Der Neinsager

	Der Neinsager ''Der Neinsager'' (''He Said No'') – like its companion piece ''Der Jasager'' (''He Said Yes'') – is a 1930 '' Lehrstück'' by the German dramatist Bertolt 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 pl .... However, unlike ''Der Jasager'', it was never made into an opera. References Lehrstücke by Bertolt Brecht 1930 plays {{1930s-play-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu]
	Der Jasager ' (literally ''The Yes Sayer''; also translated as ''The Affirmer'' or ''He Said Yes'') is an opera (specifically a '' Schuloper'' or "school-opera") by Kurt Weill to a German libretto by Bertolt Brecht (after Elisabeth Hauptmann's translation from Arthur Waley's English version of the Japanese Nō drama ''Taniko''). Its companion piece is ''Der Neinsager'' (''He Said No'') although Brecht's other text was never set by Weill. Weill also identifies the piece, following Brecht's development of the experimental form, as a '' Lehrstück'', or "teaching-piece".Weill says: "In '' Lindbergh's Flight'' Bert Brecht and I had the schools in mind for the first time. I am hoping to develop this direction further in my latest play, the '' Lehrstück'' ''He Said Yes''. ..I no longer want to offer 'songs' so much as self-contained musical forms. In the process I want to take over whatever I hitherto found right, like what I once termed the gestic approach to music. The melody must give clear ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu]
	Lehrstücke The (; singular ) are a radical and experimental form of modernist theatre developed by Bertolt Brecht and his collaborators from the 1920s to the late 1930s. The ''Lehrstücke'' stem from Brecht's epic theatre techniques but as a core principle explore the possibilities of learning through acting, playing roles, adopting postures and attitudes etc. and hence no longer divide between actors and audience. Brecht himself translated the term as ''learning-play'', emphasizing the aspect of learning through participation, whereas the German term could be understood as ''teaching-play''. Reiner Steinweg goes so far as to suggest adopting a term coined by the Brazilian avant garde theatre director Zé Celso, ''Theatre of Discovery'', as being even clearer.Steinweg, ReinerTwo Chapters from "Learning Play and Epic Theatre"/ref> Definition Although the texts have a highly formal, rigorous structure, this is designed to facilitate insertions or deletions (according to the exigencies of t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu]
picture info	Bertolt 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]
	Lehrstücke By Bertolt Brecht The (; singular ) are a radical and experimental form of modernist theatre developed by Bertolt Brecht and his collaborators from the 1920s to the late 1930s. The ''Lehrstücke'' stem from Brecht's epic theatre techniques but as a core principle explore the possibilities of learning through acting, playing roles, adopting postures and attitudes etc. and hence no longer divide between actors and audience. Brecht himself translated the term as ''learning-play'', emphasizing the aspect of learning through participation, whereas the German term could be understood as ''teaching-play''. Reiner Steinweg goes so far as to suggest adopting a term coined by the Brazilian avant garde theatre director Zé Celso, ''Theatre of Discovery'', as being even clearer.Steinweg, ReinerTwo Chapters from "Learning Play and Epic Theatre"/ref> Definition Although the texts have a highly formal, rigorous structure, this is designed to facilitate insertions or deletions (according to the exigencies of t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu]