, Georg, was born on 14 October 1924. In autumn 1926, Neher became the staff designer at the Berlin Staatstheater. A year later, he became head of design at the Grillo-Theater in Essen, where he designed 8 operas and 11 plays.
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Charles Laughton
http://wn.com/Charles_Laughton -
Charlie Chaplin
actor
http://wn.com/Charlie_Chaplin -
Charlie Smalls
http://wn.com/Charlie_Smalls -
Christa Wolf
Christa Wolf (born Christa Ihlenfeld on 18 March 1929) is a German literary critic, novelist, and essayist. She is one of the best-known writers to emerge from the former East Germany.
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Christian Kracht
Christian Kracht (pronounced ; born 29 December 1966) is a Swiss novelist and journalist.
http://wn.com/Christian_Kracht -
Christopher Marlowe
Christopher Marlowe (baptised 26 February 1564–30 May 1593) was an English dramatist, poet and translator of the Elizabethan era. As the foremost Elizabethan tragedian, next to William Shakespeare, he is known for his blank verse, his overreaching protagonists, and his mysterious death.
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Clemens Brentano
Clemens Brentano, or Klemens Brentano (September 9, 1778 – July 28, 1842) was a German poet and novelist.
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Durs Grünbein
http://wn.com/Durs_Grünbein -
E. T. A. Hoffmann
Ernst Theodor Wilhelm Hoffmann (January 24, 1776 – June 25, 1822), better known by his pen name E.T.A. Hoffmann (Ernst Theodor Amadeus Hoffmann), was a German Romantic author of fantasy and horror, a jurist, composer, music critic, draftsman and caricaturist. He is the subject and hero of Jacques Offenbach's famous but fictional opera The Tales of Hoffmann, and the author of the novelette The Nutcracker and the Mouse King, on which the famous ballet The Nutcracker is based. The ballet Coppelia is based on two other stories that Hoffmann wrote. Also Schumann's Kreisleriana is based on one of Hoffmann's characters.
http://wn.com/E_T_A_Hoffmann -
Eduard Mörike
http://wn.com/Eduard_Mörike -
Edward Bond
Edward Bond (born 18 July 1934) is an English playwright, theatre director, poet, theorist and screenwriter. He is the author of some fifty plays among them Saved (1965), the production of which was instrumental in the abolition of theatre censorship in the UK. Bond is broadly considered one among the major living dramatists but he has always been and still remains highly controversial because of the violence shown in his plays and the radicalism of his statements about modern theatre and society and of his theories on drama.
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Elfriede Jelinek
http://wn.com/Elfriede_Jelinek -
Elias Canetti
http://wn.com/Elias_Canetti -
Elisabeth Hauptmann
http://wn.com/Elisabeth_Hauptmann -
Else Lasker-Schüler
http://wn.com/Else_Lasker-Schüler -
Emine Sevgi Özdamar
http://wn.com/Emine_Sevgi_Özdamar -
Eric Bentley
Eric Bentley (born September 14, 1916, Bolton, Lancashire, England) is a renowned critic, playwright, singer, editor and translator. He became an American citizen in 1948, and currently lives in New York City. In 1998 he was inducted into the American Theatre Hall of Fame; he is also a member of the New York Theater Hall of Fame, in recognition of his years of performances in cabarets.
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Erich Fried
Erich Fried (6 May 1921 – 22 November 1988) was an Austrian poet who settled in England, known for his political-minded poetry. He was also a broadcaster, translator and essayist.
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Erich Maria Remarque
http://wn.com/Erich_Maria_Remarque -
Erich Mühsam
http://wn.com/Erich_Mühsam -
Ernst Busch (actor)
Ernst Busch (born January 22, 1900 in Kiel, died June 8, 1980 in Berlin) was a German singer and actor.
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Ernst Jünger
http://wn.com/Ernst_Jünger -
Ernst Toller
Ernst Toller (1 December 1893–22 May 1939) was a left-wing German playwright, best known for his expressionist plays and serving as President of the short-lived Bavarian Soviet Republic, for six days.
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Ernst von Salomon
http://wn.com/Ernst_von_Salomon -
Erwin Faber
Erwin Faber (21 July 1891 – 4 May 1989) was a leading actor in Munich and later throughout Germany, beginning after World War I, and through the late-1970's, when he was still performing at the Residenz Theatre (The National Theatre of Bavaria). Born in Innsbruck, Austria, Faber remained in Germany during the Third Reich, emerging afterwards as a prominent actor in the Federal Republic of Germany (West Germany). He died in Munich in 1989, only two months after his last performance at the Residenztheater (the National Theatre of Bavaria), at age 97.
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Erwin Piscator
http://wn.com/Erwin_Piscator -
Feridun Zaimoğlu
http://wn.com/Feridun_Zaimoğlu -
Franz Kafka
http://wn.com/Franz_Kafka -
Fred Ebb
http://wn.com/Fred_Ebb -
Fredric Jameson
http://wn.com/Fredric_Jameson -
Friedrich Dürrenmatt
http://wn.com/Friedrich_Dürrenmatt -
Friedrich Schiller
http://wn.com/Friedrich_Schiller -
Fritz Kortner
Fritz Kortner (12 May 1892 – 22 July 1970) was an Austrian-born stage and film actor and theatre director.
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Fritz Lang
http://wn.com/Fritz_Lang -
Galileo Galilei
http://wn.com/Galileo_Galilei -
Georg Büchner
http://wn.com/Georg_Büchner -
Georg Herwegh
Georg Friedrich Rudolph Theodor Herwegh (1817 - 7 April, 1875) was a German revolutionary poet.
http://wn.com/Georg_Herwegh -
Georg Heym
Georg Heym (30 October 1887– 16 January 1912) was a German writer. He is particularly known for his poetry, representative of early Expressionism.
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Georg Kaiser
http://wn.com/Georg_Kaiser -
Georg Trakl
http://wn.com/Georg_Trakl -
Georg Wilhelm Pabst
Georg Wilhelm Pabst (25 August 188529 May 1967) was an Austrian film director.
http://wn.com/Georg_Wilhelm_Pabst -
George Bernard Shaw
George Bernard Shaw (26 July 1856 – 2 November 1950) was an Irish playwright and a co-founder of the London School of Economics. Although his first profitable writing was music and literary criticism, in which capacity he wrote many highly articulate pieces of journalism, his main talent was for drama, and he wrote more than 60 plays. Nearly all his writings deal sternly with prevailing social problems, but have a vein of comedy to make their stark themes more palatable. Shaw examined education, marriage, religion, government, health care, and class privilege.
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George Grosz
http://wn.com/George_Grosz -
Gerhart Hauptmann
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Gottfried Benn
Gottfried Benn (2 May 1886 Putlitz, Brandenburg – 7 July 1956 West Berlin) was a German essayist, novelist, and expressionist poet. A doctor of medicine, he became an early admirer, and later a critic, of the National Socialist revolution. Benn had a literary influence on German verse immediately before and after Nazi Germany.
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Gottfried Keller
http://wn.com/Gottfried_Keller -
Gustav Freytag
Gustav Freytag (13 July 1816 – 30 April 1895) was a German dramatist and novelist.
http://wn.com/Gustav_Freytag -
György Lukács
http://wn.com/György_Lukács -
Günter Grass
http://wn.com/Günter_Grass -
Hal Hartley
Hal Hartley, Jr. (born November 3, 1959) is an American film director, writer, and pioneer of the independent film movement, who was educated at the State University of New York at Purchase.
http://wn.com/Hal_Hartley -
Hanne Hiob
Hanne Hiob (March 12, 1923 – June 23, 2009) was a German actress.
http://wn.com/Hanne_Hiob -
Hanns Eisler
Hanns Eisler (6 July 1898 – 6 September 1962) was a German and Austrian composer.
http://wn.com/Hanns_Eisler -
Hans Sachs
: This article refers to the poet. For other people of the same name, see Hans Sachs (disambiguation).
http://wn.com/Hans_Sachs -
Hartmann von Aue
http://wn.com/Hartmann_von_Aue -
Heinrich Böll
http://wn.com/Heinrich_Böll -
Heinrich Heine
http://wn.com/Heinrich_Heine -
Heinrich von Kleist
Bernd Heinrich Wilhelm von Kleist (18 October 1777 – 21 November 1811) was a poet, dramatist, novelist and short story writer. The Kleist Prize, a prestigious prize for German literature, is named after him.
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Helene Weigel
Helene Weigel (12 May 1900, Vienna – 6 May 1971, East Berlin) was a distinguished German actress. She was the second wife of Bertolt Brecht, and together they had a daughter Barbara (b. 28-Oct-1930).
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Henrik Ibsen
http://wn.com/Henrik_Ibsen -
Hermann Broch
http://wn.com/Hermann_Broch -
Hermann Hesse
http://wn.com/Hermann_Hesse -
Herta Müller
http://wn.com/Herta_Müller -
History of Germany
The concept of Germany as a distinct region in central Europe can be traced to Roman commander Julius Caesar, who referred to the unconquered area east of the Rhine as Germania, thus distinguishing it from Gaul (France), which he had conquered. The victory of the Germanic tribes in the Battle of the Teutoburg Forest (AD 9) prevented annexation by the Roman Empire. Following the fall of the Roman Empire, the Franks subdued the other West Germanic tribes. When the Frankish Empire was divided among Charlemagne's heirs in 843, the eastern part became East Francia, ruled by Louis the German. Henry the Fowler became the first king of Germany in 919. In 962, Henry's son Otto I became the first emperor of what historians refer to as the Holy Roman Empire, the medieval German state.
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Howard Brenton
Howard John Brenton (born 13 December 1942) is an English playwright and screenwriter.
http://wn.com/Howard_Brenton -
Ingeborg Bachmann
http://wn.com/Ingeborg_Bachmann -
Irmgard Keun
Irmgard Keun (February 6, 1905 - May 5, 1982) was a German author noteworthy both for her portrayals of life in the Weimar Republic as well as the early years of the Nazi Germany era.
http://wn.com/Irmgard_Keun -
Jacob Grimm
http://wn.com/Jacob_Grimm -
James Joyce
James Augustine Aloysius Joyce (2 February 1882 – 13 January 1941) was an Irish novelist and poet, considered to be one of the most influential writers in the modernist avant-garde of the early 20th century. Joyce is best known for Ulysses (1922), a landmark novel which perfected his stream of conciousness technique and combined nearly every literary device available in a modern re-telling of The Odyssey. Other major works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939), and his complete oeuvre includes three books of poetry, a play, occasional journalism, and his published letters.
http://wn.com/James_Joyce -
Jan Bucquoy
Jan Bucquoy (born 16 November 1945) is an anarchist and author-filmmaker born in Harelbeke, Belgium who started as a theatre practitioner and who worked as a cartoon-scriptwriter.
http://wn.com/Jan_Bucquoy -
Jaroslav Hašek
http://wn.com/Jaroslav_Hašek -
Jean Paul
http://wn.com/Jean_Paul -
Jean-Luc Godard
Jean-Luc Godard (; born 3 December 1930) is a French-Swiss film director, screen writer and critic. He is often identified with the group of filmmakers known as the Nouvelle Vague, or "French New Wave".
http://wn.com/Jean-Luc_Godard -
Johann Nestroy
Johann Nepomuk Eduard Ambrosius Nestroy (7 December 1801, Vienna 25 May 1862, Graz) was an opera singer, actor and, primarily, a playwright.
http://wn.com/Johann_Nestroy -
Johannes R. Becher
Johannes Robert Becher (b May 22, 1891 in Munich; d October 11, 1958 in Berlin) was a German politician, novelist, and poet.
http://wn.com/Johannes_R_Becher -
John Arden
John Arden (born 26 October 1930) is an award-winning English playwright from Barnsley (which at the time was in the West Riding of Yorkshire). His works tend to expose social issues of personal concern. He is a member of the Royal Society of Literature.
http://wn.com/John_Arden -
John Guare
http://wn.com/John_Guare -
John Webster
http://wn.com/John_Webster -
John Willett
John Willett (24 June 1917 – 20 August 2002) was a British translator and a scholar who is remembered for translating the work of Bertolt Brecht into English.
http://wn.com/John_Willett -
Josef Szeiler
http://wn.com/Josef_Szeiler -
Joseph Losey
Joseph Walton Losey (January 14, 1909, La Crosse, Wisconsin – June 22, 1984, London) was an American theater and film director. After studying in Germany with Bertolt Brecht, Losey returned to the United States, eventually making his way to Hollywood.
http://wn.com/Joseph_Losey -
Joseph Roth
Joseph Roth (September 2, 1894 in Brody - May 27, 1939 in Paris) was an Austrian novelist, best known for his family saga Radetzky March (1932), and for his novel of Jewish life, Job (1930).
http://wn.com/Joseph_Roth -
Karin Michaelis
http://wn.com/Karin_Michaelis -
Karl Earl Mundt
http://wn.com/Karl_Earl_Mundt -
Karl Korsch
Karl Korsch (August 15, 1886 - October 21, 1961) was a German Marxist theorist.
http://wn.com/Karl_Korsch -
Karl Kraus
:For the theologian, see Karl Christian Friedrich Krause.
http://wn.com/Karl_Kraus -
Karl Marx
http://wn.com/Karl_Marx -
Karl Valentin
Karl Valentin (born Valentin Ludwig Fey, 4 June 1882, Munich - 9 February 1948, Planegg, Germany) was a Bavarian comedian, cabaret performer, clown, author and film producer who had significant influence on German Weimar culture. Valentin, as a star of many silent films in the 1920s, was sometimes called the "Charlie Chaplin of Germany".
http://wn.com/Karl_Valentin -
Klaus Mann
Klaus Mann (November 18, 1906 – May 21, 1949) was a German writer.
http://wn.com/Klaus_Mann -
Kurt Tucholsky
http://wn.com/Kurt_Tucholsky -
Kurt Weill
Kurt Julian Weill (March 2, 1900 – April 3, 1950) was a German composer, active from the 1920s, and in his later years in the United States. He was a leading composer for the stage who was most well known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his most well known work The Threepenny Opera, a Marxist critique of capitalism, which included the ballad "Mack the Knife". Weill was a socialist who held the ideal of writing music that served a socially useful purpose. He also wrote a number of works for the concert hall, as well as several Judaism themed pieces.
http://wn.com/Kurt_Weill -
Lars von Trier
Lars von Trier (; born Lars Trier; 30 April 1956) is a Danish film director and screenwriter. He is closely associated with the Dogme 95 collective, although his own films have taken a variety of different approaches. He is known for his female-centric parables and his exploration of controversial subject matter.
http://wn.com/Lars_von_Trier -
Lindsay Anderson
http://wn.com/Lindsay_Anderson -
Lotte Lenya
Lotte Lenya (18 October 189827 November 1981) was an Austrian singer and actress. In the German-speaking and classical music world she is best remembered for her performances of the songs of her husband, Kurt Weill. In English-language film she is remembered for her Academy Award-nominated role in The Roman Spring of Mrs. Stone (1961) and as the sadistic Rosa Klebb in the James Bond movie From Russia with Love (1963).
