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Brecht, Bertolt

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The Berliner Ensemble was founded by Bertolt Brecht and his wife Helene Weigel in 1949. The company soon gained international prominence, and its productions and philosophy influenced the work of theatre-makers around the world. David Barnett's book is the first study of the company in any language. Based on extensive archival research, it uncovers Brecht's working methods and those of the company's most important directors after his death. The book considers the boon and burden of Brecht's legacy and provides new insights into battles waged behind the scenes for the preservation of the Brechtian tradition. The Berliner Ensemble was also the German Democratic Republic's most prestigious cultural export, attracting attention from the highest circles of government, and from the Stasi, before it privatised itself after German reunification in 1990. Barnett pieces together a complex history that sheds light on both the company's groundbreaking productions and their turbulent times.

Brecht, Bertolt, --- Brecht, Bertolt --- Criticism and interpretation. --- Critique et interprétation. --- Berliner Ensemble. --- Brecht, Berthold Friedrich --- Brecht, Bertolt. --- Brecht, Bertholt --- Brecht, Bert --- Brecht, Eugen Berthold Friedrich

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"A re-examination of Bertolt Brecht the theatre practitioner in the light of his theoretical writings and his work in the theatre"-- "Bertolt Brecht's reputation as a flawed, irrelevant or difficult thinker for the theatre can often go before him to such an extent that we run the risk of forgetting the achievements that made him and his company, the Berliner Ensemble, famous around the world. David Barnett examines both Brecht the theorist and Brecht the practitioner to reveal the complementary relationship between the two. This book aims to sensitize the reader to the approaches Brecht took to the world and the stage with a view to revealing just how carefully he thought about and realized his vision of a politicized, interventionist theatre. What emerges is a nuanced understanding of his concepts, his work with actors and his approaches to directing. The reader is encouraged to engage with Brecht's method that sought to 'make theatre politically' in order to locate the innovations he introduced into his stagecraft. There are many examples given of how Brecht's ideas can be staged, and the final chapter takes two very different plays and asks how a Brechtian approach can enliven and illuminate their production. Ultimately, the book invites readers, students and theatre-makers to discover new ways of apprehending and making use of Brecht"--

Aufführungspraxis. --- Inszenierung. --- PERFORMING ARTS --- Theater. --- Theatertheorie. --- Tyska dramatiker. --- Theater --- History & Criticism. --- Brecht, Bertolt, --- Criticism and interpretation.

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Aan de hand van diverse thema's behandelen Eric de Kuyper en Emile Poppe het effect van de opvoeringskunsten op toeschouwers van de traditionele podiumkunsten, zoals opera, toneel en ballet. Ook hedendaagse en meer populaire vormen komen aan bod, zoals circus, musicals, festivals, straattheater, mime en zelfs 'tuinkunst'. In Theatraliteit bewandelen De Kuyper en Poppe een uniek historisch parcours van de wereld van verbeelding: van de barok tot nu met flashbacks naar de Oudheid. Ze illustreren hun beschouwingen met vele voorbeelden in de tekst en honderden afbeeldingen. Verwacht geen geschiedenis van theaterteksten: Theatraliteit toont in de volle breedte de bronnen van onze hedendaagse beleving van alles wat er aan theater en podiumkunsten wordt getoond.

Theatrical science --- theater --- Diderot Denis --- Rousseau Jean-Jacques --- Verlichting --- barok --- filmtheorie --- 791.41 --- 791.43 --- 792 --- musical --- Gesamtkunstwerk --- dans --- opera --- film --- Brecht Bertolt --- Piscator Erwin --- Sovjet-Unie --- theater en politiek --- Reinhardt Max --- Diaghilev Sergei --- Craig Gordon --- Appia Adolphe --- regietheater --- verbeeldingstheater --- naturalisme --- Zola Emile --- boulevardtheater --- Bayreuth --- Meiningen --- romantiek --- negentiende eeuw --- theatergeschiedenis --- literatuur --- filmgeschiedenis --- 762 --- Theorie van het theater en de film - Geschiedenis --- regie --- locatietheater --- Toneelkunst

