"First published by Methuen Drama in 1964 in an edition translated and with notes by John Willett. Copyright John Willett, 1964. The translation and selection of material in this edition first published in Great Britain by Bloomsbury Methuen Drama, 2015."
"First published by Methuen Drama in 1964 in an edition translated and with notes by John Willett. Copyright John Willett, 1964. The translation and selection of material in this edition first published in Great Britain by Bloomsbury Methuen Drama, 2015."
Bertolt Brecht (1898-1956) is acknowledged as one of the great dramatists and theatre artists whose work has had a considerable influence on the theatre. His landmark plays include The Threepenny Opera, The Life of Galileo, and The Caucasian Chalk Circle. Editors: Marc Silberman is Professor of German at the University of Wisconsin - Madison, USA. Steve Giles is Emeritus Professor of German Studies and Critical Theory at the University of Nottingham, UK. Tom Kuhn is Professor of 20th century German Literature at St Hugh's College, University of Oxford, UK, and General Editor of Methuen Drama's Brecht publications.
List of IllustrationsGeneral Introduction and AcknowledgementsPart One - A New TheatreIntroduction to Part OneFrank Wedekind (1918)Me in the Theatre (1920)Theatre as Sport (1920)A Reckoning (1920)On the Aesthetics of Drama (1920)On the 'Downfall of the Theatre' (1925)More Good Sport (1926)Three Cheers for Shaw (1926)Prologue to Drums (1926)Shouldn't We Liquidate Aesthetics? (1927)Epic Theatre and Its Difficulties (1927)On New Dramatic Writing (1928)Latest Stage: Oedipus (1929)Dialogue about Acting (1929)On Subject-Matter and Form (1929)On Rehearsing (c. 1930)Dialectical Dramatic Writing (1930/31)Notes on the Opera Rise and Fall of the City of Mahagonny (1930)Notes on the Threepenny Opera (1931)Notes on the Comedy Man Equals Man (1931/38)Notes on The Mother (1933/38)Part Two - Exile YearsIntroduction to Part TwoOLD VS. NEW THEATRETheatre for Pleasure or Theatre for Instruction (1935)On Experiments in Epic Theatre (1935)The German Drama: pre-Hitler (1935)On the Use of Music in an Epic Theatre (1935)Short List of the Most Frequent, Common and Boring Misconceptions about Epic Theatre (1937)The Progressiveness of the Stanislavsky System (1937)On Experimental Theatre (1939)A Short Private Lecture for My Friend Max Gorelik (1944)ON CHINESE THEATRE, VERFREMDUNG AND GESTUSOn the Art of Spectatorship (1935)Maintaining Gestures over Multiple Generations (1935)Verfremdung Effects in Chinese Acting (1936)Three Notes on Verfremdung and the Elder Breughel (1937)Verfremdung Techniques in the Narrative Pictures of the Elder BrueghelOn the V-effect of the Elder BreughelV-effects in Some Pictures of the Elder BreughelOn Determining the Zero Point (1936/37)The Zero Point (1936/37)Notes on Pointed Heads and Round Heads (1936)On the Production of the V-effect (1938)On Gestic Music (1937)On Rhymeless Verse with Irregular Rhythms (1938)The Street Scene (1938)Short Description of a New Technique of Acting that Produces a Verfremdung Effect (1940)Athletic Training (1940)On Epic Dramatic Art: Change (1940)On the Gradual Approach to the Study and Construction of the Figure (1941)REALISM AND THE PROLETARIATThe Popular and the Realistic (1938)Two Essay Fragments on Non-professional (1939)The Attitude of the Rehearsal Director (in the Inductive Process) (1939)Notes on the Folk Play (1940)Part Three - Return to GermanyIntroduction to Part ThreeSHORT ORGANONShort Organon for the Theatre (1948)Appendices to the Short Organon (1954)THEATRE WORKFriedrich Wolf - Bert Brecht: Formal Problems Arising from the Theatre's New Content.A Dialogue (1949)From a Letter to an Actor (1951)What Makes an Actor (1951)Gesture (1951)Two Notes about Urfaust (1952)About Our StagingsThe StoryKurt Palm (1952)Classical Status as an Intimidating Factor (1954)ON STANISLAVSKYSome of the Things That Can Be Learnt from Stanislavsky (1951)On Stanislavsky (1953)Stanislavsky Studies [3] (1953)A Few Thoughts on the Stanislavsky Conference (1953)DIALECTICAL THEATREFrom Epic to Dialectical Theatre 2 (1954)Dialectics in the TheatreStudy of the First Scene of Shakespeare's 'Coriolanus' (1953/55)Relative Haste (1955)A Detour (The Caucasian Chalk Circle) (1955)Another Case of Applied Dialectic (1953)Letter to the Actor Playing Young Hörder in Winter Battle (1954)Mother Courage Played in Two Ways (1951)Example of a Scenic Innovation Through the Observation of a Mistake (1953)Something about Representing Character (1953)Conversation about Coerced Empathy (1953)MISCELLANEOUSCultural Policy and Academy of Arts (1953)Socialist Realism in the Theatre (1954)Can the Present-day World Be Reproduced by Means of Theatre? (1955)Our London Season (1956)Select BibliographyIndex
