Read Brecht on Performance: Dialogues, Models, Practice Pieces by Bertolt Brecht Free Online
Book Title: Brecht on Performance: Dialogues, Models, Practice Pieces|
The size of the: 5.61 MB
Edition: Bloomsbury Methuen Drama
Date of issue: December 4th 2014
ISBN 13: 9781408154557
The author of the book: Bertolt Brecht
Format files: PDF
Read full description of the books Brecht on Performance: Dialogues, Models, Practice Pieces:Brecht on Performance: Dialogues, Models, Practice Pieces presents a selection of Brecht's principle writings for actors and directors and is suitable for acting schools, directors, actors, students and teachers of Theatre Studies. Through these texts Brecht provides a general practical approach to acting and to realising texts for the stage that crystallises and makes concrete many of the more theoretical aspects of his other writing.
The volume features a corpus of theatre materials, production records from Brecht's work with the Berliner Ensemble and practice pieces for actors, most of which has not previously been published in the English language. Edited by an international team of Brecht scholars and including a section by director and teacher Di Trevis examining the practical application of the texts for theatres and actors today, it is a wonderfully rich resource. Texts include:
A Dialogue About Acting and realted pieces
The Street Scene
a newly edited version of The Messingkauf Dialogues
Practice scene for actors based on texts by Shakespeare, Schiller and Homer
extracts from the Model Books recording productions of Galileo and Mother Courage
The text is illustrated with over 30 photographs from the Model Books.
Read information about the authorBertolt Brecht (born Eugen Berthold Friedrich Brecht) was a German poet, playwright, and theatre director. A seminal theatre practitioner of the twentieth century, Brecht made equally significant contributions to dramaturgy and theatrical production, the latter particularly through the seismic impact of the tours undertaken by the Berliner Ensemble—the post-war theatre company operated by Brecht and his wife and long-time collaborator, the actress Helene Weigel—with its internationally acclaimed productions.
From his late twenties Brecht remained a life-long committed Marxist who, in developing the combined theory and practice of his 'epic theatre', synthesized and extended the experiments of Piscator and Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism. Brecht's modernist concern with drama-as-a-medium led to his refinement of the 'epic form' of the drama (which constitutes that medium's rendering of 'autonomization' or the 'non-organic work of art'—related in kind to the strategy of divergent chapters in Joyce's novel Ulysses, to Eisenstein's evolution of a constructivist 'montage' in the cinema, and to Picasso's introduction of cubist 'collage' in the visual arts). In contrast to many other avant-garde approaches, however, Brecht had no desire to destroy art as an institution; rather, he hoped to 're-function' the apparatus of theatrical production to a new social use. In this regard he was a vital participant in the aesthetic debates of his era—particularly over the 'high art/popular culture' dichotomy—vying with the likes of Adorno, Lukács, Bloch, and developing a close friendship with Benjamin. Brechtian theatre articulated popular themes and forms with avant-garde formal experimentation to create a modernist realism that stood in sharp contrast both to its psychological and socialist varieties. "Brecht's work is the most important and original in European drama since Ibsen and Strindberg," Raymond Williams argues, while Peter Bürger insists that he is "the most important materialist writer of our time."
As Jameson among others has stressed, "Brecht is also ‘Brecht’"—collective and collaborative working methods were inherent to his approach. This 'Brecht' was a collective subject that "certainly seemed to have a distinctive style (the one we now call 'Brechtian') but was no longer personal in the bourgeois or individualistic sense." During the course of his career, Brecht sustained many long-lasting creative relationships with other writers, composers, scenographers, directors, dramaturgs and actors; the list includes: Elisabeth Hauptmann, Margarete Steffin, Ruth Berlau, Slatan Dudow, Kurt Weill, Hanns Eisler, Paul Dessau, Caspar Neher, Teo Otto, Karl von Appen, Ernst Busch, Lotte Lenya, Peter Lorre, Therese Giehse, Angelika Hurwicz, and Helene Weigel herself. This is "theatre as collective experiment [...] as something radically different from theatre as expression or as experience."
There are few areas of modern theatrical culture that have not felt the impact or influence of Brecht's ideas and practices; dramatists and directors in whom one may trace a clear Brechtian legacy include: Dario Fo, Augusto Boal, Joan Littlewood, Peter Brook, Peter Weiss, Heiner Müller, Pina Bausch, Tony Kushner and Caryl Churchill. In addition to the theatre, Brechtian theories and techniques have exerted considerable sway over certain strands of film theory and cinematic practice; Brecht's influence may be detected in the films of Joseph Losey, Jean-Luc Godard, Lindsay Anderson, Rainer Werner Fassbinder, Nagisa Oshima, Ritwik Ghatak, Lars von Trier, Jan Bucquoy and Hal Hartley.
Bertolt Brecht (1898-1956), nació en Augsburgo. El enorme éxito de La ópera de tres peniques en 1928, y su activismo político le convirtieron en un personaje polémico y famoso. En 1933, en EEUU, escribió Terror y miseria del Tercer Reich (1938), Madre Coraje (1939
Add a comment to Brecht on Performance: Dialogues, Models, Practice Pieces
Read EBOOK Brecht on Performance: Dialogues, Models, Practice Pieces by Bertolt Brecht Online free