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Brecht
Eugen Berthold Friedrich Brecht (10 February 1898 – 14 August 1956), known professionally as Bertolt Brecht, was a German theatre practitioner, playwright, and poet. Coming of age during the Weimar Republic, he had his first successes as a playwright in Munich and moved to Berlin in 1924, where he wrote ''The Threepenny Opera'' with Kurt Weill and began a life-long collaboration with the composer Hanns Eisler. Immersed in Marxist thought during this period, he wrote didactic ''Lehrstücke'' and became a leading theoretician of epic theatre (which he later preferred to call "dialectical theatre") and the . During the Nazi Germany period, Brecht fled his home country, first to Scandinavia, and during World War II to the United States, where he was surveilled by the FBI. After the war he was subpoenaed by the House Un-American Activities Committee. Returning to East Berlin after the war, he established the theatre company Berliner Ensemble with his wife and long-time collaborator ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mother Courage And Her Children
''Mother Courage and Her Children'' (german: Mutter Courage und ihre Kinder, links=no) is a play written in 1939 by the German dramatist and poet Bertolt Brecht (1898–1956), with significant contributions from Margarete Steffin. Four theatrical productions were produced in Switzerland and Germany from 1941 to 1952, the last three supervised and/or directed by Brecht, who had returned to East Germany from the United States. Several years after Brecht's death in 1956, the play was adapted as a German film, '' Mutter Courage und ihre Kinder'' (1961), starring Helene Weigel, Brecht's widow and a leading actress. ''Mother Courage'' is considered by some to be the greatest play of the 20th century, and perhaps also the greatest anti-war play of all time. Critic Brett D. Johnson points out, "Although numerous theatrical artists and scholars may share artistic director Oskar Eustis's opinion that Brecht's masterpiece is the greatest play of the twentieth century, productions of ''Mothe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hanns Eisler
Hanns Eisler (6 July 1898 – 6 September 1962) was an Austrian composer (his father was Austrian, and Eisler fought in a Hungarian regiment in World War I). He is best known for composing the national anthem of East Germany, for his long artistic association with Bertolt Brecht, and for the scores he wrote for films. The Hochschule für Musik "Hanns Eisler" is named after him. Family background Johannes Eisler was born in Leipzig in Saxony, the son of Rudolf Eisler, a professor of philosophy, and Marie Ida Fischer. His father was an atheist of Jewish origin and his mother was Lutheran. In 1901, the family moved to Vienna. His brother, Gerhart, was a Communist journalist, and his sister, Elfriede, was a leader of the German Communist Party in the mid-1920s. After emigrating to America, she turned into an anti-Stalinist, writing books against her former political affiliation, and even testifying against her brothers before the House Un-American Activities Committee. At age 14 Eis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Epic Theatre
Epic theatre (german: episches Theater) is a theatrical movement arising in the early to mid-20th century from the theories and practice of a number of theatre practitioners who responded to the political climate of the time through the creation of new political dramas. Epic theatre is not meant to refer to the scale or the scope of the work, but rather to the form that it takes. Epic theatre emphasizes the audience's perspective and reaction to the piece through a variety of techniques that deliberately cause them to individually engage in a different way. The purpose of epic theatre is not to encourage an audience to suspend their disbelief, but rather to force them to see their world as it is. History The term " epic theatre" comes from Erwin Piscator who coined it during his first year as director of Berlin's Volksbühne (1924–27).Wiles (1980). Piscator aimed to encourage playwrights to address issues related to "contemporary existence." This new subject matter would ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Epic Theatre