http://wn.com/Lotte_Lenya -
Louis Althusser
http://wn.com/Louis_Althusser -
Ludwig Uhland
Johann Ludwig Uhland (26 April 1787 – 13 November 1862), was a German poet, philologist and literary historian.
http://wn.com/Ludwig_Uhland -
Luigi Pirandello
http://wn.com/Luigi_Pirandello -
Manoel de Oliveira
http://wn.com/Manoel_de_Oliveira -
Marianne Zoff
http://wn.com/Marianne_Zoff -
Marieluise Fleißer
http://wn.com/Marieluise_Fleißer -
Martin Opitz
Martin Opitz von Boberfeld (December 23, 1597 – August 20, 1639) was a German poet, regarded as the greatest of that nation during his lifetime.
http://wn.com/Martin_Opitz -
Martin Walser
Martin Walser (born 24 March 1927 in Wasserburg am Bodensee, on Lake Constance) is a German writer. He became famous for describing the conflicts his anti-heroes have in his novels and stories. In 1998 he was awarded the Peace Prize of the German Book Trade in Frankfurt. He is the father of a daughter born in 1961, the writer-and-painter Alissa Walser.
http://wn.com/Martin_Walser -
Mati Unt
http://wn.com/Mati_Unt -
Max Frisch
Max Rudolf Frisch (May 15, 1911 – April 4, 1991) was a Swiss playwright and novelist, regarded as highly representative of German-language literature after World War II. In his creative works Frisch paid particular attention to issues relating to problems of human identity, individuality, responsibility, morality and political commitment. His use of irony is a significant feature of his post-war publications.
http://wn.com/Max_Frisch -
Max Reinhardt
__NOTOC__
http://wn.com/Max_Reinhardt -
Nagisa Oshima
http://wn.com/Nagisa_Oshima -
Nelly Sachs
http://wn.com/Nelly_Sachs -
Nibelungenlied
The Nibelungenlied, translated as The Song of the Nibelungs, is an epic poem in Middle High German. The story tells of dragon-slayer Siegfried at the court of the Burgundians, how he was murdered, and of his wife Kriemhild's revenge.
http://wn.com/Nibelungenlied -
Nikolaus Lenau
http://wn.com/Nikolaus_Lenau -
Novalis
http://wn.com/Novalis -
Oskar Homolka
Oskar Homolka (August 12, 1898 – January 27, 1978) was an Austrian film and theatre actor. Homolka's strong accent, stocky appearance, bushy eyebrows and Slavic-sounding name led many to believe he was Eastern European or Russian, but he was born in Vienna, Austria-Hungary.
http://wn.com/Oskar_Homolka -
Pablo Picasso
http://wn.com/Pablo_Picasso -
Paul Celan
http://wn.com/Paul_Celan -
Paul Dessau
http://wn.com/Paul_Dessau -
Paul Hindemith
Paul Hindemith (16 November 1895 – 28 December 1963) was a German composer, violist, violinist, teacher, music theorist and conductor.
http://wn.com/Paul_Hindemith -
Paul Scheerbart
http://wn.com/Paul_Scheerbart -
Peter Brook
Peter Stephen Paul Brook CH, CBE (born 21 March 1925) is an English and French theatre and film director and innovator.
http://wn.com/Peter_Brook -
Peter Hacks
Peter Hacks (21 March 1928 – 28 August 2003) was a German playwright, author, and essayist.
http://wn.com/Peter_Hacks -
Peter Handke
Peter Handke (born 6 December 1942, in Griffen, Austria) is an avant-garde Austrian novelist and playwright.
http://wn.com/Peter_Handke -
Peter Huchel
Peter Huchel (April 3, 1903 – April 30, 1981), born Hellmut Huchel, was a German poet.
http://wn.com/Peter_Huchel -
Peter Lorre
Peter Lorre (26 June 1904 – 23 March 1964) was an Austrian-American actor frequently typecast as a sinister foreigner.
http://wn.com/Peter_Lorre -
Peter Weiss
http://wn.com/Peter_Weiss -
Pina Bausch
Philippine "Pina" Bausch (27 July 1940 – 30 June 2009) was a German modern dance choreographer and a leading influence in the development of the Tanztheater style of dance.
http://wn.com/Pina_Bausch -
Procrustes
http://wn.com/Procrustes -
Rafik Schami
http://wn.com/Rafik_Schami -
Rainer Maria Rilke
http://wn.com/Rainer_Maria_Rilke -
Ralph Manheim
Ralph Frederick Manheim (4 April 1907, New York – 26 September 1992, Cambridge, England) was an American translator of German and French literature, as well as occasional works from Dutch, Polish and Hungarian. He likened translation to acting, the role being "to impersonate his author."
http://wn.com/Ralph_Manheim -
Reinhard Heydrich
http://wn.com/Reinhard_Heydrich -
Reinmar von Hagenau
Reinmar also known as Reinmar von Hagenau (Reinmar of Haguenau) or Reinmar der Alte (Reinmar the Elder) was the most important Minnesinger before Walther von der Vogelweide.
http://wn.com/Reinmar_von_Hagenau -
Ricarda Huch
Ricarda Huch () (July 18, 1864 - November 17, 1947) was a pioneering German intellectual. Trained as a historian, and the author of many works of European history, she also wrote novels, poems, and a play.
http://wn.com/Ricarda_Huch -
Ritwik Ghatak
http://wn.com/Ritwik_Ghatak -
Robert Bolt
http://wn.com/Robert_Bolt -
Robert Musil
'Robert Mathias Edler von Musil' (November 6, 1880 - April 15, 1942) was an Austrian writer. His unfinished long novel The Man Without Qualities () is generally considered to be one of the most important modernist novels.
http://wn.com/Robert_Musil -
Ruth Berghaus
Ruth Berghaus (July 2, 1927 – January 25, 1996) was a German choreographer and opera and theatre director.
http://wn.com/Ruth_Berghaus -
Sarah Kirsch
Sarah Kirsch (born April 16, 1935) is a German poet.
http://wn.com/Sarah_Kirsch -
Sergei Eisenstein
http://wn.com/Sergei_Eisenstein -
Siegfried Lenz
http://wn.com/Siegfried_Lenz -
Slatan Dudow
Slatan Theodor Dudow (, Zlatan Dudov) (30 January 1903 - 12 July 1963) was a Bulgarian born film director and screenwriter who made a number of films in the Weimar Republic and East Germany.
http://wn.com/Slatan_Dudow -
Sophocles
http://wn.com/Sophocles -
Stefan Brecht
http://wn.com/Stefan_Brecht -
Stefan Zweig
http://wn.com/Stefan_Zweig -
Stephen Sondheim
Stephen Joshua Sondheim (born March 22, 1930) is an American composer and lyricist for stage and film. He is the winner of an Academy Award, multiple Tony Awards (eight, more than any other composer) including the Special Tony Award for Lifetime Achievement in the Theatre, multiple Grammy Awards, and a Pulitzer Prize. His most famous scores include (as composer/lyricist) A Funny Thing Happened on the Way to the Forum, Company, Follies, A Little Night Music, Sweeney Todd, Sunday in the Park with George, Into the Woods, and Assassins, as well as the lyrics for West Side Story and . He was president of the Dramatists Guild from 1973 to 1981.
http://wn.com/Stephen_Sondheim -
Terry Eagleton
Terence Francis Eagleton (born 22 February 1943, Salford) is a British literary theorist widely regarded as Britain's most influential living literary critic. Eagleton currently serves as Distinguished Professor of English Literature at the University of Lancaster, and as a Visiting Professor at the National University of Ireland, Galway.
http://wn.com/Terry_Eagleton -
Terézia Mora
http://wn.com/Terézia_Mora -
Theo Lingen
http://wn.com/Theo_Lingen -
Theodor Fontane
http://wn.com/Theodor_Fontane -
Theodor Mommsen
Christian Matthias Theodor Mommsen (30 November 1817 – 1 November 1903) was a German classical scholar, historian, jurist, journalist, politician, archaeologist, and writer generally regarded as the greatest classicist of the 19th century. His work regarding Roman history is still of fundamental importance for contemporary research. He received the Nobel Prize in Literature in 1902, and was also a prominent German politician, as a member of the Prussian and German parliaments. His works on Roman law and on the law of obligations had a significant impact on the German civil code (BGB).
http://wn.com/Theodor_Mommsen -
Theodor Storm
Hans Theodor Woldsen Storm (14 September 1817 – 4 July 1888) was a German writer.
http://wn.com/Theodor_Storm -
Theodor W. Adorno
http://wn.com/Theodor_W_Adorno -
Therese Giehse
http://wn.com/Therese_Giehse -
Thomas Bernhard
http://wn.com/Thomas_Bernhard -
Thomas Brussig
Thomas Brussig (born 1964 in Berlin) is a German writer best known for his satirical novels that deal with the German Democratic Republic.
http://wn.com/Thomas_Brussig -
Thomas Mann
Thomas Mann (6 June 1875 – 12 August 1955) was a German novelist, short story writer, social critic, philanthropist, essayist, and 1929 Nobel Prize laureate, known for his series of highly symbolic and ironic epic novels and novellas, noted for their insight into the psychology of the artist and the intellectual. His analysis and critique of the European and German soul used modernized German and Biblical stories, as well as the ideas of Goethe, Nietzsche, and Schopenhauer. His older brother was the radical writer Heinrich Mann, and three of his six children, Erika Mann, Klaus Mann and Golo Mann, also became important German writers. When Hitler came to power in 1933, the anti-fascist Mann fled to Switzerland. When World War II broke out in 1939, he emigrated to the United States, from where he returned to Switzerland in 1952. Thomas Mann is one of the most known exponents of the so called Exilliteratur.
http://wn.com/Thomas_Mann -
Tony Kushner
Anthony Robert "Tony" Kushner (born 16 July 1956) is an American playwright and screenwriter. He received the Pulitzer Prize for Drama in 1993 for his play, , and co-authored with Eric Roth the screenplay for the 2005 film, Munich.
http://wn.com/Tony_Kushner -
Uwe Johnson
Uwe Johnson () (July 20, 1934 - February 22, 1984) was a German writer, editor, and scholar.
http://wn.com/Uwe_Johnson -
Uwe Timm
Uwe Timm (* 30 March 1940 in Hamburg) is a German author.
http://wn.com/Uwe_Timm -
Volker Braun
http://wn.com/Volker_Braun -
Vsevolod Meyerhold
Vsevolod Emilevich Meyerhold (; born ) (2 February 1940) was a great Russian and Soviet theatre director, actor and theatrical producer whose provocative experiments dealing with physical being and symbolism in an unconventional theatre setting made him one of the seminal forces in modern theatre.
http://wn.com/Vsevolod_Meyerhold -
W. G. Sebald
http://wn.com/W_G_Sebald -
W. H. Auden
http://wn.com/W_H_Auden -
Walter Benjamin
http://wn.com/Walter_Benjamin -
Walter Ulbricht
Walter Ulbricht (30 June 1893 – 1 August 1973) was a German communist politician. As General Secretary of the Socialist Unity Party from 1950 to 1971, he played a leading role in the early development and establishment of the German Democratic Republic (East Germany).
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Wilhelm Grimm
Wilhelm Carl Grimm (also Karl; 24 February 1786 – 16 December 1859) was a German author, the younger of the Brothers Grimm.
http://wn.com/Wilhelm_Grimm -
Wilhelm Raabe
Wilhelm Raabe (September 8, 1831 – November 15, 1910), German novelist, whose early works were published under the pseudonym of Jakob Corvinus, was born at Eschershausen (then in the Duchy of Brunswick, now in the Holzminden District).
http://wn.com/Wilhelm_Raabe -
William Shakespeare
William Shakespeare (baptised 26 April 1564; died 23 April 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". His surviving works, including some collaborations, consist of about 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright.
http://wn.com/William_Shakespeare -
Wladimir Kaminer
Wladimir Kaminer (born 19 July 1967) is a Russian-born German short story writer, columnist, and disc jockey of Jewish origin.
http://wn.com/Wladimir_Kaminer -
Wolfgang Langhoff
Wolfgang Langhoff (born: 6 October, 1901 in Berlin, Germany; died: 26 August, 1966 in Berlin, GDR) was a German theatre, film and television actor and theatre director.
http://wn.com/Wolfgang_Langhoff -
World War I
World War I was a military conflict centered on Europe that began in the summer of 1914. The fighting ended in late 1918. This conflict involved all of the world's great powers, assembled in two opposing alliances: the Allies (centred around the Triple Entente) and the Central Powers. More than 70 million military personnel, including 60 million Europeans, were mobilized in one of the largest wars in history. More than 9 million combatants were killed, due largely to great technological advances in firepower without corresponding ones in mobility. It was the second deadliest conflict in history.
