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This is a book on the best known of the Weill-Brecht collaborations which explores the extent and significance of the composer's contribution. After a detailed reconstruction of the work's genesis and continued revision over three decades, Stephen Hinton examines the spin-offs on which Weill and Brecht participated: the instrumental suite, the film, the lawsuit, the novel, and the musical and textual revisions of songs. In a survey of the stage history, Hinton pays particular attention to pioneering productions in Germany and Great Britain. Kim Kowalke provides an exhaustive account of the history of The Threepenny Opera in America, Geoffrey Abbott addresses questions concerning authentic performance practice, and David Drew analyses large-scale motivic relationships in the music. Among the earliest writings on the work reprinted here, those by Theodor W. Adorno, Ernst Bloch and Walter Benjamin appear for the first time in English translation. The book contains numerous illustrations, a discography, and music examples.
Brecht's famous adaptation to the modern era of John Gay's The beggar's opera, satirizing social and political beliefs through its portrayal of a world of thieves and prostitutes.
Based on John Gay's eighteenth century Beggar's Opera, The Threepenny Opera, first staged in 1928 at the Theater am Schiffbauerdamm in Berlin, is a vicious satire on the bourgeois capitalist society of the Weimar Republic, but set in a mock-Victorian Soho. It focuses on the feud between Macheaf - an amoral criminal - and his father in law, a racketeer who controls and exploits London's beggars and is intent on having Macheaf hanged. Despite the resistance by Macheaf's friend the Chief of Police, Macheaf is eventually condemned to hang until in a comic reversal the queen pardons him and grants him a title and land. With Kurt Weill's unforgettable music - one of the earliest and most successful attempts to introduce jazz to the theatre - it became a popular hit throughout the western world. Published in Methuen Drama's Modern Classics series in a trusted translation by Ralph Manheim and John Willett, this edition features extensive notes and commentary including an introduction to the play, Brecht's own notes on the play, a full appendix of textual variants, a note by composer Kurt Weill, a transcript of a discussion about the play between Brecht and a theatre director, plus editorial notes on the genesis of the play.
One of Bertolt Brecht's best-loved and most performed plays, The Threepenny Opera was first staged in 1928 at the Theater am Schiffbauerdamm, Berlin (now the home of the Berliner Ensemble). Based on the eighteenth-century The Beggar's Opera by John Gay, the play is a satire on the bourgeois society of the Weimar Republic, but set in a mock-Victorian Soho. With Kurt Weill's music, which was one of the earliest and most successful attempts to introduce the jazz idiom into the theatre, it became a popular hit throughout the western world. This new edition is published here in John Willett and Ralph Manhein's classic translation with commentary and notes by Anja Hartl.
This updated edition properly retains much that was in the original Companion, but also introduces new voices and themes. It brings together the contrasting views of major critics and active practitioners and contains new essays on Brecht's early experience of cabaret, his significance in the development of film theory and his unique approach to dramaturgy. A detailed calendar of Brecht's life and work and a selective bibliography of English criticism complete this thorough overview of a writer who constantly aimed to provoke. Book jacket.
Manfred Pfister's book is the first to provide a coherent comprehensive framework for the analysis of plays in all their dramatic and theatrical dimensions. The material on which his analysis is based covers all genres and periods. His approach is systematic rather than historical, combining more abstract categorisations with detailed interpretations of sample texts.
This is a collection of John Freedman's reviews and articles, most originally written for the Moscow Times, in which he focuses his expert critical eye on the directors, writers and actors who held centre stage during the 1996-97 theatre season in Moscow. The book looks at the debut of promising new artists and directors at the Moscow Art Theatre celebrating its 100th anniversary this year and offers a wealth of insight into the latest developments in Russian theatre. Freedman illuminates all of the season's noteworthy trends and events in clear, informed and unapologetically opinionated reports. More than just an overview of the stars and highlights, Moscow Performances IIobserves at close range the playhouses and the people who make up the ever-changing face of contemporary Russian theatre today. This volume is generously illustrated with photographs of featured productions and will be a useful reference for students, professors, writers, directors and actors in the fields of Russian studies, theatre studies, theatre history and contemporary culture. actors in the fields of Russian studies, theatre studies, theatre history and contemporary culture.