9,009 research outputs found
“Fringes blown by the wind”: High Hopes for Expanded Consciousness in Benjamin and Brecht
No full text“Fringes blown by the wind”: High Hopes for Expanded Consciousness in Benjamin and Brecht by Lauren Hawley. This article takes up destabilized notions of intoxication in order to refigure “sobriety” as a narcotized state of conventionality and intoxication as the means of awakening. Hawley argues that both Walter Benjamin and Bertolt Brecht use intoxication in order to achieve “euphoric expansion.” In this analysis, intoxication is no longer seen as a narcotized state into which one escapes from reality, but rather as a means of disrupting dangerous, “narcotized” habits of mind. Rather than producing an escapist comfort, intoxication creates discomfort, which can then “enhance one’s receptivity to thoughts, feelings, ideas, and objects that regimented patterns of consciousness tend to repress.
Translating Brecht : versions of "Mutter Courage und ihre Kinder" for the British stage
No full textThis study analyses five British translations of Bertolt Brecht's 'Mutter Courage und ihre Kinder'. Two of these translations were written by speakers of German, and three by well-known British playwrights with no knowledge of the source text language. Four have been produced in mainstream British theatres in the past twenty-five years. The study applies translation studies methodology to a textual analysis which focuses on the translation of techniques of linguistic "Verfremdung", as well as linguistic expression of the comedy and of the political dimension in the work. It thus closes the gap in current Brecht research in examining the importance of his idiosyncratic use of language to the translation and reception of his work in the UK. The study assesses the ways in which the translator and director are influenced by Brecht's legacy in the UK and in turn, what image of Brecht they mediate through the production on stage. To this end, the study throws light on the formation of Brecht's problematic reputation in the UK, and it also highlights the social and political circumstances in early twentieth century Germany which prompted Brecht to develop his theory of an epic theatre.
The focus on a linguistic examination allows the translator's contribution to the production process to be isolated. Together with an investigation of the reception of each performance text, this in turn facilitates a more accurate assessment of the translator and director's respective influence in the process of transforming a foreign-language text onto a local stage. The analysis also sheds light on the different approaches taken by speakers of German, and playwrights creating an English version from a literal translation. It pinpoints losses in translation and adaptation, and suggests how future versions may avoid these
Berlim, Chicago, São Paulo: o teatro de Bertolt Brecht na selva das grandes cidades
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2011Este trabalho tem como objetivo fazer uma reflexão sobre a relação dos indivíduos com o processo de formação das cidades no mundo moderno, a partir de temas como família, dinheiro, sexualidade, poder, sobrevivência, solidão e liberdade. O material escolhido para a análise é o texto teatral Na selva das cidades, de Bertolt Brecht. O que se quer com isso, é dialogar com os questionamentos que Brecht fazia a um mundo em constante transformação nos primeiros anos do século XX. Um mundo do qual fazia parte e que procurava entender pela ótica das cidades. O trabalho é composto de uma parte teórica e uma prática. A teórica se dedica às reflexões centrais a partir dos temas suscitados pela análise e está concentrada nos três primeiros capítulos. A parte prática marca o encontro da experiência artística com a acadêmica e se traduz na criação de um texto teatral exposto no quarto capítulo. Desbravar a selva de pedra de Brecht e tentar conhecê-la em suas nuances pouco exploradas é um grande desafio e uma experiência altamente inspiradora. É uma viagem ao início da primeira fase da obra brechtiana que pode nos levar a novas descobertas sobre o papel das grandes metrópoles na vida dos indivíduos e ao encontro de caminhos que nos tragam de volta à nossa própria selva de pedra.This dissertation aims to think over the relationship between individuals and the process of formation of cities in the modern world, from themes such as family, money, sexuality, power, survival, loneliness and freedom. The material chosen for the analysis is the theatrical text In the Jungle of Cities, Bertolt Brecht. The proposal is to dialogue with the questions that Brecht asked for a changing world in the early years of the twentieth century. A world to which he belonged and which sought to understand through the perspective of cities. The work consists of theoretical and practical parts. The theory is devoted to central reflections from the issues raised by the analysis and is concentrated in the first three chapters. The practical part marks the connection of the artistic and the academic experiences and it is translated through the creation of a theatrical text displayed in the fourth chapter. Breaking the concrete jungle of Brecht and try to know it in its unexplored nuances is a great challenge and a highly inspiring experience. It is a journey to the beginning of Brecht´s first work phase, that can lead us to new discoveries about the role of large cities in the lives of individuals and to different paths that bring us back to our own concrete jungle
Brecht and China : a mutual response
No full textThis thesis deals with the cross-cultural relations between Brecht and China
through an analysis of how Brecht responded to the traditional Chinese theatre and
how his drama was received in turn by modern Chinese theatre. It attempts to
examine the respective socio-cultural or political contexts wherein such kind of crosscultural
contacts were needed, and the consequent aesthetic-theatrical as well as
socio-cultural or political changes brought about by these contacts that have produced
two distinctively independent yet related forms of theatre.