Introduction PART ONE 1918-1982 Frank Wedekind A Reckoning Emphasis on Sport Three Cheers for Shaw Conversation with Bert Brecht A Radio Speech Shouldn't we Abolish Aesthetics? The Epic Theatre and its Difficulties Last Stage: Oedipus A Dialogue about Acting On Form and Subject-Matter An Example of Paedagogics The Modem Theatre is the Epic Theatre The Literarization of the Theatre The Film, the Novel and Epic Theatre The Radio as an Apparatus of Communication The Question of Criteria for Judging Acting Indirect Impact of the Epic Theatre PART TWO 1988-1947 Interview with an Exile Theatre for Pleasure or Theatre for Instruction The German Drama: pre-Hitler Criticism of the New York Production of Die Mutter On the Use of Music in an Epic Theatre Alienation Effects in Chinese Acting Notes to Die Rundköpfe und die Spitzköpfe On Gestic Music The Popular and the Realistic CONTENTS On Rhymeless Verse with Irregular Rhythms The Street Scene On Experimental Theatre New Technique of Acting Two Essays on Unprofessional Acting Notes on the Folk Play Alienation Effects in the Narrative Pictures of the Elder Brueghel A Little Private Tuition for my Friend Max Gorelik Building up a Part: Laughton's Galileo 'Der Messingkauf': an editorial note PART THREE 1947-1948 A Short Organum for the Theatre PART FOUR 1948-1966 Masterful Treatment of a Model From the Mother Courage Model Does Use of the Model Restrict the Artist's Freedom? Formal Problems Arising from the Theatre's New Content Stage Design for the Epic Theatre From a Letter to an Actor Some of the Things that can be Learnt from Stanislavsky Theaterarbeit: an editorial note Notes on Erwin Strittmatter's Play Katzgraben Study of the First Scene of Shakespeare's Coriolanus Cultural Policy and Academy of Arts Conversation about being Forced into Empathy Classical Status as an Inhibiting Factor Can the Present-day World be Reproduced by Means of Theatre? Appendices to the 'Short Organum' 'Dialectics in the Theatre': an editorial note Our London Season Other English Translations Index
List of IllustrationsGeneral Introduction and AcknowledgementsPart One - A New TheatreIntroduction to Part OneFrank Wedekind (1918)Me in the Theatre (1920)Theatre as Sport (1920)A Reckoning (1920)On the Aesthetics of Drama (1920)On the 'Downfall of the Theatre' (1925)More Good Sport (1926)Three Cheers for Shaw (1926)Prologue to Drums (1926)Shouldn't We Liquidate Aesthetics? (1927)Epic Theatre and Its Difficulties (1927)On New Dramatic Writing (1928)Latest Stage: Oedipus (1929)Dialogue about Acting (1929)On Subject-Matter and Form (1929)On Rehearsing (c. 1930)Dialectical Dramatic Writing (1930/31)Notes on the Opera Rise and Fall of the City of Mahagonny (1930)Notes on the Threepenny Opera (1931)Notes on the Comedy Man Equals Man (1931/38)Notes on The Mother (1933/38)Part Two - Exile YearsIntroduction to Part TwoOLD VS. NEW THEATRETheatre for Pleasure or Theatre for Instruction (1935)On Experiments in Epic Theatre (1935)The German Drama: pre-Hitler (1935)On the Use of Music in an Epic Theatre (1935)Short List of the Most Frequent, Common and Boring Misconceptions about Epic Theatre (1937)The Progressiveness of the Stanislavsky System (1937)On Experimental Theatre (1939)A Short Private Lecture for My Friend Max Gorelik (1944)ON CHINESE THEATRE, VERFREMDUNG AND GESTUSOn the Art of Spectatorship (1935)Maintaining Gestures over Multiple Generations (1935)Verfremdung Effects in Chinese Acting (1936)Three Notes on Verfremdung and the Elder Breughel (1937)Verfremdung Techniques in the Narrative Pictures of the Elder BrueghelOn the V-effect of