http://wn.com/World_War_I -
Yoko Tawada
http://wn.com/Yoko_Tawada -
Zsuzsa Bánk
http://wn.com/Zsuzsa_Bánk
Brecht, Bertolt Filmography
- The Threepenny Opera (2012)
- Corneille-Brecht ou Rome l'unique objet de mon ressentiment (2009)
- Theater of War (2008)
- Brecht - Die Kunst zu leben (2006)
- Brecht-Gala: Ungeheuer oben! (2006)
- Baal (2004)
- Die Dreigroschenoper (2004)
- Mutter Courage und ihre Kinder (2003)
- Das Jahrhundert des Theaters (2002)
- The Burning Wall (2002)
- Verführung von Engeln (2000)
- Aufstieg und Fall der Stadt Mahagonny (1998)
- The Caucasian Chalk Circle (1997)
- Karera Arturo Ui (1996)
- Der aufhaltsame Aufstieg des Arturo Ui (1996)
- Tyttö ja sotamies (1995)
- Die Dreigroschenoper (1995)
- A Ópera dos Três Vinténs (1994)
- The Seven Deadly Sins (1993)
- Mahagonnyn kaupungin nousu ja tuho (1993)
- Die Antigone des Sophokles nach der Hölderlinschen Übertragung für die Bühne bearbeitet von Brecht 1948 (Suhrkamp Verlag) (1992)
- La vie de Galilée (1992)
- La bonne âme du Setchouan (1990)
- Baal (1990)
- La bona persona del Sezuan (1989)
- Der Mantel des Ketzers (1989)
- Mutter Courage und ihre Kinder (1988)
- Die Bestie (1988)
- La bête féroce (1988)
- Mãe Coragem e os Seus Filhos (1987)
- Morfi kai periehomeno (1986)
- Die Rundköpfe und die Spitzköpfe (1985)
- Die unwürdige Greisin (1985)
- Herr Puntila in Sri Lanka (1985)
- A Boa Pessoa de Setzuan (1985)
- Dorogi Anny Firling (1985)
- Det gode mennesket i Sezuan (1984)
- Der kaukasische Kreidekreis (1983)
- La vie de Galilée (1982)
- Baal (1982)
- Die Mutter (1981)
- Die heilige Johanna der Schlachthöfe (1981)
- Mahagonny (1980)
- Grand peur et misère du Troisième Reich (1980)
- Deutschland bleiche Mutter (1980)
- Rettegés és ínség a harmadik birodalomban (1980)
- Herr Puntila und sein Knecht Matti (1979)
- Kaukasialainen liitupiiri (1979)
- Brecht and Co (1979)
- The Rise and Fall of the City of Mahagonny (1979)
- Svejk toisessa maailmansodassa (1979)
- Herr Puntila och hans dräng Matti (1979)
- The Life Story of Baal (1978)
- Coriolan (1978)
- Das Leben des Galileo Galilei (1978)
- Tod und Auferstehung des Wilhelm Hausmann (1977)
- Tentativa I (1977)
- Nepremozitelný nápis (1977)
- Pikkuporvarin seitsemän kuolemansyntiä (1976)
- Der kaukasische Kreidezirkel (1976)
- Der Hofmeister (1976)
- Laitapuolen lauluja (1976)
- Charisma (1976)
- Galileo (1975)
- Turandot oder Der Kongreß der Weißwäscher (1975)
- Schweik na Segunda Guerra Mundial (1975)
- Die Gewehre der Frau Carrar (1975)
- Der aufhaltsame Aufstieg des Arturo Ui (1974)
- Ich war, ich bin, ich werde sein (1974)
- Trouwfeest (1974)
- Mahagonny (1974)
- Der Tod des Flohzirkusdirektors (1973)
- The Gangster Show: The Resistible Rise of Arturo Ui (1972)
- Bruiloft (1972)
- Die Dreigroschenoper (1972)
- Geschichtsunterricht (1972)
- Herr Puntila och hans dräng Matti (1972)
- The Resistible Rise of Arturo Ui (1972)
- Stikkeren (1971)
- Die Mutter (1971)
- Retspleje (1971)
- Den jødiske hustru (1971)
- Småborgerbryllup (1970)
- Baal (1970)
- Het kleine Mahagonny (1970)
- De zeven doodzonden van de kleine burgerman (1970)
- Svejk i anden verdenskrig (1970)
- Nach meinem letzten Umzug (1970)
- Aus unserer Zeit (1970)
- Eden ist fern (1969)
- Häät (1969)
- Moeder Courage en haar kinderen (1969)
- Die Kleinbürgerhochzeit (1969)
- Driestuiversopera (1969)
- De geweren van vrouw Carrar (1968)
- Im Dickicht der Städte (1968)
- Die Gesichte der Simone Machard (1968)
- Rouva Carrarin kiväärit (1968)
- Az élö Antigoné (1968)
- Mann ist Mann (1967)
- Pauken und Trompeten (1967)
- Der Prozeß der Jeanne D'Arc zu Rouen 1431 (1967)
- Herr Puntila und sein Knecht Matti (1966)
- Die Tage der Commune (1966)
- Der gute Mensch von Sezuan (1966)
- Poikkeus ja sääntö (1965)
- Mutter Courage und ihre Kinder - Eine Chronik aus dem Dreißigjährigen Krieg (1965)
- La vieille dame indigne (1965)
- Fru Carrars gevär (1965)
- Bertolt Brecht: Übungstücke für Schauspieler (1964)
- Flüchtlingsgespräche (1964)
- Furcht und Elend des dritten Reichs (1964)
- Jedna od onih godina (1963)
- Die Dreigroschenoper (1962)
- Leben des Galilei (1962)
- Galileo (1961)
- Schweyk im zweiten Weltkrieg (1961)
- Mutter Courage und ihre Kinder (1961)
- Herr Puntila und sein Knecht Matti (1960)
- Festival (1960)
- Mother Courage and Her Children (1959)
- Het kruis van krijt (1959)
- Unser Sandmännchen (1958)
- Der kaukasische Kreidekreis (1958)
- Die Mutter (1958)
- Katzgraben (1957)
- Mutter Courage und ihre Kinder (1955)
- Mutter Courage und ihre Kinder (1955)
- Die Gewehre der Frau Carrar (1953)
- Die Gewehre der Frau Carrar (1953)
- Leben des Galilei (1947)
- Hangmen Also Die! (1943)
- Ubiytsy vykhodyat na dorogu (1942)
- Pagliacci (1936)
- Kuhle Wampe oder: Wem gehört die Welt? (1932)
- Die 3 Groschen-Oper (1931)
- L'opéra de quat'sous (1931)
- Mann ist Mann (1931)
- Mann ist Mann (1931)
- Mysterien eines Frisiersalons (1923)
- Mysterien eines Frisiersalons (1923)
RELEASE
ALBUMS
- Die Moritat von Mackie Messer
- Das Lied von der Unzulänglichkeit menschlichen Strebens
- An die Nachgeborenen
- Aus Brechts Ausführungen in einem Rundfunkgespräch über das Buch "Theaterarbeit" (1952)
- Aus Brechts Ausführungen in einem Rundfunkgespräch mit jungen Regisseuren und Dramaturgen (1952)
- Aus Brechts Diskussionsbeitrag auf dem IV. Deutschen Schriftstellerkongreß (1956)
- Aus Brechts Rede auf dem IV. Deutschen Schriftstellerkongreß (1956)
- Aus Brechts Verhör vor dem Ausschuß für unamerikanische Tätigkeit (1947)
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add to playlist
The Collector's Three Penny Opera (Weill-Brecht) (1929-1931 original cast, feat. Lotte Lenya)
Released 1990
Released 1990
- Die Dreigroschenoper: Overture (Lewis Ruth Band)
- Die Dreigroschenoper: Moritat (Mack, the Knife) (feat. Kurt Gerron)
- Die Dreigroschenoper: Ballad of the Agreeable Life (feat. Willy Trenk-Trebitsch)
- Die Dreigroschenoper: Love Duet (feat. Erika Helmke, Willy Trenk-Trebitsch)
- Die Dreigroschenoper: Cannon Song (feat. Kurt Gerron, Willy Trenk-Trebitsch)
- Die Dreigroschenoper: Pirate Jenny (feat. Lotte Lenya)
- Die Dreigroschenoper: Act I Finale (feat. Lotte Lenya, Erika Helmke, Erich Ponto)
- Die Dreigroschenoper: Barbara Song (feat. Lotte Lenya)
- Die Dreigroschenoper: Jealousy Song (feat. Lotte Lenya, Erika Helmke)
- Die Dreigroschenoper: Farewell (feat. Erika Helmke, Willy Trenk-Trebitsch)
- Die Dreigroschenoper: Act II Finale (feat. Willy Trenk-Trebitsch)
- Die Dreigroschenoper: Procurer's Ballad (feat. Lotte Lenya, Willy Trenk-Trebitsch)
- Die Dreigroschenoper: Inadequacy of Life (feat. Erich Ponto)
- Die Dreigroschenoper: Moritat, Reprise (feat. Lotte Lenya)
- Die Dreigroschenoper: Final Chorus (Lewis Ruth Band feat. conductor: Theo Mackeben)
- Die Dreigroschenoper: Moritat von Mackie Messer (Theo Mackeben's Jazz Band, feat. Berthold Brecht)
- Die Dreigroschenoper: Song of the Inadequacy of Life (Theo Mackeben's Jazz Band, feat. Berthold Brecht)
- Kleine Dreigroschenmusik: Moritat (Mack, the Knife) (Berlin State Opera Orchestra feat. conductor: Otto Klemperer)
- Kleine Dreigroschenmusik: Ballade (Berlin State Opera Orchestra feat. conductor: Otto Klemperer)
- Kleine Dreigroschenmusik: Tango-Ballade (Berlin State Opera Orchestra feat. conductor: Otto Klemperer)
- Kleine Dreigroschenmusik: Kanonensong (Berlin State Opera Orchestra feat. conductor: Otto Klemperer)
- Die Dreigroschenoper: Complainte de Mackie (Moritat) (feat. Mme. Damia, conductor: P. Chagnon)
- Mahagonny: Alabama Song (The Three Admirals, feat. Lotte Lenya)
- Mahagonny: As You Make Your Bed (Theo Mackeben's Orchestra, feat. Lotte Lenya)
- Mahagonny: Rise and Fall of the City of Mahagonny, Selections (Chorus and Orchestra of the Kurfurstendamn Theatre, Berlin, feat. Lotte Lenya)
- Happy End: Bilbao Song (feat. Lotte Lenya)
Born: 1898-02-10
Died: 1956-08-14
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Bertolt Brecht
- Order: Reorder
- Duration: 3:09
- Published: 19 Dec 2008
- Updated: 25 Jul 2012
Bertolt Brecht (help·info) (born Eugen Berthold Friedrich Brecht (help·info); 10 February 189814 August 1956) was a German poet, playwright, and theatre director. An influential theatre practitioner of the twentieth century, Brecht made equally significant contributions to dramaturgy and theatrical production, the latter particularly through the seismic impact of the tours undertaken by the Berliner Ensemble—the post-war theatre company operated by Brecht and his wife and long-time collaborator, the actress Helene Weigel—with its internationally acclaimed productions.[1] From his late twenties Brecht remained a life-long committed Marxist who, in developing the combined theory and practice of his 'epic theatre', synthesized and extended the experiments of Erwin Piscator and Vsevolod Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism. Brecht's modernist concern with drama-as-a-medium led to his refinement of the 'epic form' of the drama. This dramatic form is related to similar modernist innovations in other arts, including the strategy of divergent chapters in James Joyce's novel Ulysses, Sergei Eisenstein's evolution of a constructivist 'montage' in the cinema, and Picasso's introduction of cubist 'collage' in the visual arts.[2] In contrast to many other avant-garde approaches, however, Brecht had no desire to destroy art as an institution; rather, he hoped to 're-function' the theatre to <b>...</b>
http://wn.com/Bertolt_Brecht
Bertolt brecht and epic theater.
- Order: Reorder
- Duration: 6:41
- Published: 03 Sep 2010
- Updated: 15 Aug 2012
Hello all. This is the Bertolt Brecht dicumentary I was talking about in the last update video. I made this for a drama assignment for school, in which I explain who Bertolt Brecht was and what Epic Theater is. Enojy.
http://wn.com/Bertolt_brecht_and_epic_theater
Mack The Knife (original)
- Order: Reorder
- Duration: 2:48
- Published: 07 Mar 2008
- Updated: 26 Aug 2012
Here's the original song 'Die Moritat von Mackie Messer' from the 'Threepenny opera' sung by Bertolt Brecht. He wasn't a great singer but I like it anyway. I hope you like it too and enjoy the original version! I do not own the music.
http://wn.com/Mack_The_Knife_original
Bertolt Brecht speaks in the House Committee on Un-American Activities
- Order: Reorder
- Duration: 2:18
- Published: 14 Sep 2009
- Updated: 21 Aug 2012
Bertolt Brecht 1947/48 bei einem Verhör im House Committee on Un-American Activities (englisch: Senatsausschuss für unamerikanische Umtriebe; HUAC)
http://wn.com/Bertolt_Brecht_speaks_in_the_House_Committee_on_Un-American_Activities
Bertolt Brecht Collage
- Order: Reorder
- Duration: 3:43
- Published: 22 May 2007
- Updated: 08 Aug 2012
Made for International Bertolt Brecht Conference in Poznań, 2006. Music: KK Video: Bertolt Brecht Archives VJ: MC
http://wn.com/Bertolt_Brecht_Collage
David Bowie - The Alabama song
- Order: Reorder
- Duration: 4:21
- Published: 27 Feb 2006
- Updated: 26 Aug 2012
AMAZING! Bowie performs "The Alabama Song" by Bertold Brecht live in Berlin 2002. Watch out for the part where he sticks out his tongue at Gail Ann Dorsey...so sexy ;-)
http://wn.com/David_Bowie_The_Alabama_song
If Sharks Were Men by Bertolt Brecht
- Order: Reorder
- Duration: 3:35
- Published: 13 Nov 2011
- Updated: 31 Jul 2012
Visit artinboka.com If sharks were men, would they be nicer to the little fishes? Certainly, If sharks were men, they would build enormous boxes in the ocean, for the little fish...They would teach their little fish that there was an enormous difference between themselves and the little fish belonging to the other sharks... Direction: Sasa Klopanovic - Sinestezia Voiceover: Jon Greenhlagh Illustration and animation: Nikola Prijic Mastering: Janja Loncar Producer: Ana Zatezalo Schenk - Sinestezia Visit www.artinboka.com competition in architecture Architecture Studio Sinestezia is launching an international architecture competition to design Boka Artist Residence.
http://wn.com/If_Sharks_Were_Men_by_Bertolt_Brecht
Kurt Weill - Bertolt Brecht: Alabama Song "Aufstieg und Fall Mahagonny" [1]-Valentina Valente
- Order: Reorder
- Duration: 2:54
- Published: 31 Aug 2009
- Updated: 10 Aug 2012
Kurt Weill/Bertolt Brecht: "Aufstieg und Fall der Stadt Mahagonny" - akt1: "Oh, moon af Alabama"- Jenny Hill: Valentina Valente; Jim Mahoney: William Joyner; Leokadja Begbick: Gabriella Sborgi; Trinity Moses: Dale Duesing; Fatty: Fabrice Dalis; Jack O'Brien: Gianluca Floris; Bill: George Mosley; Joe: Lorenzo Muzzi; Speaker: Dinah Helal; Conductor: Jonathan Webb; Director: Daniele Abbado; Performed at the Teatro Valli in Reggio Emilia, 2005.
http://wn.com/Kurt_Weill_Bertolt_Brecht_Alabama_Song_Aufstieg_und_Fall_Mahagonny_1_-Valentina_Valente
Nanna's Lied/Kurt Weill/Bertolt Brecht
- Order: Reorder
- Duration: 4:28
- Published: 16 Mar 2007
- Updated: 15 Aug 2012
Tiziana Sojat soprano, singing Nannas song in a most expressive way.