Epic theatre (german: episches Theater) is a theatrical movement arising in the early to mid-20th century from the theories and practice of a number of theatre practitioners who responded to the political climate of the time through the creation of new political dramas. Epic theatre is not meant to refer to the scale or the scope of the work, but rather to the form that it takes. Epic theatre emphasizes the audience's perspective and reaction to the piece through a variety of techniques that deliberately cause them to individually engage in a different way. The purpose of epic theatre is not to encourage an audience to suspend their disbelief, but rather to force them to see their world as it is. History The term " epic theatre" comes from Erwin Piscator who coined it during his first year as director of Berlin's Volksbühne (1924–27).Wiles (1980). Piscator aimed to encourage playwrights to address issues related to "contemporary existence." This new subject matter would ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Threepenny Opera
''The Threepenny Opera'' ( ) is a "play with music" by Bertolt Brecht, adapted from a translation by Elisabeth Hauptmann of John Gay's 18th-century English ballad opera, ''The Beggar's Opera'', and four ballads by François Villon, with music by Kurt Weill. Although there is debate as to how much, if any, Hauptmann might have contributed to the text, Brecht is usually listed as sole author. The work offers a socialist critique of the capitalist world. It opened on 31 August 1928 at Berlin's Theater am Schiffbauerdamm. Songs from ''The Threepenny Opera'' have been widely covered and become standards, most notably "" ("The Ballad of Mack the Knife") and "" ("Pirate Jenny"). Background Origins In the winter of 1927–28, Elizabeth Hauptmann, Brecht's lover at the time, received a copy of Gay's play from friends in England and, fascinated by the female characters and its critique of the condition of the London poor, began translating it into German. Brecht at first took lit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Walter Brecht
Walter Brecht (20 June 1900 – 27 September 1986) was a German scientist and longtime lecturer at the Institut für Papierfabrikation in the Technische Universität Darmstadt. He died in Darmstadt. Life Early life He was born in Augsburg to Berthold Friedrich Brecht and Wilhelmine Friederike Sophie (née Brezing; 1871–1920), their second son after the future playwright and poet Bertholt. Whilst Sophie was from a Pietist family, Berthold Friedrich was a Roman Catholic from Achern in the Black Forest, becoming a clerk at Augsburg's Haindl’sche Papierfabriken, rising to manager and then in 1914 its director. This allowed the Brecht family to finally move into one of the factory's 'Stiftungshäuser' or foundation houses. Sophie's father Josef Friedrich Brezing (1842–1922) was an official on the Royal Württemberg State Railways at Roßberg (now known as Wolfegg) on the Herbertingen–Isny line, opened just before Sophie's birth. In his autobiographical memoirs "Unser Leben in A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Resistible Rise Of Arturo Ui
''The Resistible Rise of Arturo Ui'' (german: Der aufhaltsame Aufstieg des Arturo Ui, links=no), subtitled "A parable play", is a 1941 play by the German playwright Bertolt Brecht. It chronicles the rise of Arturo Ui, a fictional 1930s Chicago mobster, and his attempts to control the cauliflower racket by ruthlessly disposing of the opposition. The play is a satirical allegory of the rise of Adolf Hitler and the Nazi Party in Germany prior to World War II. History and description Fearing persecution and blacklisted from publication and production, Brechtwho in his poetry referred to Adolf Hitler as ''der Anstreicher'' ("the housepainter")left Germany in February 1933, shortly after the appointment of Hitler as Chancellor by President Paul von Hindenburg on the instigation of former Chancellor Franz von Papen. After moving aroundPrague, Zürich, ParisBrecht ended up in Denmark for six years. While there, c. 1934, he worked on the antecedent to ''The Resistible Rise of Art ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mr Puntila And His Man Matti
''Mr Puntila and his Man Matti'' (german: Herr Puntila und sein Knecht Matti) is an epic comedy by the German modernist playwright Bertolt Brecht. It was written in 1940 and first performed in 1948. The story describes the aristocratic land-owner Puntila's relationship to his servant, Matti, as well as his daughter, Eva, whom he wants to marry off to an Attaché. Eva herself loves Matti and so Puntila has to decide whether to marry his daughter to his driver or to an Attaché, while he also deals with a drinking problem. In his essay "Notes on the Folk Play" (written in 1940), Brecht warns that " naturalistic acting is not enough in this case" and recommends an approach to staging that draws on the ''Commedia dell'Arte''. The central relationship between Mr Puntila and Matti—in which Puntila is warm, friendly and loving when drunk, but cold, cynical and penny-pinching when sober—echoes the relationship between the Tramp and the Millionaire in Charlie Chaplin's ''City Lights ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Good Person Of Szechwan
