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Alienation (Vefremdung) is a concept inextricably linked with the name of twentieth-century German playwright Bertolt Brecht - with modernism, the avant-garde and Marxist theory. However, as Phoebe von Held argues in this book, 'alienation' as a sociological and aesthetic notionavant la lettre had already surfaced in the thought of eighteenth-century French philosopher and writer Denis Diderot. This original study destabilizes the conventional understanding of alienation through a reading ofLe Paradoxe sur le comedien, Le Neveu de Rameau and other works by Diderot, opening up new ways of interpretation and aesthetic practices. If alienation constitutes a historical development for the Marxist Brecht, for Diderot it defines an existential condition. Brecht uses the alienation-effect to undermine a form of naturalism based on subjectivity, identification and illusion; Diderot, by contrast, plunges the spectator into identification and illusion, to produce an aesthetic of theatricality that is profoundly alienating and yet remains anchored in subjectivity.
Alienation (Vefremdung) is a concept inextricably linked with the name of twentieth-century German playwright Bertolt Brecht - with modernism, the avant-garde and Marxist theory. However, as Phoebe von Held argues in this book, 'alienation' as a sociological and aesthetic notionavant la lettre had already surfaced in the thought of eighteenth-century French philosopher and writer Denis Diderot. This original study destabilizes the conventional understanding of alienation through a reading ofLe Paradoxe sur le comedien, Le Neveu de Rameau and other works by Diderot, opening up new ways of interpretation and aesthetic practices. If alienation constitutes a historical development for the Marxist Brecht, for Diderot it defines an existential condition. Brecht uses the alienation-effect to undermine a form of naturalism based on subjectivity, identification and illusion; Diderot, by contrast, plunges the spectator into identification and illusion, to produce an aesthetic of theatricality that is profoundly alienating and yet remains anchored in subjectivity.
This volume offers a major selection of Bertolt Brecht's groundbreaking critical writing. Here, arranged in chronological order, are essays from 1918 to 1956, in which Brecht explores his definition of the Epic Theatre and his theory of alienation-effects in directing, acting, and writing, and discusses, among other works, "The Threepenny Opera, Mahagonny, Mother Courage, Puntila, "and "Galileo," Also included is "A Short Organum for the Theatre," Brecht's most complete exposition of his revolutionary philosophy of drama. Translated and edited by John Willett, "Brecht on Theater" is essential to an understanding of one of the twentieth century's most influential dramatists.
Essays of Brecht translated and edited to explain his theories and discussion of his dramatic works.
"Examines, one by one, Brecht's many, sometimes contradictory ideas about theatre - and how he put them into practice. Here are explanations of all the famous key terms, such as Alienation Effect, Epic Theatre and Gestus, as well as the many others which go to make up what we think of as 'Brechtian theatre'. There follows a section which looks at the practical application of these theories in Acting, Language, Music, Design and Direction."--P. [4] of cover.
These essays represent the push to provide interdisciplinary Brecht research to English-speaking audiences following his death in 1956 and offer novel readings of his works indicative of the major literary questions of the time. The essays explore both Brecht's theoretical approach and political thought, with many also taking a comparative approach to analysis of individual plays. The contributors are Reinhold Grimm, Karl-Heinz Schoeps, Herbert Knust, Hans Meyer, Siegfried Mews, Raymond English, James Lyon, Darko Suvin, Gisela Bahr, Grace Allen, Ralph Ley, John Fuegi, Andrzej Wirth and David Bathrick.
Examines the interplay of artistic, political, and economic performance in the former Yugoslavia and reveals their inseparability
This critical exploration of modern drama begins with Büchner and Ibsen and then discusses the major playwrights who have shaped modern theater. A new introduction by the author assesses developments of recent years.
Tracing the figure of Black Venus in literature and visual arts from different periods and geographies, Exploring the Black Venus Figure in Aesthetic Practices discusses how aesthetic practices may restore the racialized female body in feminist, anti-racist and postcolonial terms.