http://wn.com/Nanna's_Lied_Kurt_Weill_Bertolt_Brecht
Five Truths: Bertolt Brecht
- Order: Reorder
- Duration: 9:08
- Published: 14 Feb 2012
- Updated: 25 Aug 2012
This video features two films from the Five Truths installation that focus on a Brechtian approach to the character of Ophelia. What are the differences between five of the most influential European theatre practitioners of the 20th century? How would these five directors work with the actress playing Ophelia in the famous mad scene in Shakespeare's Hamlet? What would they ask the actress to do and how would they ask the actress to behave? A video installation looking at these questions, called Five Truths and commissioned by the V&A in partnership with the National Theatre was created by a group of contemporary theatre makers lead by director Katie Mitchell. The multi-screen installation brings together five interpretations of Ophelia's madness in Hamlet. Ten screens of varying sizes simultaneously play films of Ophelia interpreted dramatically through the lens of Constantin Stanislavski, Antonin Artaud, Bertolt Brecht, Jerzy Grotowski and Peter Brook. Curated by Kate Bailey, created by director Katie Mitchell, video designer Leo Warner, set designer Vicki Mortimer, lighting designer Paule Constable and sound designer Gareth Fry, starring Michelle Terry as Ophelia. The Five Truths will appear at a number of venues in the UK in 2012 including the Howard Assembly Room at Opera North in Leeds, the Lowry, the V&A and the National Theatre. Discover more about the art of making theatre with the National Theatre: www.nationaltheatre.org.uk Bookshop: www.nationaltheatre.org.uk <b>...</b>
http://wn.com/Five_Truths_Bertolt_Brecht
Stanford Director Recalls Working with Bertolt Brecht
- Order: Reorder
- Duration: 1:43
- Published: 01 Apr 2010
- Updated: 16 Aug 2012
Avant-garde director Carl Weber, professor emeritus of directing and dramaturgy at Stanford, was Bertolt Brecht's protégé and brought Germany's experimental theater to Western Europe and America. He talks about his experiences. Stanford University: www.stanford.edu Stanford News: news.stanford.edu Stanford University Channel on YouTube: www.youtube.com
http://wn.com/Stanford_Director_Recalls_Working_with_Bertolt_Brecht
David Bowie Film "Bertolt Brecht's Baal" {1982}
- Order: Reorder
- Duration: 63:41
- Published: 12 Apr 2012
- Updated: 22 Aug 2012
"David Bowie" In The Film "Bertolt Brecht's Baal" {1982}
http://wn.com/David_Bowie_Film_Bertolt_Brecht's_Baal_1982_
![SOLIDARITÄTSLIED [Bertolt Brecht / Hanns Eisler: Kuhle Wampe]](http://web.archive.org./web/20120901213415im_/http://i.ytimg.com/vi/ldQX-MWJ44A/0.jpg "SOLIDARITÄTSLIED [Bertolt Brecht / Hanns Eisler: Kuhle Wampe]")
SOLIDARITÄTSLIED [Bertolt Brecht / Hanns Eisler: Kuhle Wampe]
- Order: Reorder
- Duration: 2:56
- Published: 22 Apr 2010
- Updated: 19 Jul 2012
Text and Music (c) 1931 by Bertolt Brecht and Hanns Eisler for the film Kuhle Wampe; Re-written by Brecht in 1949; Video (c) 2010 by S. Krueger
http://wn.com/SOLIDARITÄTSLIED_Bertolt_Brecht_Hanns_Eisler_Kuhle_Wampe_
BAAL BERTOLT BRECHT
- Order: Reorder
- Duration: 7:38
- Published: 07 Apr 2008
- Updated: 25 Apr 2012
This is a part of Brechts BAAL performed at badisches staatstheater karlsruhe in 2006 with CHRISTIAN SPRECHER, CLAUDIA FROST, STEFAN KREISSIG. Directed by ROBERT BESTA.
http://wn.com/BAAL_BERTOLT_BRECHT
Bertolt Brecht's Exception & The Rule
- Order: Reorder
- Duration: 10:26
- Published: 20 Aug 2006
- Updated: 20 May 2012
A filmed version of the Brecht play. Produced for a theatrical staging of 3 one acts with the Liminal and Catamount performance groups. The two "live ensembles" went first. My filmed version was the third and final piece. Great review here - escapedfromla.com - There were also some hilarious reviews from newspaper critics that I can only assume had never read Brecht. (or anything else that might not have been what it seemed on the surface) For example one of them took me seriously (and put it in print) when I said I'd never read the play. Perhaps not the best reviewer to send to an emotionally distancing teaching play brimming over with sarcasm and dry humor? Also, one of the more 'serious' thespians involved mentioned to me afterwards that I was hateful. I offered him a hug but he refused. I let it go without asking if he would prefer spooning on the floor. Just didn't seem like he was ready for me to reach out, if you know what I mean. Another actor has never spoken with me again. Walked past me so fast I couldn't even try the hug offer thingy. Might not of helped either. So perhaps we all reached the best outcome imaginable. Humor and sarcasm are not for everyone after all. I love this play. And it sincerely thrills me when people enjoy this interpretation of it.
http://wn.com/Bertolt_Brecht's_Exception_The_Rule
Bertolt Brecht
- Order: Reorder
- Duration: 1:41
- Published: 14 Sep 2009
- Updated: 12 Jul 2012
Bertolt Brecht
http://wn.com/Bertolt_Brecht
Whiskey Bar
- Order: Reorder
- Duration: 3:46
- Published: 16 Sep 2009
- Updated: 17 Aug 2012
A group of commissioned illustrations based on real life and also on classic erotic drawings. Music by Kurt Weill, Lyrics by Bertolt Brecht
http://wn.com/Whiskey_Bar
DER BILBAO SONG - Kurt Weill and Bertolt Brecht
- Order: Reorder
- Duration: 4:11
- Published: 05 Sep 2006
- Updated: 09 Aug 2012
Performed by SERVIO TULIO (vocals), GLAUCO BAPTISTA (piano), FÁBIO CAVALIERI (bass) and PAULO DINIZ (drums). Recorded live at the TRIBUTE TO BERTOLT BRECHT at the MAC - CONTEMPORARY ARTS MUSEUM OF NITERÓI - Riod e Janeiro 13 august 2006
http://wn.com/DER_BILBAO_SONG_Kurt_Weill_and_Bertolt_Brecht
Bertolt Brecht's BAAL a theatre play in Berlin of the 20s
- Order: Reorder
- Duration: 9:10
- Published: 15 Oct 2010
- Updated: 18 Feb 2012
Bertolt Brecht's BAAL a theatre play in Berlin of the 20s
http://wn.com/Bertolt_Brecht's_BAAL_a_theatre_play_in_Berlin_of_the_20s
Bertolt Brecht - Das Lied von der Unzulänglichkeit des menschlichen Strebens
- Order: Reorder
- Duration: 2:55
- Published: 29 Oct 2009
- Updated: 26 Aug 2012
Music: Kurt Weill Lyrics: Bertolt Brecht Sung by Bertolt Brecht Der Mensch lebt durch den Kopf der Kopf reicht ihm nicht aus versuch es nur; von deinem Kopf lebt höchstens eine Laus. Denn für dieses Leben ist der Mensch nicht schlau genug niemals merkt er eben jeden Lug und Trug. Ja; mach nur einen Plan sei nur ein großes Licht! Und mach dann noch´nen zweiten Plan gehn tun sie beide nicht. Denn für dieses Leben ist der Mensch nicht schlecht genug: doch sein höch´res Streben ist ein schöner Zug. Ja; renn nur nach dem Glück doch renne nicht zu sehr! Denn alle rennen nach dem Glück Das Glück rennt hinterher. Denn für dieses Leben ist der Mensch nicht anspruchslos genug drum ist all sein Streben nur ein Selbstbetrug. Der Mensch ist gar nicht gut drum hau ihn auf den Hut hast du ihn auf den Hut gehaut dann wird er vielleicht gut. Denn für dieses Leben ist der Mensch nicht gut genug darum haut ihn eben ruhig auf den Hut.
http://wn.com/Bertolt_Brecht_Das_Lied_von_der_Unzulänglichkeit_des_menschlichen_Strebens
Bertolt Brecht "An die Nachgeborenen" - Autorenlesung
- Order: Reorder
- Duration: 4:37
- Published: 02 Jul 2008
- Updated: 25 Aug 2012
Rezitation: Bertolt Brecht (Aufnahme 1953) Ein seltenes., sehr wertvolles Tondokument. Ich möchte hier wieder die Möglichkeit, geben neben den Eindrücken von Stimme, Text und Bild, noch eine Facette hinzufügen: die Möglichkeit des Vergleichens der Stimmen. Ich Danke dem Hörverlag ganz besonders für diese beeindruckende CD „Bertolt Brecht an die Nachgeborenen", zu bestellen in jeder Buchhandlung. Eine Investition in den eigenen Kopf deren Rendite in Prozentwerten nicht zu beschreiben ist. Rezitation von: Therese Giese (als Vergleichsmöglichkeit zur Stimmempfindung) de.youtube.com Text: Wirklich, ich lebe in finsteren Zeiten! Das arglose Wort ist töricht. Eine glatte Stirn Deutet auf Unempfindlichkeit hin. Der Lachende Hat die furchtbare Nachricht Nur noch nicht empfangen. Was sind das für Zeiten, wo Ein Gespräch über Bäume fast ein Verbrechen ist. Weil es ein Schweigen über so viele Untaten einschließt! Der dort ruhig über die Straße geht Ist wohl nicht mehr erreichbar für seine Freunde Die in Not sind? Es ist wahr: ich verdiene noch meinen Unterhalt Aber glaubt mir: das ist nur ein Zufall. Nichts Von dem, was ich tue, berechtigt mich dazu, mich sattzuessen. Zufällig bin ich verschont. (Wenn mein Glück aussetzt, bin ich verloren.) Man sagt mir: iß und trink du! Sei froh, daß du hast! Aber wie kann ich essen und trinken, wenn Ich dem Hungernden entreiße, was ich esse, und Mein Glas Wasser einem Verdurstenden fehlt? Und doch esse und trinke ich. Ich wäre gerne auch weise. In <b>...</b>
http://wn.com/Bertolt_Brecht_An_die_Nachgeborenen_Autorenlesung
Kurt Weill / Bertolt Brecht "The Yes Sayer" (1/4) - ברכט וייל האומר כן
- Order: Reorder
- Duration: 9:41
- Published: 19 Aug 2010
- Updated: 25 Aug 2012
Director Michal Grover Friedlander Doron Schleifer, Ofir Nahari, Taliya Dishon, Anat Czarny, Flaka Goranci Buchmann Mehta School of Music Tel Aviv
http://wn.com/Kurt_Weill_Bertolt_Brecht_The_Yes_Sayer_1_4_ברכט_וייל_האומר_כן
Pia Colombo - Surabaya Johnny (Kurt Weill, Bertolt Brecht)
- Order: Reorder
- Duration: 4:47
- Published: 07 Jul 2010
- Updated: 21 Aug 2012
1969. The french Pia Colombo sings my favorite rendition of "Surabaya Johnny" from Kurt Weill and Bertolt Brecht's "Happy End". Sounds a bit like what Piaf would have done with the song.
http://wn.com/Pia_Colombo_Surabaya_Johnny_Kurt_Weill,_Bertolt_Brecht
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Business Wire
BERKELEY, Calif.--(BUSINESS WIRE)--Today, Berkeley writer/director Sean Mitchell and production crew of the short film, Witness 11, begin production. Witness 11 is a narrative short film based on the testimony of renowned German poet and playwright, Bertolt Brecht, during the height of the 1940s Red...(size: 6.0Kb)
Bertolt. Brecht
21 Nov 2011
IMC
autore: jenny mito rockstar e passività acritica, B. Brecht sulla musica "progressiva". pubblicata da Giancarlo Staffo il giorno mercoledì 9 novembre 2011 alle ore 22.53 B. Brecht sulla musica “progressiva”: “Un semplice sguardo sull’uditorio di un concerto basta a convincere dell’impossibilità...(size: 13.9Kb)
The New York Times
Sonnabend Blog ArtsBeat The latest on the arts, coverage of live events, critical reviews, multimedia extravaganzas and much more. Join the discussion. More Arts News 536 West 22nd Street, Chelsea Through Oct. 29 “When the revolution comes,” declaims the toddler wearing Buddhist monk...(size: 6.7Kb)
The Examiner
Bertolt Brecht is beloved by theatre artists around the world. His plays and musicals are often knotty works of fierce intelligence -- and great theatrical flair. UALR tackles a Bretch masterpiece this weekend. Below are the details. *** UALR’s Department of Theatre Arts and Dance will present...(size: 2.1Kb)
Yahoo Daily News
LONDON (Reuters Life!) – A professor at Manchester University in Britain says he has uncovered the truth behind the death of German playwright Bertolt Brecht. Professor Stephen Parker, an expert on modern German literature, said the playwright died from an undiagnosed rheumatic fever which...(size: 3.1Kb)
BBC News
Brecht 's plays include Mother Courage and The Caucasian Chalk Circle Continue reading the main story Related stories Brecht's anniversary is being marked in Germany German playwright Bertolt Brecht may have died due to an undiagnosed childhood illness, new research claims. After looking through...(size: 2.1Kb)
The Examiner
It’s appropriate that Wayne State University Department of Theatre is presenting a student production of Bertolt Brecht's The Caucasian Chalk Circle at the historic Bonstelle Theatre. The play was written while Brecht was living in the United States, and its world premiere was as a student...(size: 2.4Kb)
The Independent
Bertolt Brecht is back at the National Theatre this season and Enron, Lucy Prebble's hit, has been lauded as Brechtian epic theatre. Enron restages high capitalist folly in a compelling performance which merges YouTube, art installation and musical theatre. If "epic" in intention, its sheer...(size: 4.3Kb)
"Brecht" redirects here. For other uses, see Brecht (disambiguation).
Bertolt Brecht (German: [ˈbɛɐ̯tɔlt ˈbʁɛçt] (
listen); born 
Eugen Berthold Friedrich Brecht (help·info); 10 February 1898 – 14 August 1956) was a German poet, playwright, and theatre director.
An influential theatre practitioner of the 20th century, Brecht made equally significant contributions to dramaturgy and theatrical production, the latter particularly through the seismic impact of the tours undertaken by the Berliner Ensemble – the post-war theatre company operated by Brecht and his wife, long-time collaborator and actress Helene Weigel.[3]
Contents |
Life and career[link]
Bavaria (1898–1924)[link]
Bertolt Brecht was born in Augsburg, Bavaria, (about 50 miles (80 km) north-west of Munich) to a conventionally-devout Protestant mother and a Catholic father (who had been persuaded to have a Protestant wedding). His father worked for a paper mill, becoming its managing director in 1914.[4] Thanks to his mother's influence, Brecht knew the Bible, a familiarity that would impact on his writing throughout his life. From her, too, came the "dangerous image of the self-denying woman" that recurs in his drama.[5] Brecht's home life was comfortably middle class, despite what his occasional attempt to claim peasant origins implied.[6] At school in Augsburg he met Caspar Neher, with whom he formed a lifelong creative partnership, Neher designing many of the sets for Brecht's dramas and helping to forge the distinctive visual iconography of their epic theatre.
When he was 16, the First World War broke out. Initially enthusiastic, Brecht soon changed his mind on seeing his classmates "swallowed by the army".[4] On his father's recommendation, Brecht sought a loophole by registering for an additional medical course at Munich University, where he enrolled in 1917.[7] There he studied drama with Arthur Kutscher, who inspired in the young Brecht an admiration for the iconoclastic dramatist and cabaret-star Wedekind.[8]
From July 1916, Brecht's newspaper articles began appearing under the new name "Bert Brecht" (his first theatre criticism for the Augsburger Volkswille appeared in October 1919).[9] Brecht was drafted into military service in the autumn of 1918, only to be posted back to Augsburg as a medical orderly in a military VD clinic; the war ended a month later.[4]
In July 1919, Brecht and Paula Banholzer (who had begun a relationship in 1917) had a son, Frank. In 1920 Brecht's mother died.[10]
File:MYSTERIES OF A BARBERSHOP VALENTIN W HEAD.jpg
Karl Valentin as the barber in Mysteries of a Barbershop (1923).
