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This text is Brecht's series of 24 inter-connected playlets that describe events which took place in German households before his own exile in 1936. They describe the suspicion and anxiety experienced by people as the power of Hitler grew.
Grounded equally in discussions of theater history, literary genre, and theory, Martin Puchner's Stage Fright: Modernism, Anti-Theatricality, and Drama explores the conflict between avant-garde theater and modernism. While the avant-garde celebrated all things theatrical, a dominant strain of modernism tended to define itself against the theater, valuing lyric poetry and the novel instead. Defenders of the theater dismiss modernism's aversion to the stage and its mimicking actors as one more form of the old "anti-theatrical" prejudice. But Puchner shows that modernism's ambivalence about the theater was shared even by playwrights and directors and thus was a productive force responsible for some of the greatest achievements in dramatic literature and theater. A reaction to the aggressive theatricality of Wagner and his followers, the modernist backlash against the theater led to the peculiar genre of the closet drama—a theatrical piece intended to be read rather than staged—whose long-overlooked significance Puchner traces from the theatrical texts of Mallarmé and Stein to the dramatic "Circe" chapter of Joyce's Ulysses. At times, then, the anti-theatrical impulse leads to a withdrawal from the theater. At other times, however, it returns to the stage, when Yeats blends lyric poetry with Japanese Nôh dancers, when Brecht controls the stage with novelistic techniques, and when Beckett buries his actors in barrels and behind obsessive stage directions. The modernist theater thus owes much to the closet drama whose literary strategies it blends with a new mise en scène. While offering an alternative history of modernist theater and literature, Puchner also provides a new account of the contradictory forces within modernism.
Published by Methuen Drama, the collected dramatic works of Bertolt Brecht are presented in the most comprehensive and authoritative editions of Brecht's plays in the English language. The fifth volume in the Brecht Collected Plays series brings together two of Brecht's best-known and most frequently performed and studied plays: Life of Galileo and Mother Courage and Her Children. Galileo, which examines the conflict between free inquiry and official ideology, contains one of Brecht's most human and complex central characters. Temporarily silenced by the Inquisition's threat of torture, and forced to abjure his theories publicly, Galileo continues to work in private, eventually smuggling his work out of the country. As an examination of the problems that face not only the scientist but also the whole spirit of free inquiry when brought into conflict with the requirements of government or official ideology, Life of Galileo has few equals. Mother Courage is usually seen as Brecht's greatest work. Remaining a powerful indictment of war and social injustice, it is an epic drama set in the seventeenth century during the Thirty Years' War. The plot follows the resilient Mother Courage who survives by running a commissary business that profits from all sides. As the war claims all of her children in turn, the play poignantly demonstrates that no one can profit from the war without being subject to its terrible cost also. The translations are ideal for both study and performance. The volume is accompanied by a full introduction and notes by the series editor John Willett and includes Brecht's own notes and relevant texts as well as all the important textual variants.
Alongside the usual wide-ranging lineup of research articles, volume 41 features an interview with Berliner Ensemble actor Annemone Haase and an extensive special section on teaching Brecht. Now published for the International Brecht Society by Camden House, the Brecht Yearbook is the central scholarly forum for discussion of Bertolt Brecht's life and work and of topics of particular interest to Brecht, especially the politics of literature and of theater in a global context. It includes a wide variety of perspectives and approaches, and, like Brecht himself, is committed to the concept of the use value of literature, theater, and theory. Volume 41 features an interview with longtime Berliner Ensemble actor Annemone Haase by Margaret Setje-Eilers. A special section on teaching Brecht, guest-edited by Per Urlaub and Kristopher Imbrigotta, includes articles on creative appropriation in the foreign-language classroom (Caroline Weist), satire in Arturo Ui and The Great Dictator (Ari Linden), performative discussion (Cohen Ambrose), Brecht for theater majors (Daniel Smith), teaching performance studies with the Lehrstück model (Ian Maxwell), Verfremdung and ethics (Elena Pnevmonidou), Brecht on the college stage (Julie Klassen and Ruth Weiner), and methods of teaching Brechtian Stückschreiben (Gerd Koch). Other research articles focus on Harry Smith's Mahagonny (Marc Silberman), inhabiting empathy in the contemporary piece Temping (James Ball), Brecht's appropriation of Kurt Lewin's psychology (Ines Langemeyer), and Brecht's collaborations with women, both across his career (Helen Fehervary) and in exile in Skovsbostrand (Katherine Hollander). Editor Theodore F. Rippey is Associate Professor of German at Bowling Green State University.