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Walter Benjamins »Programm eines proletarischen Kindertheaters« (1929), das nicht nur durch die Kindertheaterarbeit von Asja Lacis und der russischen Theateravantgarde, sondern auch von Untersuchungen zum barocken Trauerspiel sowie zum Theater Bertolt Brechts inspiriert wurde, beschreibt einen von Autorität und Hierarchie befreiten Spiel- und Übungsraum, der gerade dem kindlichen Erleben und Verhalten entgegenkommt. Vor dem Hintergrund des bisher eher unentdeckten Motivs der Straße im Denken Walter Benjamins stellt Karin Burk die spielerische, dem Kind eigentümliche Idee seines Kindertheaters heraus: Auf prätheatralische Formen zurückgreifend steht es dem Karneval und der Performance nahe, was seine revolutionäre Invention unterstreicht. »The great strengh of Burk's study consists in the meticulous care she takes to unravel the conceptual vocabulary that permeates the thinking and practice of all three vanguardists, and the new intratextual trajectories she identifies in the thought of Benjamin.« Phoebe von Held, Das Brecht-Jahrbuch, 42 (2018) »Spannend [besonders] da, wo man Anklänge und das Erbe der russischen Avantgarde und dessen, was Benjamin in seiner Programmschrift fordert, in der heutigen Kinder- und Jugendtheaterarbeit erkennt.« www.samtundselters.de, 11.07.2016 »Die Publikation ist insbesondere für Theaterwissenschaftler, Theaterpraktiker, Kulturschaffende insgesamt sowie in Teilen auch Pädagogen oder Erziehungswissenschaftler eine Fundgrube vielfältiger Reflexionen und Verweise quer durch die Kultur-, Kunst- und Theatergeschichte, die bis in heutige performative Theaterpraktiken und aktuelle Überlegungen zur frühkindlichen Erziehung hineinreichen.« Bettina Brandi, www.socialnet.de, 28.06.2016 Besprochen in: Zeitschrift für Theaterpädagogik, 10 (2016), Florian Vaßen Das Brecht-Jahrbuch, 42 (2018), Phoebe von Held

Agitprop theater --- Children's theater --- Experimental theater --- Kindertheater. --- Socialism and theater --- Theater critics --- Theater --- Theatrical producers and directors --- Workers' theater --- Influence. --- History --- Political aspects --- Production and direction --- Benjamin, Walter, --- Brecht, Bertolt, --- Lācis, Anna, --- Lācis, Asja, --- Russland. --- Asja Lacis. --- Bertolt Brecht. --- Critical Theory. --- History of Theatre. --- Kritische Theorie. --- Russian Avant-garde. --- Russische Avantgarde. --- Theater. --- Theatergeschichte. --- Theaterwissenschaft. --- Theatre Studies. --- Theatre. --- Walter Benjamin. --- PERFORMING ARTS / Theater / History & Criticism. --- Lācis, Anna, --- Labor theater --- Proletariat theater --- Theater and socialism --- Alternative theater --- Avant-garde theater --- Children's dramatics --- Children's plays --- Theater for children --- Theater for young people --- Young people's theater --- Presentation, etc. --- Lacis, Asja, --- Lāce, Anna, --- Lat︠s︡is, A. --- Lat︠s︡is, Anna, --- Benjamin, W. --- Kindertheater; Theater; Asja Lacis; Russische Avantgarde; Bertolt Brecht; Walter Benjamin; Theaterwissenschaft; Theatergeschichte; Kritische Theorie; Theatre For Children; Theatre; Russian Avant-garde; Theatre Studies; History of Theatre; Critical Theory --- Brecht, Berthold Friedrich --- Brecht, Bertolt. --- Brecht, Bertholt --- Brecht, Bert --- Brecht, Eugen Berthold Friedrich --- Benjamin, Walter --- Holz, Detlef, --- Banyaming, --- Benʼyamin, Varutā, --- Peñcamin̲, Vālṭṭar, --- Binyamin, Ṿalṭer, --- בנימין, ולטר --- בנימין, ולטר, --- ולטר, בנימין, --- Penyamin, Palt'ŏ, --- 벤야민 발터,