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The winner of France's most prestigious Prix Goncourt 2003, Brecht's Lover is a fictional and hugely compelling tale of love and espionage. Offering a fascinating insight into both the political and theatrical worlds of post-War East Berlin, it is also a tender portrayal of one of the greatest playwrights of the twentieth century. cause of considerable excitement, not least for the theatrical world, and he is encouraged to find an outlet for his creative genius by establishing the Berliner Ensemble. But equally watchful of his every action are the secret police, anxious to learn exactly how far his Communist sympathies extend. Recruiting Maria Eich, Brecht's young lover, into their service, they unleash an influence over the playwright that will shape even his work. grand elegance, this novel seduces by its classical beauty and intelligent strength. Figaro
Longlisted for the PEN Award for Poetry in Translation An historic publication in which the legendary German poet and dramatist emerges, quite like Goethe, as a poet driven by Eros. Bertolt Brecht is widely considered the greatest German playwright of the twentieth century, and to this day remains best known as a dramatist, the author of Mother Courage, The Threepenny Opera, and The Caucasian Chalk Circle, among so many other works. However, Brecht was also a hugely prolific and eclectic poet, producing more than 2,000 poems during his lifetime—indeed, so many that even his own wife, Helene Weigel, had no idea just how many he had written. "A thieving magpie of much of world literature," the full scope and variety of his poetic output did not become apparent until after his death. Now, the English-speaking world can access part of his stunning body of work in Love Poems, the first volume in a monumental undertaking by award-winning translators David Constantine and Tom Kuhn to translate Brecht's poetic legacy into English. Love Poems collects his most intimate and romantic poems, many of which were banned in German in the 1950s for their explicit eroticism. Written between 1918 and 1955, these poems reflect an artist driven not only by the bitter and violent politics of his age but, like Goethe, by the untrammeled forces of love, romance, and erotic desire. In a 1966 New Yorker article, Hannah Arendt wrote of Brecht that he had "staked his life and his art as few poets have ever done." In these 78 poems, we see Brecht's astonishing and deeply personal love poems—including 22 never before published in English—many addressed to particular women, which show Brecht as lover and love poet, engaged in a bitter struggle to keep faith, hope, and love alive during desperate times. Featuring a personal foreword by Barbara Brecht-Schall, his last surviving child, Love Poems reveals Brecht as not merely one of the most famous playwrights of the twentieth century but also one of its most fiercely creative poets.
This first English language biography of Bertolt Brecht (1898–1956) in two decades paints a strikingly new picture of one of the twentieth century's most controversial cultural icons. Drawing on letters, diaries and unpublished material, including Brecht's medical records, Parker offers a rich and enthralling account of Brecht's life and work, viewed through the prism of the artist. Tracing his extraordinary life, from his formative years in Augsburg, through the First World War, his politicisation during the Weimar Republic and his years of exile, up to the Berliner Ensemble's dazzling productions in Paris and London, Parker shows how Brecht achieved his transformative effect upon world theatre and poetry. Bertolt Brecht: A Literary Life is a powerful portrait of a great, compulsively contradictory personality, whose artistry left its lasting imprint on modern culture.
This fascinating portrait of two of the most brilliant theater artists of the twentieth century—and the women who made their work possible—is set against the explosive years of the Weimar Republic. Among the most outsized personalities of the sizzling, decadent period between the Great War and the Nazis’ rise to power were the renegade poet Bertolt Brecht and the avant-garde composer Kurt Weill. These two young geniuses and the three women vital to their work—actresses Lotte Lenya and Helene Weigel and writer Elisabeth Hauptmann—joined talents to create the theatrical masterworks The Threepenny Opera and The Rise and Fall of the City of Mahagonny, only to split in rancor as their culture cracked open and their differences became irreconcilable. The Partnership is the first book to tell the full story of one of the most important creative collaborations of the last century, and the first to give full credit to the women who contributed their enormous gifts. Theirs is a thrilling story of artistic daring entwined with sexual freedom during the Weimar Republic’s most fevered years, a time when art and politics and society were inextricably mixed.