Some time in either 1920 or 1921, Brecht took a small part in the political cabaret of the Munich comedian Karl Valentin.[11] Brecht's diaries for the next few years record numerous visits to see Valentin perform.[12] Brecht compared Valentin to Chaplin, for his "virtually complete rejection of mimicry and cheap psychology". [13] Writing in his Messingkauf Dialogues years later, Brecht identified Valentin, along with Wedekind and Büchner, as his "chief influences" at that time:
- But the man he [Brecht writes of himself in the third person] learnt most from was the clown Valentin, who performed in a beer-hall. He did short sketches in which he played refractory employees, orchestral musicians or photographers, who hated their employers and made them look ridiculous. The employer was played by his partner, a popular woman comedian who used to pad herself out and speak in a deep bass voice.[14]
Brecht's first full-length play, Baal (written 1918), arose in response to an argument in one of Kutscher's drama seminars, initiating a trend that persisted throughout his career of creative activity that was generated by a desire to counter another work (both others' and his own, as his many adaptations and re-writes attest). "Anyone can be creative," he quipped, "it's rewriting other people that's a challenge."[15] Brecht completed his second major play, Drums in the Night, in February 1919.
In 1922 while still living in Munich, Brecht came to the attention of an influential Berlin critic, Herbert Ihering: "At 24 the writer Bert Brecht has changed Germany's literary complexion overnight"—he enthused in his review of Brecht's first play to be produced, Drums in the Night—"[he] has given our time a new tone, a new melody, a new vision. [...] It is a language you can feel on your tongue, in your gums, your ear, your spinal column."[16] In November it was announced that Brecht had been awarded the prestigious Kleist Prize (intended for unestablished writers and probably Germany's most significant literary award, until it was abolished in 1932) for his first three plays (Baal, Drums in the Night, and In the Jungle, although at that point only Drums had been produced).[17] The citation for the award insisted that:
File:RIVERSIDE EDWARD POSTER 20.jpg
Poster for the Riverside Shakespeare Company's production of Brecht and Lion Feuchtwanger's Edward II. New York City, 1982.
- "[Brecht's] language is vivid without being deliberately poetic, symbolical without being over literary. Brecht is a dramatist because his language is felt physically and in the round."[18]
That year he married the Viennese opera-singer Marianne Zoff. Their daughter—Hanne Hiob (1923–2009)—was a successful German actress.[4]
In 1923, Brecht wrote a scenario for what was to become a short slapstick film, Mysteries of a Barbershop, directed by Erich Engel and starring Karl Valentin.[19] Despite a lack of success at the time, its experimental inventiveness and the subsequent success of many of its contributors have meant that it is now considered one of the most important films in German film history.[20] In May of that year, Brecht's In the Jungle premiered in Munich, also directed by Engel. Opening night proved to be a "scandal"—a phenomenon that would characterize many of his later productions during the Weimar Republic—in which Nazis blew whistles and threw stink bombs at the actors on the stage.[12]
In 1924 Brecht worked with the novelist and playwright Lion Feuchtwanger (whom he had met in 1919) on an adaptation of Christopher Marlowe's Edward II that proved to be a milestone in Brecht's early theatrical and dramaturgical development.[21] Brecht's Edward II constituted his first attempt at collaborative writing and was the first of many classic texts he was to adapt. As his first solo directorial début, he later credited it as the germ of his conception of "epic theatre".[22] That September, a job as assistant dramaturg at Max Reinhardt's Deutsches Theater—at the time one of the leading three or four theatres in the world—brought him to Berlin.[23]
Weimar Republic Berlin (1925–33)[link]
In 1923 Brecht's marriage to Zoff began to break down (though they did not divorce until 1927).[24] Brecht had become involved with both Elisabeth Hauptmann and Helene Weigel.[25] Brecht and Weigel's son, Stefan, was born in October 1924.[26]
In his role as dramaturg, Brecht had much to stimulate him but little work of his own.[27] Reinhardt staged Shaw's Saint Joan, Goldoni's Servant of Two Masters (with the improvisational approach of the commedia dell'arte in which the actors chatted with the prompter about their roles), and Pirandello's Six Characters in Search of an Author in his group of Berlin theatres.[28] A new version of Brecht's third play, now entitled Jungle: Decline of a Family, opened at the Deutsches Theater in October 1924, but was not a success.[29]
| In the asphalt city I'm at home. From the very start |
| Provided with every last sacrament: |
| With newspapers. And tobacco. And brandy |
| To the end mistrustful, lazy and content. |
| Bertolt Brecht, "Of Poor BB". |
At this time Brecht revised his important "transitional poem", "Of Poor BB".[30] In 1925, his publishers provided him with Elisabeth Hauptmann as an assistant for the completion of his collection of poems, Devotions for the Home (Hauspostille, eventually published in January 1927). She continued to work with him after the publisher's commission ran out.[31]
In 1925 in Mannheim the artistic exhibition Neue Sachlichkeit ("new objectivity") had given its name to the new post-Expressionist movement in the German arts. With little to do at the Deutsches Theater, Brecht began to develop his Man Equals Man project, which was to become the first product of "the 'Brecht collective'—that shifting group of friends and collaborators on whom he henceforward depended."[32] This collaborative approach to artistic production, together with aspects of Brecht's writing and style of theatrical production, mark Brecht's work from this period as part of the Neue Sachlichkeit movement.[33] The collective's work "mirrored the artistic climate of the middle 1920s," Willett and Manheim argue:
with their attitude of 'Neue Sachlichkeit' (or New Matter-of-Factness), their stressing of the collectivity and downplaying of the individual, and their new cult of Anglo-Saxon imagery and sport. Together the "collective" would go to fights, not only absorbing their terminology and ethos (which permeates Man Equals Man) but also drawing those conclusions for the theatre as a whole which Brecht set down in his theoretical essay "Emphasis on Sport" and tried to realise by means of the harsh lighting, the boxing-ring stage and other anti-illusionistic devices that henceforward appeared in his own productions.[34]
In 1925, Brecht also saw two films that had a significant influence on him: Chaplin's The Gold Rush and Eisenstein's Battleship Potemkin.[35] Brecht had compared Valentin to Chaplin, and the two of them provided models for Galy Gay in Man Equals Man.[36] Brecht later wrote that Chaplin "would in many ways come closer to the epic than to the dramatic theatre's requirements."[37] They met several times during Brecht's time in the United States, and discussed Chaplin's Monsieur Verdoux project, which it is possible Brecht influenced.[38]
In 1926 a series of short stories was published under Brecht's name, though Hauptmann was closely associated with writing them.[39] Following the production of Man Equals Man in Darmstadt that year, Brecht began studying Marxism and socialism in earnest, under the supervision of Hauptmann.[40] "When I read Marx's Capital", a note by Brecht reveals, "I understood my plays." Marx was, it continues, "the only spectator for my plays I'd ever come across."[41]
| For us, man portrayed on the stage is significant as a social function. It is not his relationship to himself, nor his relationship to God, but his relationship to society which is central. Whenever he appears, his class or social stratum appears with him. His moral, spiritual or sexual conflicts are conflicts with society. |
| Erwin Piscator, 1929.[42] |
In 1927 Brecht became part of the "dramaturgical collective" of Erwin Piscator's first company, which was designed to tackle the problem of finding new plays for its "epic, political, confrontational, documentary theatre".[43] Brecht collaborated with Piscator during the period of the latter's landmark productions, Hoppla, We're Alive! by Toller, Rasputin, The Adventures of the Good Soldier Schweik, and Konjunktur by Lania.[44] Brecht's most significant contribution was to the adaptation of the unfinished episodic comic novel Schweik, which he later described as a "montage from the novel".[45] The Piscator productions influenced Brecht's ideas about staging and design, and alerted him to the radical potentials offered to the "epic" playwright by the development of stage technology (particularly projections).[46] What Brecht took from Piscator "is fairly plain, and he acknowledged it" Willett suggests:
The emphasis on Reason and didacticism, the sense that the new subject matter demanded a new dramatic form, the use of songs to interrupt and comment: all these are found in his notes and essays of the 1920s, and he bolstered them by citing such Piscatorial examples as the step-by-step narrative technique of Schweik and the oil interests handled in Konjunktur ('Petroleum resists the five-act form').[47]
Brecht was struggling at the time with the question of how to dramatize the complex economic relationships of modern capitalism in his unfinished project Joe P. Fleischhacker (which Piscator's theatre announced in its programme for the 1927–28 season). It wasn't until his Saint Joan of the Stockyards (written between 1929–1931) that Brecht solved it.[48] In 1928 he discussed with Piscator plans to stage Shakespeare's Julius Caesar and Brecht's own Drums in the Night, but the productions did not materialize.[49]
1927 also saw the first collaboration between Brecht and the young composer Kurt Weill.[50] Together they began to develop Brecht's Mahagonny project, along thematic lines of the biblical Cities of the Plain but rendered in terms of the Neue Sachlichkeit's Amerikanismus, which had informed Brecht's previous work.[51] They produced The Little Mahagonny for a music festival in July, as what Weill called a "stylistic exercise" in preparation for the large-scale piece. From that point on Caspar Neher became an integral part of the collaborative effort, with words, music and visuals conceived in relation to one another from the start.[52] The model for their mutual articulation lay in Brecht's newly-formulated principle of the "separation of the elements", which he first outlined in "The Modern Theatre is the Epic Theatre" (1930). The principle, a variety of montage, proposed by-passing the "great struggle for supremacy between words, music and production" as Brecht put it, by showing each as self-contained, independent works of art that adopt attitudes towards one another.[53]
_1988,_MiNr_Block_091.jpg)
In 1930 Brecht married Weigel; their daughter Barbara Brecht was born soon after the wedding.[54] She also became an actress and currently holds the copyrights to all of Brecht's work.
Brecht formed a writing collective which became prolific and very influential. Elisabeth Hauptmann, Margarete Steffin, Emil Burri, Ruth Berlau and others worked with Brecht and produced the multiple teaching plays, which attempted to create a new dramaturgy for participants rather than passive audiences. These addressed themselves to the massive worker arts organisation that existed in Germany and Austria in the 1920s. So did Brecht's first great play, Saint Joan of the Stockyards, which attempted to portray the drama in financial transactions.
This collective adapted John Gay's The Beggar's Opera, with Brecht's lyrics set to music by Kurt Weill. Retitled The Threepenny Opera (Die Dreigroschenoper) it was the biggest hit in Berlin of the 1920s and a renewing influence on the musical worldwide. One of its most famous lines underscored the hypocrisy of conventional morality imposed by the Church, working in conjunction with the established order, in the face of working-class hunger and deprivation:
|
|
The success of The Threepenny Opera was followed by the quickly thrown together Happy End. It was a personal and a commercial failure. At the time the book was purported to be by the mysterious Dorothy Lane (now known to be Elisabeth Hauptmann, Brecht's secretary and close collaborator). Brecht only claimed authorship of the song texts. Brecht would later use elements of Happy End as the germ for his Saint Joan of the Stockyards, a play that would never see the stage in Brecht's lifetime. Happy End's score by Weill produced many Brecht/Weill hits like "Der Bilbao-Song" and "Surabaya-Jonny".
The masterpiece of the Brecht/Weill collaborations, Rise and Fall of the City of Mahagonny (Aufstieg und Fall der Stadt Mahagonny), caused an uproar when it premiered in 1930 in Leipzig, with Nazis in the audience protesting. The Mahagonny opera would premier later in Berlin in 1931 as a triumphant sensation.
Brecht spent his last years in the Weimar-era Berlin (1930–1933) working with his "collective" on the Lehrstücke. These were a group of plays driven by morals, music and Brecht's budding epic theatre. The Lehrstücke often aimed at educating workers on Socialist issues. The Measures Taken (Die Massnahme) was scored by Hanns Eisler. In addition, Brecht worked on a script for a semi-documentary feature film about the human impact of mass unemployment, Kuhle Wampe (1932), which was directed by Slatan Dudow. This striking film is notable for its subversive humour, outstanding cinematography by Günther Krampf, and Hanns Eisler's dynamic musical contribution. It still provides a vivid insight into Berlin during the last years of the Weimar Republic. The so-called "Westend Berlin Scene" in the 1930 was an important influencing factor on Brecht, playing in a milieu around Ulmenallee in Westend with artists like Richard Strauss, Marlene Dietrich and Herbert Ihering.[citation needed]
By February 1933, Brecht’s work was eclipsed by the rise of Nazi rule in Germany. (Brecht would also have his work challenged again in later life by the U.S. House Un-American Activities Committee (HUAC), which believed he was under the influence of communism.[55])
Nazi Germany and World War II (1933–1945)[link]
Unhappy the land where heroes are needed.
Fearing persecution, Brecht left Germany in February 1933, when Hitler took power. After brief spells in Prague, Zurich and Paris he and Weigel accepted an invitation from journalist and author Karin Michaelis to move to Denmark where they settled in a house in Svendborg on the island of Funen. This became the residence of the Brecht family for the next six years, where they often received guests including Walter Benjamin, Hanns Eisler and Ruth Berlau. During this period Brecht also travelled frequently to Copenhagen, Paris, Moscow, New York and London for various projects and collaborations.
When war seemed imminent in April 1939, he moved to Stockholm, Sweden, where he remained for a year.[1] Then Hitler invaded Norway and Denmark, and Brecht was forced to leave Sweden for Helsinki in Finland where he waited for his visa for the United States until 3 May 1941.[1]
During the war years, Brecht became a prominent writer of the Exilliteratur.[56][56] He expressed his opposition to the National Socialist and Fascist movements in his most famous plays: Life of Galileo, Mother Courage and Her Children, The Good Person of Szechwan, The Resistible Rise of Arturo Ui, The Caucasian Chalk Circle, Fear and Misery of the Third Reich, and many others.
Brecht also wrote the screenplay for the Fritz Lang-directed film Hangmen Also Die! which was loosely based on the 1942 assassination of Reinhard Heydrich, the Nazi Reich Protector of German-occupied Prague, number-two man in the SS, and a chief architect of the Holocaust, who was known as "The Hangman of Prague."[1] It was Brecht's only script for a Hollywood film: the money he earned from the project enabled him to write The Visions of Simone Machard, Schweik in the Second World War and an adaptation of Webster's The Duchess of Malfi. Hanns Eisler was nominated for an Academy Award for his musical score. The collaboration of three prominent refugees from Nazi Germany –Lang, Brecht and Eisler – is an example of the influence this generation of German exiles had in American culture.
