Can theatre change the world? If so, how can it productively connect with social reality and foster spectatorial critique and engagement? This open access book examines the forms and functions of ...political drama in what has been described as a post-Marxist, post-ideological, even post-political moment. It argues that Bertolt Brecht’s concept of dialectical theatre represents a privileged theoretical and dramaturgical method on the contemporary British stage as well as a valuable lens for understanding 21st-century theatre in Britain. Establishing a creative philosophical dialogue between Brecht, Walter Benjamin, Theodor W. Adorno and Jacques Rancière, the study analyses seminal works by five influential contemporary playwrights, ranging from Mark Ravenhill’s ‘in-yer-face’ plays to Caryl Churchill’s 21st century theatrical experiments. Engaging critically with Brecht’s theatrical legacy, these plays create a politically progressive form of drama which emphasises notions of negativity, ambivalence and conflict as a prerequisite for spectatorial engagement and emancipation. This book adopts an interdisciplinary and intercultural theoretical approach, reuniting English and German perspectives and innovatively weaving together a variety of theoretical strands to offer fresh insights on Brecht’s legacy, on British theatre history and on the selected plays. The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com.
Zusammenfassung
In Bezug auf die Frage, welche Bedeutung China für Bertolt Brecht hatte, untersucht der vorliegende Beitrag chinesische Konstanten, die sich auch in Brechts Werk
Meti. Buch der ...Wendungen
finden. Es sind Stoffe, Themen oder Gedanken, die sich Brecht bei seiner Beschäftigung mit China zu eigen gemacht hat. Der vorliegende Beitrag beschreibt nicht nur diejenigen, die am ehesten ins Auge fallen, sondern auch diejenigen, die nicht unbedingt immer sofort erkennbar sind. Aufgrund der Untersuchung vertritt der vorliegende Beitrag die Ansicht, dass
Meti
zum wiederholten Mal zeigt: China gehört Brecht. China bzw. das Chinesische war für Brechts Schaffen eine nicht wegzudenkende Kategorie.
Drawing together the estrangement theories of Viktor Shklovsky and Bertolt Brecht with Leo Tolstoy's theory of infection, Douglas Robinson studies the ways in which shared evaluative affect regulates ...both literary familiarity—convention and tradition—and modern strategies of alienation, depersonalization, and malaise.
This book begins with two assumptions, both taken from Tolstoy's late aesthetic treatise What Is Art? (1898): that there is a malaise in culture, and that literature's power to infect readers with the moral values of the author is a possible cure for this malaise. Exploring these ideas of estrangement within the contexts of earlier, contemporary, and later critical theory, Robinson argues that Shklovsky and Brecht follow Tolstoy in their efforts to fight depersonalization by imbuing readers with the transformative guidance of collectivized feeling. Robinson's somatic approach to literature offers a powerful alternative to depersonalizing structuralist and poststructuralist theorization without simply retreating into conservative rejection and reaction.
Both a comparative study of Russian and German literary-theoretical history and an insightful examination of the somatics of literature, this groundbreaking work provides a deeper understanding of how literature affects the reader and offers a new perspective on present-day problems in poststructuralist approaches to the human condition.
Este reporte de caso monográfico busca dar a conocer la poética teatral de Bertholt Brecht a quienes no la conocen, y ofrecer otras perspectivas a quienes ya se le han acercado. A partir de Massimo ...Castri, Bertholt Brecht, Luis de Tavira y la experiencia de algunos intérpretes teatrales, se analizan las características del perfil actoral del teatro épico-dialéctico y, bajo esa óptica, el trabajo particular de la Compañía Nacional de Teatro (México) en su puesta en escena de El círculo de cal. Es así como el trabajo persigue explicar esta teatralidad a quienes no están familiarizados con el teatro de Brecht y también abrir otras perspectivas a sus conocedores.
Great directors at work Jones, David Richard
1987., 19860604, 1986, c1986., 1986-06-04
eBook
“Jones argues that no theater history can be complete without carefuyl analysis of directorial achievement. Great Directors at Work is a study of four ground-breaking productions as created by four ...seminal theater figures.”—New York Times Book Review
O artigo discute a tese, defendida por Walter Benjamin, segundo a qual o teatro épico de Bertolt Brecht é um teatro que se coloca à altura do desenvolvimento técnico de seu tempo e, ao mesmo tempo, ...resgata uma tradição teatral alemã que remonta ao período barroco. Colocando em questão a aproximação entre o barroco e a vanguarda por meio do conceito de alegoria, a argumentação defende que essa se daria antes pela predominância de uma construção artística que apresenta o herói em cena ao mesmo tempo em que espelha o processo de sua construção social. O afastamento em relação ao trágico que caracterizaria tanto o teatro épico quanto o barroco se daria então pela tentativa de explicitar o confronto entre a técnica teatral e o corpo do ator na apresentação do herói, que não surge mais, como na tragédia, por meio da negação dos condicionantes históricos do destino.
Chinese dreams Hayot, Eric R. J
2003., 20091214, 2003, c2004.
eBook
China's profound influence on the avant-garde in the 20th century was nowhere more apparent than in the work of Ezra Pound, Bertolt Brecht, and the writers associated with the Parisian literary ...journal Tel quel. Chinese Dreams explores the complex, intricate relationship between various "Chinas"—as texts—and the nation/culture known simply as "China"—their context—within the work of these writers. Eric Hayot calls into question the very means of representing otherness in the history of the West and ultimately asks if it might be possible to attend to the political meaning of imagining the other, while still enjoying the pleasures and possibilities of such dreaming. The latest edition of this critically acclaimed book includes a new preface by the author.
The research documentary A Quest for Eternity (2020) is dealing with four different chapters of Theo Angelopoulos’ form and style. The first chapter focuses on the historical and political aspects of ...Theo Angelopoulos’ films, especially on the film shot during his first period up until Alexander the Great. The second chapter emphasizes on the connection between Theo Angelopoulos’ work with the estrangement techniques of Bertolt Brecht. This chapter reshapes our knowledge regarding this connection and elaborates on the debate between the traditional Brechtian approach of Angelopoulos’ work and the post-Brechtian approach. The third chapter stresses the importance of the Greek coffeeshop (kafeneion) as an ideal location in Theo Angelopoulos’ films, while the last chapter talks about the birth of the Greek Weird Wave movement in the contemporary Greek cinema, as well as how this new gaze could be influenced by Theo Angelopoulos’ work.
Damir Bartol Indoš is one of the still active veterans of the experimental theatre in Yugoslavia, and Oliver Frljić is one of the most important directors in today's post-Yugoslav space-time. The ...paper comparatively analyses two radical and in many ways mutually opposed types of politics and the corresponding aesthetico-poetic apparatus. These differences stem primarily from two completely different conceptions of the community, and consequently the ethico-political habitus that Indoš and Frljić affirm, both in their performances and beyond the artistic framework. Their poetics and actions, and to some extent methods, could be roughly based on the legacy of Artaud, with Frljić, and Brecht, with Indoš, but on many nodes of postdramatic aesthetics, these two poetico-aesthetic lines are met with both of them. Also, this paper tends to show that Artaud's and Brecht's theatre are not as distant as it is emphasised in textbooks, that is, it is insisted on the fact that their aesthetico-poetic, and especially ethico-political heritage is inseparably complementary. The opuses of Frljić and Indoš are also, after the initial distinction, approached with an emphasis on common points that may not be noticeable at first glance, but are clearly discernible from certain perspectives. Their different conceptions and artistic reflections of the community, on the other hand, are broken down into categories that differ in quality and scope - family, theatre, world - but within which, as in onion, relations remain structurally the same.
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