The result of twenty-five years of research on three continents, Brecht and Company is a revolutionary portrait of one of the world's greatest theater artists -- and the people upon whom he built his reputation. A noted Brecht scholar, John Fuegi traces the evolution of Brecht's parasitic relationships and aggressive ambition through close analysis of diaries, letters, and drafts of the literary works, revealing a man who was personally dazzling, a genius at assembling and directing the plays created in his workshop, but ultimately lacking in literary stamina, for which he depended on his lovers. A landmark study about the life and times of one of the most influential figures in twentieth-century theater, Brecht and Co. will forever change our understanding of Brecht and his oeuvre. "[An] enormous, fascinating biography." -- The New Yorker "One of the most important critical studies of the century." -- New York Magazine
Bertolt Brecht's Me-ti, which remained unpublished in his own lifetime, now appears for the first time in English. Me-ti counselled against 'constructing too complete images of the world'. For this work of fragments and episodes, Brecht accumulated anecdotes, poems, personal stories and assessments of contemporary politics. Given its controversial nature, he sought a disguise, using the name of a Chinese contemporary of Socrates, known today as Mozi. Stimulated by his humorous aphoristic style and social focus, as well as an engrained Chinese awareness of the flow of things, Brecht developed a practical, philosophical, anti-systematic ethics, discussing Marxist dialectics, Lenin, Hitler, Stalin, the Moscow trials, and the theories behind current events, while warning how ideology makes people the 'servants of priests'. Me-ti is central to an understanding of Brecht's critical reflections on Marxist dialectics and his commitment to change and the non-eternal, the philosophy which informs much of his writing and his most famous plays, such as The Good Person of Szechwan. Readers will find themselves both fascinated and beguiled by the reflections and wisdom it offers. First published in German in 1965 and now translated and edited by Antony Tatlow, Brecht's Me-ti: Book of Interventions in the Flow of Things provides readers with a much-anticipated accessible edition of this important work. It features a substantial introduction to the concerns of the work, its genesis and context - both within Brecht's own writing and within the wider social and political history, and provides an original selection and organisation of texts. Extensive notes illuminate the work and provide commentary on related works from Brecht's oeuvre.
Erdmut Wizisla's groundbreaking work explores for the first time the important friendship between Walter Benjamin, the acclaimed critic and literary theorist, and Bertolt Brecht, one of the twentieth century's most influential theater artists and poets, during the crucial interwar years in Berlin. From the first meeting between Benjamin and Brecht to their experiences in exile, the events in this friendship are illuminated by personal correspondence, journal entries, and notes--including previously unpublished materials--from the friends' electric discussions of shared projects. In addition to exploring correspondence between the two, Wizisla presents documents by colleagues who shaped and shaded their relationship, including Margarete Steffin, Theodor Adorno, and Hannah Arendt. Wizisla shows us the fascinating ideological exchanges between Benjamin and Brecht, including the first account of Berlin Marxist journal planned for 1931. The Minutes of its meetings record the involvement of Benjamin and Brecht, and offer a window onto the discussions on literature and politics that took place under the increasing threat of the German left's political defeat. Wizisla's examination of the friendship between Benjamin and Brecht, two artists at the height of their creative powers during a time of great political crisis, throws light on nearly two decades of European intellectual life.
Whom do we choose when we fall in love? How do we make the love-object into what we want? These are questions which only became important at the end of the nineteenth century, as Freud began to formulate a new discipline which would be called psycholanalysis. Freud argues Klaus Theweleit, was the first theoretician of the new situation: boy versus girl in the world series of love. Theweleit looks at a number of relationships: Alfred Hitchcock and Alma Reville; the triangle of Hannah Arendt, Martin Heidegger and Elfriede Heidegger; Jung and Sabina Spierlrein. But the key figure is Freud himself. Who would, who could Freud choose? As it happened, Freud proposed to Martha Bernays. The 1,500 letters of Freud’s courtship became something like the first psychoanalysis; without knowing it, Martha Bernays became an analytic-instance. But Object-Choice is not only a study of the founder of psychoanalysis, it is also an illuminating lexicon of love in the twentieth century. Freud is accompanied here by Jimi Hendrix, the Kinks and the Velvet Underground. Like Theweleits’s Male Fantasies, this is a collage book, mixing auto-biography, theory and pop culture, and always haunted by history, above all the history of Nazism. As an epilogue, Theweleit brings Freud back to the scene of his courtship, and the Beatles back to Hamburg, in an exploration of that city’s Wandsbek district, once home to an important Jewish community. His comments on the transformations and destruction that Wandsbek has endured form an elegiac tribute to German Jewry, and a powerful conclusion to this remarkable book.
The publication of this volume of essays marks the centenary of the birth of Bertolt Brecht on 10 February 1898. The essays were commissioned from scholars and critics around the world, and cover six main areas: recent biographical controversies; neglected theoretical writings; the semiotics of Brechtian theatre; new readings of classic texts; Brecht's role and reception in the GDR; and contemporary appropriations of Brecht's work. This volume will be essential reading for all those interested in twentieth century theatre, modern German studies, and the contemporary reassessment of post-war culture in the wake of German unification and the collapse of Stalinist communism in Central and Eastern Europe. The essays in this volume also address a variety of general questions, concerning - for example - authorship and textuality; the nature of Brecht's Marxism in relation to his understanding of modernity, science and Enlightenment reason; Marxist aesthetics; radical cultural politics; and feminist performance theory.
A Study Guide for Bertolt Brecht's "The Threepenny Opera," excerpted from Gale's acclaimed Drama For Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Drama For Students for all of your research needs.