It is argued that Brecht's search for a theatre style of his own amidst the sociocultural
as well as political crises between the two world wars made him look to the
East for inspirations, and his direct encounter with Mei Lanfang enabled him to
interpret the latter's acting in such a way that he responded to it with his postulation of
the alienation effect and modification of a gestic performance style. His repudiation
of the well-made dramatic theatre brought his epic theatre closer to the traditional
Chinese theatre whose aesthetic principles he shared in constructing a non-
Aristotelian episodic form of drama. In his experimentations with new modes of
theatrical expressions, he did not simply borrow or copy the forms and content of
classical Chinese drama; he appropriated, transformed and renewed them, for
example, in The Caucasian Chalk Circle, for the particular purpose of instructing
audiences in a scientific age.
China! s reception of Brecht has had much to do with the country's changing
socio-cultural as well as political situations. Chinese theatre practitioners responded
to him because he was a politically, culturally and aesthetically suitable figure. His
epic drama provided an alternative style for the Chinese in their attempt to innovate
their realist spoken drama imported from the West, and was also introduced into local
forms of performing arts in hope that the traditional Chinese theatre could be
resurrected. Furthermore, he prompted Huang Zuolin to theoretically re-examine
Chinese operas, which the latter integrated with techniques of Brecht and
Stanislavsky into spoken drama to establish a new theatre style called Xieyi drama
Brecht e Benjamin: carattere e personaggio
No full textWalter Benjamin had an assiduous relationship with Bertolt Brecht, especially during the latter’s exile in Svendborg in Denmark from 1933 to 1938. The importance of Brecht figure for Benjamis is widely attested. This influence has created several problems for Benjamin. From Adorno to Scholem the criticism towards this relationship was very heavy, fed by a strongly negative judgment against Brecht. The increasing radicalism of their positions gradually led, over the years, to a strong isolation in their respective fields for both Brecht and Benjamin. The attention to the world of children is a common element which ties the work of Brecht and Benjamin. Benjamin came into contact with Brecht thanks to his Latvian assistant director and actress Asja Lacis. For Asja Lacis Benjamin drew up in 1928 the Program for a proletarian theater of children, which can be considered one of the bases for Brecht’s revolutionary practice of theatre. Certainly Benjamin has influenced the development of Brecht’s drama theory, especially the concept of the non- tragic hero in the context of the epic scene
Walter Benjamin e Bertolt Brecht: estranhamento, interrupção e história
No full textO presente trabalho assume como escopo a exposição da presença de Bertolt Brecht na obra
de Walter Benjamin a partir da articulação dos elementos de estranhamento, de interrupção e
de crítica da empatia e sua relação com a reflexão estética e política de Benjamin. O diálogo
com o teatro de Brecht é realizado através dos ensaios benjaminianos dos anos 30 sobre a
experiência épica e das teses Sobre o Conceito de história (1940). A ligação que se pretende
construir entre os autores em questão não se esgota na apreciação de suas mútuas
referenciações dentro de suas obras, mas, todavia, procura trazer como problema o modo com
qual se observa a recepção de Brecht na obra de Benjamin. Desse modo, os elementos nos
quais esta exposição está fixada encontram-se dispostos e articulados conforme estão
apresentados nas obras dos dois autores e procuram estruturar a partir deles suas vinculações e
convergências. O ensaio de Walter Benjamin Sobre As Afinidades Eletivas de Goethe (1922)
é um importante elo para a apresentação do papel interruptivo da crítica de arte no contexto de
sua consideração materialista e está presente neste texto como evidência da discussão
estabelecida por Benjamin referente à crítica da empatia antes de sua relação teórica e pessoal
com Brecht. O resgate dos conceitos e suas conexões conjuntas consideram possível
estabelecer uma leitura que compreende a relação entre a reflexão estética de Brecht em sua
aproximação com o pensamento histórico de Benjamin em especial ponto de exposição aqui
reforçado pelo último escrito benjaminiano posta em significação distinta de uma submissão
de um sob o outro, mas próxima do que seria considerado um fortuito encontro teóricoprático entre os dois.