Cold War and final years in East Germany (1945–1956)[link]
In the years of the Cold War and "Red Scare", Brecht was blacklisted by movie studio bosses and interrogated by the House Un-American Activities Committee. Along with about 41 other Hollywood writers, directors, actors and producers, he was subpoenaed to appear before the HUAC in September 1947. Although he was one of 19 witnesses who declared that they would refuse to appear, Brecht eventually decided to testify. He later explained that he had followed the advice of attorneys and had not wanted to delay a planned trip to Europe. Dressed in overalls and smoking an acrid cigar that made some of the committee members feel slightly ill, on 30 October 1947 Brecht testified that he had never been a member of the Communist Party.[55] He made wry jokes throughout the proceedings, punctuating his inability to speak English well with continuous references to the translators present, who transformed his German statements into English ones unintelligible to himself. HUAC Vice Chairman Karl Mundt thanked Brecht for his co-operation. The remaining witnesses, the so called Hollywood Ten, refused to testify and were cited for contempt. Brecht's decision to appear before the committee led to criticism, including accusations of betrayal. The day after his testimony, on 31 October, Brecht returned to Europe.
In Chur in Switzerland, Brecht staged an adaptation of Sophocles' Antigone, based on a translation by Hölderlin. It was published under the title Antigonemodell 1948, accompanied by an essay on the importance of creating a "non-Aristotelian" form of theatre. An offer of his own theatre (completed in 1954) and theatre company (the Berliner Ensemble) encouraged Brecht to return to Berlin in 1949. He retained his Austrian nationality (granted in 1950) and overseas bank accounts from which he received valuable hard currency remittances. The copyrights on his writings were held by a Swiss company.[57] At the time he drove a pre-war DKW car—a rare luxury in the austere divided capital.
Though he was never a member of the Communist Party, Brecht had been deeply schooled in Marxism by the dissident communist Karl Korsch. Korsch's version of the Marxist dialectic influenced Brecht greatly, both his aesthetic theory and theatrical practice. Brecht received the Stalin Peace Prize in 1954.
Brecht wrote very few plays in his final years in East Berlin, none of them as famous as his previous works. He dedicated himself to directing plays and developing the talents of the next generation of young directors and dramaturgs, such as Manfred Wekwerth, Benno Besson and Carl Weber. Some of his most famous poems, including the "Buckow Elegies", were written at this time.
At first Brecht supported the measures taken by the East German government against the Uprising of 1953 in East Germany, which included the use of Soviet military force. In a letter from the day of the uprising to SED First Secretary Walter Ulbricht, Brecht wrote that: "History will pay its respects to the revolutionary impatience of the Socialist Unity Party of Germany. The great discussion [exchange] with the masses about the speed of socialist construction will lead to a viewing and safeguarding of the socialist achievements. At this moment I must assure you of my allegiance to the Socialist Unity Party of Germany."[58]
File:Brechtgrave.jpg
Graves of Helene Weigel and Bertolt Brecht in the Dorotheenstadt cemetery
Brecht's subsequent commentary on those events, however, offered a different assessment—in one of the poems in the Elegies, "Die Lösung" (The Solution), Brecht writes:
-
<poem> After the uprising of the 17th of June The Secretary of the Writers Union Had leaflets distributed in the Stalinallee Stating that the people Had forfeited the confidence of the government And could win it back only By redoubled efforts. Would it not be easier In that case for the government To dissolve the people And elect another?[59]</poem>
Death[link]
Brecht died on 14 August 1956 of a heart attack at the age of 58. He is buried in the Dorotheenstädtischer cemetery on Chausseestraße in the Mitte neighbourhood of Berlin, overlooked by the residence he shared with Helene Weigel.
Theory and practice of theatre[link]
From his late twenties Brecht remained a lifelong committed Marxist who, in developing the combined theory and practice of his "epic theatre", synthesized and extended the experiments of Erwin Piscator and Vsevolod Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism.
Epic Theatre proposed that a play should not cause the spectator to identify emotionally with the characters or action before him or her, but should instead provoke rational self-reflection and a critical view of the action on the stage. Brecht thought that the experience of a climactic catharsis of emotion left an audience complacent. Instead, he wanted his audiences to adopt a critical perspective in order to recognise social injustice and exploitation and to be moved to go forth from the theatre and effect change in the world outside. For this purpose, Brecht employed the use of techniques that remind the spectator that the play is a representation of reality and not reality itself. By highlighting the constructed nature of the theatrical event, Brecht hoped to communicate that the audience's reality was equally constructed and, as such, was changeable.
Brecht's modernist concern with drama-as-a-medium led to his refinement of the "epic form" of the drama. This dramatic form is related to similar modernist innovations in other arts, including the strategy of divergent chapters in James Joyce's novel Ulysses, Sergei Eisenstein's evolution of a constructivist "montage" in the cinema, and Picasso's introduction of cubist "collage" in the visual arts.[60]
One of Brecht's most important principles was what he called the Verfremdungseffekt (translated as "defamiliarization effect", "distancing effect", or "estrangement effect", and often mistranslated as "alienation effect").[61] This involved, Brecht wrote, "stripping the event of its self-evident, familiar, obvious quality and creating a sense of astonishment and curiosity about them".[62] To this end, Brecht employed techniques such as the actor's direct address to the audience, harsh and bright stage lighting, the use of songs to interrupt the action, explanatory placards, and, in rehearsals, the transposition of text to the third person or past tense, and speaking the stage directions out loud.[63]
In contrast to many other avant-garde approaches, however, Brecht had no desire to destroy art as an institution; rather, he hoped to "re-function" the theatre to a new social use. In this regard he was a vital participant in the aesthetic debates of his era—particularly over the "high art/popular culture" dichotomy—vying with the likes of Adorno, Lukács, Ernst Bloch, and developing a close friendship with Benjamin. Brechtian theatre articulated popular themes and forms with avant-garde formal experimentation to create a modernist realism that stood in sharp contrast both to its psychological and socialist varieties. "Brecht's work is the most important and original in European drama since Ibsen and Strindberg," Raymond Williams argues, while Peter Bürger dubs him "the most important materialist writer of our time."[64]
Brecht was also influenced by Chinese theatre, and used its aesthetic as an argument for Verfremdungseffekt. Brecht believed, "Traditional Chinese acting also knows the alienation effect, and applies it most subtly.[65]... The [Chinese] performer portrays incidents of utmost passion, but without his delivery becoming heated." [66] Brecht attended a Chinese opera performance and was introduced to the famous Chinese opera performer Mei LanFang in 1935.[67] However, Brecht was sure to distinguish between Epic and Chinese theatre. He recognized that the Chinese style was not a "transportable piece of technique," [68] and that Epic theatre sought to historicize and address social and political issues.[69]
Impact[link]
Brecht left the Berliner Ensemble to his wife, the actress Helene Weigel, which she ran until her death in 1971. Perhaps the most famous German touring theatre of the postwar era, it was primarily devoted to performing Brecht's plays. His son, Stefan Brecht, became a poet and theatre critic interested in New York's avant-garde theatre. Brecht has been a controversial figure in Germany, and in his native city of Augsburg there were objections to creating a birthplace museum. By the 1970s, however, Brecht's plays had surpassed Shakespeare's in the number of annual performances in Germany.
There are few areas of modern theatrical culture that have not felt the impact or influence of Brecht's ideas and practices; dramatists and directors in whom one may trace a clear Brechtian legacy include: Dario Fo, Augusto Boal, Joan Littlewood, Peter Brook, Peter Weiss, Heiner Müller, Pina Bausch, Tony Kushner, Robert Bolt and Caryl Churchill.
In addition to the theatre, Brechtian theories and techniques have exerted considerable sway over certain strands of film theory and cinematic practice; Brecht's influence may be detected in the films of Jean-Luc Godard, Lindsay Anderson, Rainer Werner Fassbinder, Joseph Losey, Nagisa Oshima, Ritwik Ghatak, Lars von Trier, Jan Bucquoy and Hal Hartley.[70][71]
Brecht in fiction[link]
- In the 1930 novel Success, Brecht's mentor Lion Feuchtwanger immortalized Brecht as the character Kaspar Pröckl.
- In the 2006 film The Lives of Others, a Stasi agent is partially inspired to save a playwright he has been spying on by reading a book of Brecht poetry that he had stolen from the artist's apartment.
- Brecht at Night by Mati Unt, transl. Eric Dickens (Dalkey Archive Press, 2009)
Collaborators and associates[link]
Collective and collaborative working methods were inherent to Brecht's approach, as Fredric Jameson (among others) stresses. Jameson describes the creator of the work not as Brecht the individual, but rather as 'Brecht': a collective subject that "certainly seemed to have a distinctive style (the one we now call 'Brechtian') but was no longer personal in the bourgeois or individualistic sense." During the course of his career, Brecht sustained many long-lasting creative relationships with other writers, composers, scenographers, directors, dramaturgs and actors; the list includes: Elisabeth Hauptmann, Margarete Steffin, Ruth Berlau, Slatan Dudow, Kurt Weill, Hanns Eisler, Paul Dessau, Caspar Neher, Teo Otto, Karl von Appen, Ernst Busch, Lotte Lenya, Peter Lorre, Therese Giehse, Angelika Hurwicz, Carola Neher and Helene Weigel herself. This is "theatre as collective experiment [...] as something radically different from theatre as expression or as experience."[72]
List of collaborators and associates[link]
Works[link]
Plays[link]
Entries show: English-language translation of title (German-language title) [year written] / [year first produced][73]
- Baal 1918/1923
- Drums in the Night (Trommeln in der Nacht) 1918–20/1922
- The Beggar (Der Bettler oder Der tote Hund) 1919/?
- A Respectable Wedding (Die Kleinbürgerhochzeit) 1919/1926
- Driving Out a Devil (Er treibt einen Teufel aus) 1919/?
- Lux in Tenebris 1919/?
- The Catch (Der Fischzug) 1919?/?
- Mysteries of a Barbershop (Mysterien eines Friseursalons) (screenplay) 1923
- In the Jungle of Cities (Im Dickicht der Städte) 1921–24/1923
- The Life of Edward II of England (Leben Eduards des Zweiten von England) 1924/1924
- Downfall of the Egotist Johann Fatzer (Der Untergang des Egoisten Johnann Fatzer) (fragments) 1926–30/1974
- Man Equals Man (Mann ist Mann) 1924–26/1926
- The Elephant Calf (Das Elefantenkalb) 1924–26/1926
- Little Mahagonny (Mahagonny-Songspiel) 1927/1927
- The Threepenny Opera (Die Dreigroschenoper) 1928/1928
- The Flight across the Ocean (Der Ozeanflug); originally Lindbergh's Flight (Lindberghflug) 1928–29/1929
- The Baden-Baden Lesson on Consent (Badener Lehrstück vom Einverständnis) 1929/1929
- Happy End (Happy End) 1929/1929
- The Rise and Fall of the City of Mahagonny (Aufstieg und Fall der Stadt Mahagonny) 1927–29/1930
- He Said Yes / He Said No (Der Jasager; Der Neinsager) 1929–30/1930–?
- The Decision (Die Maßnahme) 1930/1930
- Saint Joan of the Stockyards (Die heilige Johanna der Schlachthöfe) 1929–31/1959
- The Exception and the Rule (Die Ausnahme und die Regel) 1930/1938
- The Mother (Die Mutter) 1930–31/1932
- Kuhle Wampe (screenplay) 1931/1932
- The Seven Deadly Sins (Die sieben Todsünden der Kleinbürger) 1933/1933
- Round Heads and Pointed Heads (Die Rundköpfe und die Spitzköpfe) 1931–34/1936
- The Horatians and the Curiatians (Die Horatier und die Kuriatier) 1933–34/1958
- Fear and Misery of the Third Reich (Furcht und Elend des Dritten Reiches) 1935–38/1938
- Señora Carrar's Rifles (Die Gewehre der Frau Carrar) 1937/1937
- Life of Galileo (Leben des Galilei) 1937–39/1943
- How Much Is Your Iron? (Was kostet das Eisen?) 1939/1939
- Dansen (Dansen) 1939/?
- Mother Courage and Her Children (Mutter Courage und ihre Kinder) 1938–39/1941
- The Trial of Lucullus (Das Verhör des Lukullus) 1938–39/1940
- Mr Puntila and his Man Matti (Herr Puntila und sein Knecht Matti) 1940/1948
- The Good Person of Szechwan (Der gute Mensch von Sezuan) 1939–42/1943
- The Resistible Rise of Arturo Ui (Der aufhaltsame Aufstieg des Arturo Ui) 1941/1958
- Hangmen Also Die! (screenplay) 1942/1943
- The Visions of Simone Machard (Die Gesichte der Simone Machard ) 1942–43/1957
- The Duchess of Malfi 1943/1943
- Schweik in the Second World War (Schweyk im Zweiten Weltkrieg) 1941–43/1957
- The Caucasian Chalk Circle (Der kaukasische Kreidekreis) 1943–45/1948
- Antigone (Die Antigone des Sophokles) 1947/1948
- The Days of the Commune (Die Tage der Commune) 1948–49/1956
- The Tutor (Der Hofmeister) 1950/1950
- The Condemnation of Lucullus (Die Verurteilung des Lukullus) 1938–39/1951
- Report from Herrnburg (Herrnburger Bericht) 1951/1951
- Coriolanus (Coriolan) 1951–53/1962
- The Trial of Joan of Arc of Proven, 1431 (Der Prozess der Jeanne D'Arc zu Rouen, 1431) 1952/1952
- Turandot (Turandot oder Der Kongreß der Weißwäscher) 1953–54/1969
- Don Juan (Don Juan) 1952/1954
- Trumpets and Drums (Pauken und Trompeten) 1955/1955
Fiction[link]
- Stories of Mr. Keuner (Geschichten vom Herrn Keuner)
Theoretical works[link]
- The Modern Theatre is the Epic Theatre (1930)
- The Threepenny Lawsuit (Der Dreigroschenprozess) (written 1931; published 1932)
- The Book of Changes (fragment also known as Me-Ti; written 1935–1939)
- The Street Scene (written 1938; published 1950)
- The Popular and the Realistic (written 1938; published 1958)
- Short Description of a New Technique of Acting which Produces an Alienation Effect (written 1940; published 1951)
- A Short Organum for the Theatre ("Kleines Organon für das Theater", written 1948; published 1949)
- The Messingkauf Dialogues (Dialogue aus dem Messingkauf, published 1963)
Notes[link]
- ^ a b c d Brecht Chronology, International Brecht Society
- ^ Davies 2009
- ^ The introduction of this article draws on the following sources: Banham (1998, 129); Bürger (1984, 87–92); Jameson (1998, 43–58); Kolocotroni, Goldman and Taxidou (1998, 465–466); Williams (1993, 277–290); Wright (1989, 68–89; 113–137).
- ^ a b c d Thomson (1994).
- ^ Thomson (1994, 22–23). See also Smith (1991).
- ^ See Brecht's poem "Of Poor B.B." (first version, 1922), in Brecht (2000b, 107–108).
- ^ Thomson (1994, 24) and Sacks (xvii).
