The Piscator Notebook is a political and professional autobiography which bridges the work of two iconic figures: Erwin Piscator, who pioneered 'epic theatre' with Brecht; and Judith Malina, co-founder of the extraordinarily influential Living Theatre. This is Malina's account, and analysis, of her time as Piscator's student. It is a compelling record of the genealogy of political theatre from Europe to the US and back again.
The Piscator Notebook is a political and professional autobiography which bridges the work of two iconic figures: Erwin Piscator, who pioneered 'epic theatre' with Brecht; and Judith Malina, co-founder of the extraordinarily influential Living Theatre. This is Malina's account, and analysis, of her time as Piscator's student. It is a compelling record of the genealogy of political theatre from Europe to the US and back again.
Foreword: by Richard Schechner Part 1: Weimar to The Dramatic Workshop Personal History Erwin Piscator: Germany to New York City The Founding of The Dramatic Workshop, 1940 The Studio Theatre The Teachers of Piscator's School Margrit Wyler Reiken Ben-Ari Chouteau Dyer Leo Kerz Paul Zucker Gloria Montemuro Alexander Ince Hans Sondheimer Henry Wendriner The Students George Bartenieff Anna Berger Sylvia Miles Marlon Brando Bea Arthur Howard Friedman Piscator's Students My Personal Struggle to Enter The Dramatic Workshop Valeska Gert Lunar Bowels: an Audition Piece Part 2: The Notebook Part 3: The Ongoing Epic End of the Notebook and First Workshop Plays Julian Beck By Any Other Name and Maurice Schwartz's Yiddish Art Theatre Piscator's Basic Question: The Role of the Audience Becoming a Director: A Confession The Inspiration of Joseph Urban's Architecture Eleanor Fitzgerald The Classes The March of Drama Theatre Research Theatre Research Critique The Plays The Sheepwell (Fuente Ovejuna) Franklin Roosevelt's Death Lysistrata The Spook Sonata Hannele's Way to Heaven The Aristocrats Agamemnon The Circle of Chalk The Flies Tonight We Improvise - Pirandello: Breaking into the Audience Kandinsky's Great Insight Piscator and the Audience Objective Acting Between Two Worlds Piscator: Success and Failure Piscator's Return to Germany - and to Berlin Eric Bentley Piscator's Influence Piscator's Influence: The Work of The Living Theatre Afterword: Political Theatre, Theatrical Politics: Epic Theatre in the 21st Century
Foreword: by Richard Schechner Part 1: Weimar to The Dramatic Workshop Personal History Erwin Piscator: Germany to New York City The Founding of The Dramatic Workshop, 1940 The Studio Theatre The Teachers of Piscator's School Margrit Wyler Reiken Ben-Ari Chouteau Dyer Leo Kerz Paul Zucker Gloria Montemuro Alexander Ince Hans Sondheimer Henry Wendriner The Students George Bartenieff Anna Berger Sylvia Miles Marlon Brando Bea Arthur Howard Friedman Piscator's Students My Personal Struggle to Enter The Dramatic Workshop Valeska Gert Lunar Bowels: an Audition Piece Part 2: The Notebook Part 3: The Ongoing Epic End of the Notebook and First Workshop Plays Julian Beck By Any Other Name and Maurice Schwartz's Yiddish Art Theatre Piscator's Basic Question: The Role of the Audience Becoming a Director: A Confession The Inspiration of Joseph Urban's Architecture Eleanor Fitzgerald The Classes The March of Drama Theatre Research Theatre Research Critique The Plays The Sheepwell (Fuente Ovejuna) Franklin Roosevelt's Death Lysistrata The Spook Sonata Hannele's Way to Heaven The Aristocrats Agamemnon The Circle of Chalk The Flies Tonight We Improvise - Pirandello: Breaking into the Audience Kandinsky's Great Insight Piscator and the Audience Objective Acting Between Two Worlds Piscator: Success and Failure Piscator's Return to Germany - and to Berlin Eric Bentley Piscator's Influence Piscator's Influence: The Work of The Living Theatre Afterword: Political Theatre, Theatrical Politics: Epic Theatre in the 21st Century
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