Palavras-chave: Brecht. Benjamin. Estranhamento. Interrupção. HistóriaThis study has as scope the exposition of the presence of Bertolt Brecht in the work of Walter
Benjamin as from the articulation of the elements of strangeness, interruption and of critique
of the empathy and its relation with the aesthetic reflection and policy of Benjamin. The
dialogue with Brecht's theater is realized through Walter Benjamin‟s essays of the 1930s on
the epic experience and of the theses On the Concept of History (1940).The bond which it
intends to build between the authors in question is not exhausted in appreciation of their
mutual referrals within his works, but nevertheless attempts to problematizes the way in
which one observes the reception of Brecht in the work of Benjamin. Thereby, the elements
on which this exhibition is fixed are willing and articulated as they are presented in the works
of both authors and seek to structure from them its links and convergences. The essay of
Walter Benjamin On Goethe's Elective Affinities (1922) is an important link for the
presentation of interruptive role of art criticism in the context of his materialistic
consideration and is present in this text as evidence of the discussion established by Benjamin
concerning the criticism of empathy before his theoretical and personal relationship with
Brecht. The rescue of the concepts and their joint connections allows to establish the relation
between the aesthetic reflection of Brecht in his approximation to historical thinking
Benjamin - evidenced in this work based on the last written by this author. Therefore, it is
concluded that there is not a submission of one under the other, but a "encounter fortuitous
theoretical and practical" between the two.
Keywords: Brecht. Benjamin. Strangeness. Interruption. History.</div
Benjamin reads Brecht : cinema and estrangement
No full textThe influence of Bertolt Brecht on Walter Benjamin is usually related to the assimilation of the critical Marxist tradition by the latter. The present article seeks to carry out an immanent and theoretical critique of the work of both authors, pursuing to investigate other possible aspects of this influence. On that ground, the goal is to demonstrate that the "distancing effect" ("Verfremdungseffekt" in German) employed by Brecht in his epic theatre plays a crucial role in the way Benjamin analyses the art of filming and appears in the four versions of the "The work of art in the age of mechanical reproduction" essay, as well as in his theory about the "aura".A influência de Bertolt Brecht sobre Walter Benjamin é comumente atribuída à assimilação da tradição de crítica marxista pelo último. O presente artigo busca realizar uma crítica imanente e teórica da obra de ambos com o fito de investigar outras faces possíveis dessa influência. Sendo assim, o objetivo é demonstrar que o "Efeito de distanciamento" (em alemão "Verfremdungseffekt") utilizado por Brecht em seu teatro épico tem um papel fundamental na leitura que Benjamin fará do cinema e aparece nas quatro versões do ensaio sobre "A obra de arte na época de sua reprodutibilidade técnica", bem como na sua teoria sobre a "aura"
Benjamin sobre Brecht: técnica, narração e crítica
No full textReferência completa da obra: Benjamin, Walter. Ensaios sobre Brecht. Trad. de Claudia Abeling. São Paulo: Boitempo, 2017
Benjamin e Brecht: a pedagogia do gesto
No full textO artigo examina a interpretação do teatro épico de Bertolt Brecht elaborada por Walter Benjamin em seu ensaio “O que é o teatro épico?”, de 1931. A partir da exigência de reconfiguração crítica do teatro tradicional, em vista do esclarecimento do público e de sua vinculação a um movimento mais amplo de transformação social, são apresentados os pressupostos e as dificuldades de um teatro pedagógico, tal como apresentado por Brecht em sua peça Um homem é um homem. Com isso, discute-se a perspectiva de análise de Benjamin, que ressalta o potencial crítico e anti-ilusionista de certos procedimentos teatrais, notadamente a produção de gestos pela interrupção da ação
ACERCA DA PARÁBOLA KAFKIANA: UM DEBATE ENTRE BENJAMIN E BRECHT
No full textNosso objetivo é apresentar o debate entre Walter Benjamin e Bertolt Brecht sobre o tema da parábola na obra de Kafka. Tal debate ocorreu durante a hospedagem de Benjamin na residência de Brecht, em exílio da Dinamarca, quando da ocasião do fim da redação de “Franz Kafka” por Benjamin, e foi registrado por este em formato de diário em textos posteriormente conhecidos como “Anotações de Svendborg”. Há, ali, perspectivas opostas sobre as parábolas de Kafka, na medida em que Benjamin, por um lado, vê positivamente seu caráter muitas vezes indecifrável, sem significação clara (puro sentido, dotado de inesgotabilidade, como interpreta LGatti), enquanto que, por outro lado, Brecht desconfia deste mesmo aspecto, afirmando-as apenas profundidade vazia, sinônimo de imperfeição e, sobretudo, apropriáveis (pela falta de referência clara) pelo fascismo. Pelo lado de Benjamin, tal questão toca diretamente sua teoria sobre a extinção da narração, sobre a relação tradicional desta com textos doutrinários e de conselhos, e com a tradição judaica. Isso porque a parábola de Kafka é lida com ele como um tipo de texto que é dotado da forma da doutrina, sem, no entanto, possuir qualquer doutrina por trás, estando, portanto, distante da tradição, mas carregando traços ou ruínas desta. Pelo lado de Brecht, seus desenvolvimentos teóricos e práticos sobre a função didática da literatura e do teatro pesam em sua leitura contra a indecifrabilidade da parábola. Intentamos, nesse sentido, pontuar os principais argumentos dos autores e expor algumas interpretações de comentadores sobre a discussão
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