''The Good Person of Szechwan'' (german: Der gute Mensch von Sezuan, first translated less literally as ''The Good Man of Setzuan'') is a play written by the German dramatist Bertolt Brecht, in collaboration with Margarete Steffin and Ruth Berlau. The play was begun in 1938 but not completed until 1941, while the author was in exile in the United States. It was first performed in 1943 at the Zürich Schauspielhaus in Switzerland, with a musical score and songs by Swiss composer Huldreich Georg Früh. Today, Paul Dessau's composition of the songs from 1947–48, also authorized by Brecht, is the better-known version. The play is an example of Brecht's "non-Aristotelian drama", a dramatic form intended to be staged with the methods of epic theatre. The play is a parable set in the Chinese "city of Sichuan". Themes Originally, Brecht planned to call the play ''The Product Love'' (''Die Ware Liebe''), meaning "love as a commodity". This title was a play on words, since the German ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Non-Aristotelian Drama
Non-Aristotelian drama, or the 'epic form' of the drama, is a kind of play whose dramaturgical structure departs from the features of classical tragedy in favour of the features of the epic, as defined in each case by the ancient Greek philosopher Aristotle in his ''Poetics'' (c.335 BCE) The German modernist theatre practitioner Bertolt Brecht coined the term 'non-Aristotelian drama' to describe the dramaturgical dimensions of his own work, beginning in 1930 with a series of notes and essays entitled "On a non-aristotelian drama".Willett (1964, 46). In them, he identifies his musical ''The Threepenny Opera'' (1928) as an example of "epic form". " Aristotle's definition," Brecht writes, "the difference between the dramatic and epic forms was attributed to their different methods of construction."From an essay by Brecht probably written in 1936; Brecht (1964, 70). Method of construction here refers to the relation the play establishes between its parts and its whole: Brecht also ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Non-Aristotelian Drama
Non-Aristotelian drama, or the 'epic form' of the drama, is a kind of play whose dramaturgical structure departs from the features of classical tragedy in favour of the features of the epic, as defined in each case by the ancient Greek philosopher Aristotle in his ''Poetics'' (c.335 BCE) The German modernist theatre practitioner Bertolt Brecht coined the term 'non-Aristotelian drama' to describe the dramaturgical dimensions of his own work, beginning in 1930 with a series of notes and essays entitled "On a non-aristotelian drama".Willett (1964, 46). In them, he identifies his musical ''The Threepenny Opera'' (1928) as an example of "epic form". " Aristotle's definition," Brecht writes, "the difference between the dramatic and epic forms was attributed to their different methods of construction."From an essay by Brecht probably written in 1936; Brecht (1964, 70). Method of construction here refers to the relation the play establishes between its parts and its whole: Brecht also ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Life Of Galileo
''Life of Galileo'' (), also known as ''Galileo'', is a play by the 20th century German dramatist Bertolt Brecht and collaborator Margarete Steffin with incidental music by Hanns Eisler. The play was written in 1938 and received its first theatrical production (in German) at the Zurich Schauspielhaus, opening on the 9th of September 1943. This production was directed by Leonard Steckel, with set-design by Teo Otto. The cast included Steckel himself (as Galileo), Karl Paryla and Wolfgang Langhoff. The second (or "American") version was written in English between 1945–1947 in collaboration with Charles Laughton, and opened at the Coronet Theatre in Los Angeles on 30 July 1947. It was directed by Joseph Losey and Brecht, with musical direction by Serge Hovey and set-design by Robert Davison. Laughton played Galileo, with Hugo Haas as Barberini and Frances Heflin as Virginia. This production opened at the Maxine Elliott's Theatre in New York on 7 December of the same year ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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