The most comprehensive and authoritative editions of Brecht's plays in the English language Volume Three of Brecht's Collected Plays includes St Joan of the Stockyards - a play which recasts St Joan as Joan Dark springing hope into the hearts of factory workers at the mercy of meatpacker king Pierpont Mauler threatening cuts in the Depression; and the Lehrstücke or short 'didactic' pieces written during the years 1929 to 1933, are some of his most experimental work. Lindbergh's Flight, The Baden-Baden Lesson on Consent, He Said Yes / He Said No, The Decision,The Exception and the Rule, and The Horatians and the Curiatians reject conventional theatre; they are spare and highly formalised, drawing on traditional Japanese and Chinese forms. They show Brecht in collaboration with the composers Hindemith, Weill and Eisler, influenced by the new techniques of montage in the visual arts and seeking new means of expression. Also included is The Mother, based on Gorky's novel about the progress of a factory strike in Tver and the journey of a peasant mother from illiteracy to card-carrying communism. The translators include H R Hays (The Horatians and the Curiatians), Ralph Manheim (St Joan of the Stockyards), Tom Osborn (The Exception and the Rule), Geoffrey Skelton (The Baden-Baden Lesson on Consent), John Willett (Lindbergh's Flight;The Decision;The Mother) and Arthur Waley (He Said Yes / He Said No). The translations are ideal for both study and performance. The volume is accompanied by a full introduction and notes by the series editor John Willett and includes Brecht's own notes and relevant texts as well as all the important textual variants.
First published in 1988, this books argues with received accounts to reclaim Brecht’s emphasis on his self-described ‘dialectical theatre’, re-examining firstly the concepts of Gestus and Verfremdung and their realisation in Brecht’s poetry in terms of his attempt to consciously apply the methods of dialectical materialism to art and cultural practice. The author also takes issue with the customary view of Brecht’s career and politics which sees him as compromising either with Communist party dogma or bourgeois aesthetics, to find developing parallels between Brecht’s political and artistic though and the critical dialectics of Marx, Lenin and Mao. This development is examined in later chapters in relation to the early and late plays, The Measures Taken and Days of the Commune as well as in relation to Brecht’s changed circumstances in the years of war-time exile and in post-war East Germany.
Post-Imperial Brecht challenges prevailing views of Brecht's theatre and politics. Kruger focuses much of her analysis in regions where Brecht has had special resonance, including East Germany, and South Africa, where Brechtian philosophy has been vigorously employed in the anti-apartheid movement. Kruger also analyses political interpretations of Brecht in light of other key dramatists, including Heiner MÜller and Athol Fugard. The book also examines Brechtian influence on writers and philosophers such as Adorno, Benjamin, and Barthes.
New edition, revised for the centenary of Brecht's birth, containing additional updated material In this classic study, John Willett sets in context not only Brecht the theatre practitioner but Brecht the writer and man of his time. Through chapters on Brecht's relationships and attitudes to contemporary politics, English and American literature, Expressionism, music, art and cinema, as well as to such figures as Auden, Kipling and Piscator, the book presents a detailed and wide-ranging account of one of the most significant men of this century. "An outstanding introduction to its subject. . . will immeasurably enrich Brechtians young and old, especially those who think they know it all" (Times Educational Supplement); "Economical, witty and unpretentious in a way that Brecht would have liked, but immensely well-informed and thoroughly documented, seems certain to become required reading for anyone seriously interested in the dramatist" (London Review of Books); "An extraordinarily rich volume, which succeeds in being packed but uncrowded" (New Statesman)