- ^ Thomson (1994, 24). In his Messingkauf Dialogues, Brecht cites Wedekind, along with Büchner and Valentin, as his "chief influences" in his early years: "he," Brecht writes of himself in the third person, "also saw the writer Wedekind performing his own works in a style which he had developed in cabaret. Wedekind had worked as a ballad singer; he accompanied himself on the lute." (1965, 69). Kutscher was "bitterly critical" of Brecht's own early dramatic writings (Willet and Manheim 1970, vii).
- ^ Thomson (1994, 24) and Willett (1967, 17).
- ^ Willett and Manheim (1970, vii).
- ^ Sacks (1994, xx) and McDowell (1977).
- ^ a b McDowell (2000).
- ^ Willett and Manheim 1970, x.
- ^ Brecht (1965, 69–70).
- ^ Quoted in Thomson (1994, 25).
- ^ Herbert Ihering's review for Drums in the Night in the Berliner Börsen-Courier on the 5 October 1922. Quoted in Willett and Manheim (1970, viii–ix).
- ^ See Thomson and Sacks (1994, 50) and Willett and Manheim (1970, viii–ix).
- ^ Herbert Ihering, quoted in Willett and Manheim (1970, ix).
- ^ McDowell (1977).
- ^ Culbert (1995).
- ^ Thomson (1994, 26–27), Meech (1994, 54–55).
- ^ Meech (1994, 54–55) and Benjamin (1983, 115). See the article on Edward II for details of Brecht's germinal 'epic' ideas and techniques in this production.
- ^ Brecht was recommended for the job by Erich Engel; Carl Zuckmayer was to join Brecht in the position. See Sacks (1994, xviii), Willett (1967, 145), and Willett and Manheim (1970, vii).
- ^ Ewen (1967, 159) and Völker (1976, 65).
- ^ Thomson (1994, 28).
- ^ Hayman (104) and Völker (1976, 108).
- ^ According to Willett, Brecht was disgruntled with the Deutsches Theater at not being given a Shakespeare production to direct. At the end of the 1924–1925 season, both his and Carl Zuckmayer's (his fellow dramaturg) contracts were not renewed. (Willett 1967, 145). Zuckmayer relates how: "Brecht seldom turned up there; with his flapping leather jacket he looked like a cross between a lorry driver and a Jesuit seminarist. Roughly speaking, what he wanted was to take over complete control; the season's programme must be regulated entirely according to his theories, and the stage be rechristened 'epic smoke theatre', it being his view that people might actually be disposed to think if they were allowed to smoke at the same time. As this was refused him he confined himself to coming and drawing his pay." (Quoted by Willett 1967, 145).
- ^ Willett (1967, 145).
- ^ Willett and Manheim (1979, viii).
- ^ Willett and Manheim point to the significance of this poem as a marker of the shift in Brecht's work towards "a much more urban, industrialized flavour" (1979, viii).
- ^ Willett and Manheim (1979, viii, x).
- ^ Willett and Manheim (1979, viii); Joel Schechter writes: "The subjugation of an individual to that of a collective was endorsed by the affirmations of comedy, and by the decision of the coauthors of Man is Man (Emil Burri, Slatan Dudow, Caspar Neher, Bernhard Reich, Elisabeth Hauptmann) to call themselves 'The Brecht Collective'." (1994, 74).
- ^ Willett (1978).
- ^ Willett and Manheim (1979, viii–ix).
- ^ Willett and Manheim (1979, xxxiii).
- ^ Schechter (1994, 68).
- ^ Brecht (1964, 56).
- ^ Schechter (1994, 72).
- ^ Sacks (1994, xviii).
- ^ Thomson (1994, 28–29).
- ^ Brecht (1964, 23–24).
- ^ Erwin Piscator, "Basic Principles of a Sociological Drama" in Kolocotroni, Goldman and Taxidou (1998, 243).
- ^ Willett (1998, 103) and (1978, 72). In his book The Political Theatre, Piscator wrote: "Perhaps my whole style of directing is a direct result of the total lack of suitable plays. It would certainly not have taken so dominant form if adequate plays had been on hand when I started" (1929, 185).
- ^ Willett (1978, 74).
- ^ See Brecht's Journal entry for 24 June 1943. Brecht claimed to have written the adaptation (in his Journal entry), but Piscator contested that; the manuscript bears the names "Brecht, Gasbarra, Piscator, G. Grosz" in Brecht's handwriting (Willett 1978, 110). See also Willett (1978, 90–95). Brecht wrote a sequel to the novel in 1943, Schweik in the Second World War.
- ^ Willett (1998, 104). In relation to his innovations in the use of theatre technology, Piscator wrote: "technical innovations were never an end in themselves for me. Any means I have used or am currently in the process of using were designed to elevate the events on the stage onto a historical plane and not just to enlarge the technical range of the stage machinery. This elevation, which was inextricably bound up with the use of Marxist dialectics in the theatre, had not been achieved by the plays themselves. My technical devices had been developed to cover up the deficiencies of the dramatists' products" ("Basic Principles of a Sociological Drama" [1929]; in Kolocotroni, Goldman and Taxidou [1998, 243]).
- ^ Willett (1978, 109–110). The similarities between Brecht's and Piscator's theoretical formulations from the time indicate that the two agreed on fundamentals; compare Piscator's summation of the achievements of his first company (1929), which follows, with Brecht's Mahagonny Notes (1930): "In lieu of private themes we had generalisation, in lieu of what was special the typical, in lieu of accident causality. Decorativeness gave way to constructedness, Reason was put on a par with Emotion, while sensuality was replaced by didacticism and fantasy by documentary reality." From a speech given by Piscator on 25 March 1929, and reproduced in Schriften 2 p. 50; Quoted by Willett (1978, 107). See also Willett (1998, 104–105).
- ^ Willett (1998, 104–105).
- ^ Willett (1978, 76).
- ^ The two first met in March 1927, after Weill had written a critical introduction to the broadcast on Berlin Radio of an adaptation of Brecht's Man Equals Man. When they met, Brecht was 29 years old and Weill was 27. Brecht had experience of writing songs and had performed his own with tunes he had composed; at the time he was also married to an opera singer (Zoff). Weill had collaborated with Georg Kaiser, one of the few Expressionist playwrights that Brecht admired; he was married to the actress Lotte Lenya. Willett and Manheim (1979, xv).
- ^ Willet and Manheim (1979, xv–xviii). In Munich in 1924 Brecht had begun referring to some of the stranger aspects of life in post-putsch Bavaria under the codename "Mahagonny". The Amerikanismus imagery appears in his first three "Mahagonny Songs", with their Wild West references. With that, however, the project stalled for two and a half years. With Hauptmann, who wrote the two English-language "Mahagonny Songs", Brecht had begun work on an opera to be called Sodom and Gomorrah or The Man from Manhattan and a radio play called The Flood or 'The Collapse of Miami, the Paradise City', both of which came to underlie the new scheme with Weill. See Willett and Manheim (1979, xv–xvi). The influence of Amerikanismus is most clearly discernible in Brecht's In the Jungle of Cities.
- ^ In this respect, the creative process for Mahagonny was quite different from The Threepenny Opera, with the former being durchkomponiert or set to music right through, whereas on the latter Weill was brought at a late stage to set the songs. See Willett and Manheim (1979, xv).
- ^ Willett and Manheim (1979, xvii) and Brecht (1964, 37–38).
- ^ "Barbara Brecht-Schall – About This Person". The New York Times. http://movies.nytimes.com/person/642308/Barbara-Brecht-Schall. Retrieved 26 July 2011.
- ^ a b Brecht_HUAC_hearing
- ^ a b Exilliteratur.
- ^ GradeSaver: ClassicNote: Biography of Bertolt Brecht
- ^ Letter published in the Neues Deutschland, 21 June 1953.
- ^ Brecht (2000b, 440). The poem was first printed in Die Welt in 1959 and subsequently in the Buckow Elegies in the West 1964. It was first published in the GDR in 1969; Helene Weigel insisted on its inclusion in a collected edition of Brecht's works.
- ^ On these relationships, see "autonomization" in Jameson (1998, 43–58) and "non-organic work of art" in Bürger (1984, 87–92). Willett observes: "With Brecht the same montage technique spread to the drama, where the old Procrustean plot yielded to a more "epic" form of narrative better able to cope with wide-ranging modern socio-economic themes. That, at least, was how Brecht theoretically justified his choice of form, and from about 1929 on he began to interpret its penchant for "contradictions", much as had Eisenstein, in terms of the dialectic. It is fairly clear that in Brecht's case the practice came before the theory, for his actual composition of a play, with its switching around of scenes and characters, even the physical cutting up and sticking together of the typescript, shows that montage was the structural technique most natural to him. Like Hašek and Joyce he had not learnt this scissors-and-paste method from the Soviet cinema but picked it out of the air" (1978, 110).
- ^ Brooker (1994, 193). Brooker writes that "the term 'alienation' is an inadequate and even misleading translation of Brecht's Verfremdung. The terms 'de-familiarisation' or 'estrangement', when understood as more than purely formal devices, give a more accurate sense of Brecht's intentions. A better term still would be 'de-alienation'".
- ^ Brecht, quoted by Brooker (1994, 191).
- ^ Brecht (1964, 138).
- ^ The quotation from Raymond Williams is on page 277 of his book (1993) and that from Peter Bürger on page 88 of his (1984).
- ^ "Brecht on Theatre: The Development of an Aesthetic" Translated and Edited by John Willett, page 91
- ^ "Brecht on Theatre: The Development of an Aesthetic" Translated and Edited by John Willett, page 92
- ^ http://www.jstor.org/stable/40246399
- ^ "Brecht on Theatre: The Development of an Aesthetic" Translated and Edited by John Willett, page 95
- ^ "Brecht on Theatre: The Development of an Aesthetic" Translated and Edited by John Willett, page 96
- ^ On Jan Bucquoy, see Jan Bucquoy, La vie est belge; Le paradis, là, maintenant, tout de suite!, (2007), p. 98: Sans illusion car j'avoue que mon but dans la vie c'était de monter Mère Courage de Berthold Brecht au théâtre de l'Odéon à Paris. Au lieu de ça ce sont les escaliers du Dolle Mol que j'ai plutôt bien descendus. C'est le destin.. English translation: It was my destiny that I never would bring Mother Courage and Her Children to the Odéon Theatre in Paris.
- ^ Ritwik Ghatak first translated Brecht into Bengali, before then making use of some of his key theories in the later films Cloud-Capped Star and Subarna-Rekha. See BANGLAPEDIA: Film, Feature. Retrieved 27 July 2006.
- ^ Jameson (1998, 10–11). See also the discussions of Brecht's collaborative relationships in the essays collected in Thomson and Sacks (1994). John Fuegi's take on Brecht's collaborations, detailed in Brecht & Co. (New York: Grove, 1994; also known as The Life and Lies of Bertolt Brecht) and summarized in his contribution to Thomson and Sacks (1994, 104–116), offers a particularly negative perspective; Jameson comments "his book will remain a fundamental document for future students of the ideological confusions of Western intellectuals during the immediate post-Cold War years" (1998, 31); Olga Taxidou offers a critical account of Fuegi's project from a feminist perspective in "Crude Thinking: John Fuegi and Recent Brecht Criticism" in New Theatre Quarterly XI.44 (Nov. 1995), p. 381–384.
- ^ The translations of the titles are based on the standard of the Brecht Collected Plays series (see bibliography, primary sources). Chronology provided through consultation with Sacks (1994) and Willett (1967), preferring the former with any conflicts.
Primary sources[link]
Essays, diaries and journals[link]
- Brecht, Bertolt. 1964. Brecht on Theatre: The Development of an Aesthetic. Ed. and trans. John Willett. British edition. London: Methuen. ISBN 0-413-38800-X. USA edition. New York: Hill and Wang. ISBN 0-8090-3100-0.
- 2000a. Brecht on Film and Radio. Ed. and trans. Marc Silberman. British edition. London: Methuen. ISBN 0-413-72500-6.
- 2003a. Brecht on Art and Politics. Ed. and trans. Thomas Kuhn and Steve Giles. British edition. London: Methuen. ISBN 0-413-75890-7.
- 1965. The Messingkauf Dialogues. Trans. John Willett. London: Methuen, 1985. ISBN 0-413-38890-5.
- 1990. Letters 1913–1956. Trans. Ralph Manheim. Ed. John Willett. London: Methuen. ISBN 0-413-51050-6.
- 1993. Journals 1934–1955. Trans. Hugh Rorrison. Ed. John Willett. London and New York: Routledge, 1996. ISBN 0-415-91282-2.
Drama, poetry and prose[link]
- Brecht, Bertolt. 1994a. Collected Plays: One. Ed. John Willett and Ralph Manheim. Bertolt Brecht: Plays, Poetry, Prose Ser. London: Methuen. ISBN 0-413-68570-5.
- 1994b. Collected Plays: Two. Ed. John Willett and Ralph Manheim. London: Methuen. ISBN 0-413-68560-8.
- 1997. Collected Plays: Three. Ed. John Willett. London: Methuen. ISBN 0-413-70460-2.
- 2003b. Collected Plays: Four. Ed. Tom Kuhn and John Willett. London: Methuen. ISBN 0-413-70470-X.
- 1995. Collected Plays: Five. Ed. John Willett and Ralph Manheim. London: Methuen. ISBN 0-413-69970-6.
- 1994c. Collected Plays: Six. Ed. John Willett and Ralph Manheim. London: Methuen. ISBN 0-413-68580-2.
- 1994d. Collected Plays: Seven. Ed. John Willett and Ralph Manheim. London: Methuen. ISBN 0-413-68590-X.
- 2004. Collected Plays: Eight. Ed. Tom Kuhn and David Constantine. London: Methuen. ISBN 0-413-77352-3.
- 1972. Collected Plays: Nine. Ed. John Willett and Ralph Manheim. New York: Vintage. ISBN 0-394-71819-4.
- 2000b. Poems: 1913–1956. Ed. John Willett and Ralph Manheim. London: Methuen. ISBN 0-413-15210-3.
- 1983. Short Stories: 1921–1946. Ed. John Willett and Ralph Manheim. Trans. Yvonne Kapp, Hugh Rorrison and Antony Tatlow. London and New York: Methuen. ISBN 0-413-52890-1.
- 2001. Stories of Mr. Keuner. Trans. Martin Chalmers. San Francisco: City Lights. ISBN 0-87286-383-2.
Secondary sources[link]
- [Anon.] 1952. "Brecht Directs". In Directors on Directing: A Source Book to the Modern Theater. Ed. Toby Cole and Helen Krich Chinoy. Rev. ed. Boston, MA: Allyn & Bacon, 1963. ISBN 0-02-323300-1. 291- [Account of Brecht in rehearsal from anonymous colleague published in Theaterarbeit]
- Banham, Martin, ed. 1998. "Brecht, Bertolt" In The Cambridge Guide to Theatre. Cambridge: Cambridge University Press. ISBN 0-521-43437-8. 129.
