198,148 research outputs found
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
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
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
A posztbrechti színház
No full textBertolt Brecht lehetséges posztmodern értelmezéseiBKEsztétikaMSc/M
The emptiness of this stage signifies nothing: the material as sign in modern theatre
No full textAnalysing the materiality of theatre, Cormac Power uses Brecht to analyse the modernist idealisation of the (supposedly) direct perceptual relationship between audience the material immanence of the actors onstage. Power’s essay closes the chapter on textual materiality but also provides insights into the discussion which follows on aspects of immateriality, which covers the translation of the intangible to the tangible
Postfazione
No full textPostfazione alla riedizione italiana della saggistica artistico-letteraria di Bertolt Brecht dei decenni 1920-1950.An afterword to the italian edition of Bertolt Brecht's 'Essays on Art and Literature'
Le traduzioni da Brecht
No full textVengono analizzate le traduzioni da Brecht di Gabriele Mucchi, pittore, architetto e grande traduttore di poesi
La presenza di Hölderlin nell’“Antigone” di Brecht
No full textSulla base di una ricostruzione della ricezione hölderliniana nell'intera opera di Bertolt Brecht lo studio muove a una rivalutazione della rielaborazione dell'"Antigone" di Sofocle (1947/48), stesa dal drammaturgo tedesco sulla base della traduzione di Friedrich Hölderlin (1804): la scoperta di ulteriori fonti hölderliniane ancora ignote alla critica, la determinazione dell'edizione utilizzata da Brecht e la rilettura dell'intero corpus di testi relativo alla rielaborazione e alla messa in scena con l'occhio ai suoi numerosi ipotesti sono la base per un'interpretazione complessiva del primo tentativo drammatico di Brecht dopo il ritorno dall'esilio americano e del suo ruolo nel contesto della molteplice presenza di Hölderlin - poeta, traduttore e personaggio - nel teatro tedesco contemporane
Taboris letzter Brecht: "Antigone"- Variationen 2006
No full textIl contributo analizza la messinscena della rielaborazione dell'"Antigone" di B. Brecht, portata al Berliner Ensemble nel 2006 da G. Tabori, inserendola nel complesso rapporto di quest'ultimo con il magistero brechtiano e discutendone il rapporto con la fortuna della tragedia antica in Germania.the contribution outlines George Tabori's intense work on Brecht and discusses in particular his last production, Brecht's reworking of Sophocles' Antigone (Berliner Ensemble 2006)Der Beitrag analysiert G. Taboris Inszenierung von B. Brechts "Antigone"-Bearbeitung (Berliner Ensemble 2006) vor dem Hintergrund der jahrzehntelangen Auseinandersetzung des Regisseurs mit Brechts Theater
Bertolt Brecht and the United States
No full textThis thesis discusses the life and work of German playwright and poet Bertolt Brecht. It is concerned primarily with various aspects regarding the interaction between Brecht\u27s experiences in Germany and his life in the United States: Brecht\u27s interest in the United States in the 1920s; the formative effect that a study of its political economy had on his political and aesthetic development; and the personal, professional, and political activities he engaged in while living in this country as a refugee during the 1940s. It was Brecht\u27s fascination with the United States that motivated him in the 1920s to choose it as a setting for several of his plays, although at that point Brecht\u27s only knowledge of this country came from books, newspapers, and films. In the process of writing a play about the Chicago Wheat Exchange, Brecht, puzzled by his subject, was led to a study of political economy. In reading the works of Marx and Lenin on capitalism, Brecht revised his early idealistic views on the United States and saw it instead as a decaying society. Brecht became a Marxist and thereafter, through his plays, worked to point out the flaws and injustices he perceived in the capitalist system. The impact of Brecht\u27s interest and study of the United States on his development of dialectical theater is a frequently neglected area of his development as a playwright. Brecht left Germany in 1933 and spent the next fifteen years of his life in exile. He briefly visited the United States in 1935 to supervise the Theatre Union staging of his play, The Mother. Despite his negative impressions of American leftwing theater he decided to emigrate to this country as Europe became an increasingly unsafe refuge for him. Brecht arrived in July 1941 and remained until October 1947. In the intervening years Brecht pursued a complex pattern of activity: travelling from Hollywood to New York geographically; from general obscurity to one brief New York play run; and from the absurd mechanics required of a Marxian playwright trying to survive financially on the Gold Coast to a few truly creative encounters with fellow artists. In the beginning, Brecht tried to find work as a screenwriter in Hollywood. Though not very successful with this type of work, he earned enough money to pursue his own projects, such as the writing of the plays, Schweyk in the Second World War, The Caucasian Chalk Circle, and a revision of his earlier play, Life of Galileo. Brecht also participated in the founding of the Council for a Democratic Germany, an organization dedicated to the rebuilding of a democratic and socialist Germany after the war. To a lesser extent, he involved himself in the activities of the Tribune for Free German Literature and Art; the meetings of the exiled Frankfurt Institute for Social Research; and the establishing of Aurora Verlag, a publishing house intended to print works for the new Germany. After Brecht was called to testify before the House Committee on Un-American Activities in 1947 he returned to Europe, settling finally in East Germany in 1949. My research indicates that in his political thought Brecht was neither a dilettante leftist or a hardline Stalinist, as many works on him would seen to suggest. Also, I have found that his political activities in the United States, a subject generally overlooked or underemphasized in the existing scholarship, were far broader than previously thought. With the 1974 publication of Brecht\u27s Arbeitsjournal (working journal) for this period and the availability of Brecht\u27s F.B.I. dossier, it is new possible to present a fuller picture of Brecht\u27s personal, professional, and political life from 1941 to 1947, and it is hoped that this study will contribute towards that end
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