the Elder BreughelV-effects in Some Pictures of the Elder BreughelOn Determining the Zero Point (1936/37)The Zero Point (1936/37)Notes on Pointed Heads and Round Heads (1936)On the Production of the V-effect (1938)On Gestic Music (1937)On Rhymeless Verse with Irregular Rhythms (1938)The Street Scene (1938)Short Description of a New Technique of Acting that Produces a Verfremdung Effect (1940)Athletic Training (1940)On Epic Dramatic Art: Change (1940)On the Gradual Approach to the Study and Construction of the Figure (1941)REALISM AND THE PROLETARIATThe Popular and the Realistic (1938)Two Essay Fragments on Non-professional (1939)The Attitude of the Rehearsal Director (in the Inductive Process) (1939)Notes on the Folk Play (1940)Part Three - Return to GermanyIntroduction to Part ThreeSHORT ORGANONShort Organon for the Theatre (1948)Appendices to the Short Organon (1954)THEATRE WORKFriedrich Wolf - Bert Brecht: Formal Problems Arising from the Theatre's New Content.A Dialogue (1949)From a Letter to an Actor (1951)What Makes an Actor (1951)Gesture (1951)Two Notes about Urfaust (1952)About Our StagingsThe StoryKurt Palm (1952)Classical Status as an Intimidating Factor (1954)ON STANISLAVSKYSome of the Things That Can Be Learnt from Stanislavsky (1951)On Stanislavsky (1953)Stanislavsky Studies [3] (1953)A Few Thoughts on the Stanislavsky Conference (1953)DIALECTICAL THEATREFrom Epic to Dialectical Theatre 2 (1954)Dialectics in the TheatreStudy of the First Scene of Shakespeare's 'Coriolanus' (1953/55)Relative Haste (1955)A Detour (The Caucasian Chalk Circle) (1955)Another Case of Applied Dialectic (1953)Letter to the Actor Playing Young Hörder in Winter Battle (1954)Mother Courage Played in Two Ways (1951)Example of a Scenic Innovation Through the Observation of a Mistake (1953)Something about Representing Character (1953)Conversation about Coerced Empathy (1953)MISCELLANEOUSCultural Policy and Academy of Arts (1953)Socialist Realism in the Theatre (1954)Can the Present-day World Be Reproduced by Means of Theatre? (1955)Our London Season (1956)Select BibliographyIndex
Introduction PART ONE 1918-1982 Frank Wedekind A Reckoning Emphasis on Sport Three Cheers for Shaw Conversation with Bert Brecht A Radio Speech Shouldn't we Abolish Aesthetics? The Epic Theatre and its Difficulties Last Stage: Oedipus A Dialogue about Acting On Form and Subject-Matter An Example of Paedagogics The Modem Theatre is the Epic Theatre The Literarization of the Theatre The Film, the Novel and Epic Theatre The Radio as an Apparatus of Communication The Question of Criteria for Judging Acting Indirect Impact of the Epic Theatre PART TWO 1988-1947 Interview with an Exile Theatre for Pleasure or Theatre for Instruction The German Drama: pre-Hitler Criticism of the New York Production of Die Mutter On the Use of Music in an Epic Theatre Alienation Effects in Chinese Acting Notes to Die Rundköpfe und die Spitzköpfe On Gestic Music The Popular and the Realistic CONTENTS On Rhymeless Verse with Irregular Rhythms The Street Scene On Experimental Theatre New Technique of Acting Two Essays on Unprofessional Acting Notes on the Folk Play Alienation Effects in the Narrative Pictures of the Elder Brueghel A Little Private Tuition for my Friend Max Gorelik Building up a Part: Laughton's Galileo 'Der Messingkauf': an editorial note PART THREE 1947-1948 A Short Organum for the Theatre PART FOUR 1948-1966 Masterful Treatment of a Model From the Mother Courage Model Does Use of the Model Restrict the Artist's Freedom? Formal Problems Arising from the Theatre's New Content Stage Design for the Epic Theatre From a Letter to an Actor Some of the Things that can be Learnt from Stanislavsky Theaterarbeit: an editorial note Notes on Erwin Strittmatter's Play Katzgraben Study of the First Scene of Shakespeare's Coriolanus Cultural Policy and Academy of Arts Conversation about being Forced into Empathy Classical Status as an Inhibiting Factor Can the Present-day World be Reproduced by Means of Theatre? Appendices to the 'Short Organum' 'Dialectics in the Theatre': an editorial note Our London Season Other English Translations Index
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