- Benjamin, Walter. 1983. Understanding Brecht. Trans. Anna Bostock. London and New York: Verso. ISBN 0-902308-99-8.
- Brooker, Peter. 1994. "Key Words in Brecht's Theory and Practice of Theatre". In Thomson and Sacks (1994, 185–200).
- Bürger, Peter. 1984. Theory of the Avant-Garde. Trans. of Theorie der Avantgarde (2nd ed., 1980). Theory and History of Literature Ser. 4. Trans. Michael Shaw. Minneapolis: University of Minnesota Press. ISBN 0-8166-1068-1.
- Calandra, Denis. 2003. "Karl Valentin and Bertolt Brecht". In Popular Theatre: A Sourcebook. Ed. Joel Schechter. Worlds of Performance Ser. London and New York: Routledge. 189–201. ISBN 0-415-25830-8.
- Counsell, Colin. 1996. Signs of Performance: An Introduction to Twentieth-Century Theatre. London and New York: Routledge. ISBN 0-415-10643-5.
- Culbert, David. 1995. Historical Journal of Film, Radio and Television (March). [Bibliographic information on this article is missing at present – need article title, is this the author of article?, and page numbers]
- Davies, Steffan; Ernest Schonfield (2009). Davies, Steffan and Schonfield, Ernest. ed. Alfred Döblin: Paradigms of Modernism. Berlin and New York: Walter de Gruyter. ISBN 978-3-11-021769-8.
- Demetz, Peter, ed. 1962. "From the Testimony of Berthold Brecht: Hearings of the House Committee on Un-American Activities, 30 October 1947". Brecht: A Collection of Critical Essays. Twentieth Century Views Ser. Eaglewood Cliffs, NJ: Prentice Hall. ISBN 0-13-081760-0. 30–42.
- Diamond, Elin. 1997. Unmaking Mimesis: Essays on Feminism and Theater. London and New York: Routledge. ISBN 0-415-01229-5.
- Eagleton, Terry. 1985. "Brecht and Rhetoric". New Literary History 16.3 (Spring). 633–638.
- Eaton, Katherine B. "Brecht's Contacts with the Theater of Meyerhold". in Comparative Drama 11.1 (Spring 1977)3-21. Reprinted in 1984. Drama in the Twentieth Century ed. C. Davidson. New York: AMS Press, 1984. ISBN 0-404-61581-3. 203-221. 1979. "Die Pionierin und Feld-Herren vorm Kreidekreis. Bemerkungen zu Brecht und Tretjakow". in Brecht-Jahrbuch 1979. Ed. J. Fuegi, R. Grimm, J. Hermand. Suhrkamp, 1979. 1985 19–29. The Theater of Meyerhold and Brecht. Connecticut and New York: Greenwood Press. ISBN 0-313-24590-8.
- Eddershaw, Margaret. 1982. "Acting Methods: Brecht and Stanislavski". In Brecht in Perspective. Ed. Graham Bartram and Anthony Waine. London: Longman. ISBN 0-582-49205-X. 128–144.
- Ewen, Frederic. 1967. Bertolt Brecht: His Life, His Art and His Times. Citadel Press Book edition. New York: Carol Publishing Group, 1992.
- Fuegi, John. 1994. "The Zelda Syndrome: Brecht and Elizabeth Hauptmann". In Thomson and Sacks (1994, 104–116).
- Fuegi, John. 2002. Brecht and Company: Sex, Politics, and the Making of the Modern Drama. New York: Grove. ISBN 0-8021-3910-8.
- Giles, Steve. 1998. "Marxist Aesthetics and Cultural Modernity in Der Dreigroschenprozeß". Bertolt Brecht: Centenary Essays. Ed. Steve Giles and Rodney Livingstone. German Monitor 41. Amsterdam and Atlanta, GA: Rodopi. ISBN 90-420-0309-X. 49–61.
- Hayman, Ronald. 1983. Brecht: A Biography. London: Weidenfeld & Nicolson. ISBN 0-297-78206-1.
- Jameson, Fredric. 1998. Brecht and Method. London and New York: Verso. ISBN 1-85984-809-5.
- Jacobs, Nicholas and Prudence Ohlsen, eds. 1977. Bertolt Brecht in Britain. London: IRAT Services Ltd and TQ Publications. ISBN 0-904844-11-0.
- Kolocotroni, Vassiliki, Jane Goldman and Olga Taxidou, eds. 1998. Modernism: An Anthology of Sources and Documents. Edinburgh: Edinburgh University Press. ISBN 0-7486-0973-3.
- Krause, Duane. 1995. "An Epic System". In Acting (Re)considered: Theories and Practices. Ed. Phillip B. Zarrilli. 1st ed. Worlds of Performance Ser. London: Routledge. ISBN 0-415-09859-9. 262–274.
- Leach, Robert. 1994. "Mother Courage and Her Children". In Thomson and Sacks (1994, 128–138).
- Giuseppe Leone, "Bertolt Brecht, ripropose l'eterno conflitto dell'intellettuale fra libertà di ricerca e condizionamenti del potere", su "Ricorditi...di me" in "Lecco 2000", Lecco, giugno 1998.
- Meech, Tony. 1994. "Brecht's Early Plays". In Thomson and Sacks (1994, 43–55).
- Mitter, Schomit. 1992. "To Be And Not To Be: Bertolt Brecht and Peter Brook". Systems of Rehearsal: Stanislavsky, Brecht, Grotowski and Brook. London: Routledge. ISBN 0-415-06784-7. 42–77.
- McDowell, W. Stuart. 1977. "A Brecht-Valentin Production: Mysteries of a Barbershop." Performing Arts Journal 1.3 (Winter): 2-14.
- McDowell, W. Stuart. 2000. "Acting Brecht: The Munich Years". In The Brecht Sourcebook. Ed. Carol Martin and Henry Bial. Worlds of Performance ser. London and New York: Routledge. 71–83. ISBN 0-415-20043-1.
- Müller, Heiner. 1990. Germania. Trans. Bernard Schütze and Caroline Schütze. Ed. Sylvère Lotringer. Semiotext(e) Foreign Agents Ser. New York: Semiotext(e). ISBN 0-936756-63-2.
- Needle, Jan and Peter Thomson. 1981. Brecht. Chicago: U of Chicago P; Oxford: Basil Blackwell. ISBN 0-226-57022-3.
- Pabst, G.W. 1984. The Threepenny Opera. Classic Film Scripts Ser. London: Lorrimer. ISBN 0-85647-006-6.
- Reinelt, Janelle. 1990. "Rethinking Brecht: Deconstruction, Feminism, and the Politics of Form". The Brecht Yearbook 15. Ed. Marc Silberman et al. Madison, Wisconsin: The International Brecht Society-University of Wisconsin Press. 99–107.
- Reinelt, Janelle. 1994. "A Feminist Reconsideration of the Brecht/Lukács Debate". Women & Performance: A Journal of Feminist Theory 7.1 (Issue 13). 122–139.
- Rouse, John. 1995. "Brecht and the Contradictory Actor". In Acting (Re)considered: A Theoretical and Practical Guide. Ed. Phillip B. Zarrilli. 2nd ed. Worlds of Performance Ser. London: Routledge. ISBN 0-415-26300-X. 248–259.
- Sacks, Glendyr. 1994. "A Brecht Calendar". In Thomson and Sacks (1994, xvii–xxvii).
- Schechter, Joel. 1994. "Brecht's Clowns: Man is Man and After". In Thomson and Sacks (1994, 68–78).
- Smith, Iris. 1991. "Brecht and the Mothers of Epic Theater". Theatre Journal 43: 491–505.
- Szondi, Peter. 1965. Theory of the Modern Drama. Ed. and trans. Michael Hays. Theory and History of Literature Ser. 29. Minneapolis: University of Minnesota Press, 1987. ISBN 0-8166-1285-4.
- Taxidou, Olga. 1995. "Crude Thinking: John Fuegi and Recent Brecht Criticism". New Theatre Quarterly XI.44 (Nov. 1995): 381–384.
- Taxidou, Olga. 2007. Modernism and Performance: Jarry to Brecht. Basingstoke, Hampshire: Palgrave Macmillan. ISBN 1-4039-4101-7.
- Thomson, Peter. 1994. "Brecht's Lives". In Thomson and Sacks (1994, 22–39).
- Thomson, Peter. 2000. "Brecht and Actor Training: On Whose Behalf Do We Act?" In Twentieth Century Actor Training. Ed. Alison Hodge. London and New York: Routledge. ISBN 0-415-19452-0. 98–112.
- Thomson, Peter and Glendyr Sacks, eds. 1994. The Cambridge Companion to Brecht. Cambridge Companions to Literature Ser. Cambridge: Cambridge University Press. ISBN 0-521-41446-6.
- Völker, Klaus. 1976. Brecht: A Biography. Trans. John Nowell. New York: Seabury P, 1978. Trans. of Bertolt Brecht, Eine Biographie. Munich and Vienna: Carl Hanser Verlag. ISBN 0-8164-9344-8.
- Willett, John. 1967. The Theatre of Bertolt Brecht: A Study from Eight Aspects. Third rev. ed. London: Methuen, 1977. ISBN 0-413-34360-X.
- Willett, John. 1978. Art and Politics in the Weimar Period: The New Sobriety 1917–1933. New York: Da Capo Press, 1996. ISBN 0-306-80724-6.
- Willett, John. 1998. Brecht in Context: Comparative Approaches. Rev. ed. London: Methuen. ISBN 0-413-72310-0.
- Willett, John and Ralph Manheim. 1970. Introduction. In Collected Plays: One by Bertolt Brecht. Ed. John Willett and Ralph Manheim. Bertolt Brecht: Plays, Poetry and Prose Ser. London: Methuen. ISBN 0-416-03280-X. vii–xvii.
- Weber, Carl. 1984. "The Actor and Brecht, or: The Truth Is Concrete: Some Notes on Directing Brecht with American Actors". The Brecht Yearbook 13: 63–74.
- Weber, Carl 1994. "Brecht and the Berliner Ensemble – the Making of a Model". In Thomson and Sacks (1994, 167–184).
- Williams, Raymond. 1993. Drama from Ibsen to Brecht. London: Hogarth. ISBN 0-7012-0793-0. 277–290.
- Witt, Hubert, ed. 1975. Brecht As They Knew Him. Trans. John Peet. London: Lawrence and Wishart; New York: International Publishers. ISBN 0-85315-285-3.
- Wright, Elizabeth. 1989. Postmodern Brecht. Critics of the Twentieth Century Ser. London and New York: Routledge. ISBN 0-415-02330-0.
- Youngkin, Stephen D. 2005. The Lost One: A Life of Peter Lorre. University Press of Kentucky. ISBN 0-8131-2360-7. [Contains a detailed discussion of the personal and professional friendship between Brecht and classic film actor Peter Lorre.]
- Wizisla, Erdmut. 2009. Walter Benjamin and Bertolt Brecht – The Story of a Friendship. Translated by Christine Shuttleworth. London / New Haven: Libris / Yale University Press. ISBN 1-870352-78-5. ISBN 978-1-870352-78-9 [Contains a complete translation of the newly-discovered Minutes of the meetings around the putative journal Krise und Kritik (1931)].
See also[link]
External links[link]
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Wikiquote has a collection of quotations related to: Bertolt Brecht |
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Wikimedia Commons has media related to: Bertolt Brecht |
- Brecht's works in English: A bibliography: The bibliography of Bertolt Brecht's works in English translation aims to present a comprehensive listing of Brecht's works published in English translation.
- The Brecht Yearbook
- The International Brecht Society
- FBI files on Bertolt Brecht
- Brechts Werke, Bibliography
- A history of Mack the Knife by Joseph Mach at Brechthall
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| Persondata | |
|---|---|
| Name | Brecht, Bertolt |
| Alternative names | |
| Short description | German poet, playwright, and theatre director |
| Date of birth | 10 February 1898 |
| Place of birth | Augsburg, Germany |
| Date of death | 14 August 1956 |
| Place of death | East Berlin, East Germany |
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10:26
Bertolt Brecht's Exception & The Rule
brettvail
Bertolt Brecht's Exception & The Rule
A filmed version of the Brecht play. Produced for a theatrical staging of 3 one acts with the Liminal and Catamount performance groups. The two "live ensembles" went first. My filmed version was the third and final piece. Great review here - escapedfromla.com - There were also some hilarious reviews from newspaper critics that I can only assume had never read Brecht. (or anything else that might not have been what it seemed on the surface) For example one of them took me seriously (and put it in print) when I said I'd never read the play. Perhaps not the best reviewer to send to an emotionally distancing teaching play brimming over with sarcasm and dry humor? Also, one of the more 'serious' thespians involved mentioned to me afterwards that I was hateful. I offered him a hug but he refused. I let it go without asking if he would prefer spooning on the floor. Just didn't seem like he was ready for me to reach out, if you know what I mean. Another actor has never spoken with me again. Walked past me so fast I couldn't even try the hug offer thingy. Might not of helped either. So perhaps we all reached the best outcome imaginable. Humor and sarcasm are not for everyone after all. I love this play. And it sincerely thrills me when people enjoy this interpretation of it.
4:11
DER BILBAO SONG - Kurt Weill and Bertolt Brecht
zieckzack
DER BILBAO SONG - Kurt Weill and Bertolt Brecht
Performed by SERVIO TULIO (vocals), GLAUCO BAPTISTA (piano), FÁBIO CAVALIERI (bass) and PAULO DINIZ (drums). Recorded live at the TRIBUTE TO BERTOLT BRECHT at the MAC - CONTEMPORARY ARTS MUSEUM OF NITERÓI - Riod e Janeiro 13 august 2006
2:55
Bertolt Brecht - Das Lied von der Unzulänglichkeit des menschlichen Strebens
Deweycheatumnhowe
Bertolt Brecht - Das Lied von der Unzulänglichkeit des menschlichen Strebens
Music: Kurt Weill Lyrics: Bertolt Brecht Sung by Bertolt Brecht Der Mensch lebt durch den Kopf der Kopf reicht ihm nicht aus versuch es nur; von deinem Kopf lebt höchstens eine Laus. Denn für dieses Leben ist der Mensch nicht schlau genug niemals merkt er eben jeden Lug und Trug. Ja; mach nur einen Plan sei nur ein großes Licht! Und mach dann noch´nen zweiten Plan gehn tun sie beide nicht. Denn für dieses Leben ist der Mensch nicht schlecht genug: doch sein höch´res Streben ist ein schöner Zug. Ja; renn nur nach dem Glück doch renne nicht zu sehr! Denn alle rennen nach dem Glück Das Glück rennt hinterher. Denn für dieses Leben ist der Mensch nicht anspruchslos genug drum ist all sein Streben nur ein Selbstbetrug. Der Mensch ist gar nicht gut drum hau ihn auf den Hut hast du ihn auf den Hut gehaut dann wird er vielleicht gut. Denn für dieses Leben ist der Mensch nicht gut genug darum haut ihn eben ruhig auf den Hut.
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