6,650 research outputs found
Brecht and China : a mutual response
Get PDFThis 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
The Future of Canadian Climate Policy — with Marc Lee
No full textMarc Lee is a Senior Economist at the Canadian Centre for Policy Alternatives\u27 BC Office. In addition to tracking federal and provincial budgets and economic trends, Marc has published on a range of topics from poverty and inequality to globalization and international trade to public services and regulation. Marc is the Co-Director of the Climate Justice Project, a research partnership with UBC\u27s School of Community and Regional Planning that examines the links between climate change policies and social justice.Resources:Climate Justice Project: www.policyalternatives.ca/projects/cli…tice-projectMarc Lee\u27s Posts on Policy Note: www.policynote.ca/author/marclee/Canadian Centre for Policy Alternatives: www.policyalternatives.ca/Marc\u27s Twitter: twitter.com/MarcLeeCCPA International Panel on Climate Change, 2021 report: www.ipcc.ch/report/ar6/wg1
Climate Justice & Inequality: The Future of Canadian Climate Policy — with Marc Lee
No full textMarc Lee is a Senior Economist at the Canadian Centre for Policy Alternatives\u27 BC Office. In addition to tracking federal and provincial budgets and economic trends, Marc has published on a range of topics from poverty and inequality to globalization and international trade to public services and regulation. Marc is the Co-Director of the Climate Justice Project, a research partnership with UBC\u27s School of Community and Regional Planning that examines the links between climate change policies and social justice.Resources: Climate Justice Project: https://www.policyalternatives.ca/projects/climate-justice-projectMarc Lee\u27s Posts on Policy Note: https://www.policynote.ca/author/marclee/Canadian Centre for Policy Alternatives: https://www.policyalternatives.ca/Marc\u27s Twitter: https://twitter.com/MarcLeeCCPA International Panel on Climate Change, 2021 report: https://www.ipcc.ch/report/ar6/wg1
Johannes Brenz, Frühschriften, t. II, publiées par M. Brecht, G. Schäfer et F. Wolf, Mohr, Tübingen, 1974
No full textLienhard Marc. Johannes Brenz, Frühschriften, t. II, publiées par M. Brecht, G. Schäfer et F. Wolf, Mohr, Tübingen, 1974. In: Revue d'histoire et de philosophie religieuses, 57e année n°2,1977. Non-Conformistes du 16e siècle. pp. 230-231
sj-pdf-1-asp-10.1177_00037028211055148 - Supplemental material for Determination and Monitoring of Quality Parameters: A Detailed Study of Optical Elements of a Lens-Based Raman Spectrometer
No full textSupplemental material, sj-pdf-1-asp-10.1177_00037028211055148 for Determination and Monitoring of Quality Parameters: A Detailed Study of Optical Elements of a Lens-Based Raman Spectrometer by Ashutosh Mukherjee, Anita Lorenz, Marc Brecht in Applied Spectroscopy</p
Theologen und Theologie an der Universität Tübingen, publié par M. Brecht, Contubernium, Beiträge zur Geschichte der Eberhard-Karls Universität Tübingen 15. J.C.B. Mohr (Paul Siebeck), Tübingen, 1977
No full textLienhard Marc. Theologen und Theologie an der Universität Tübingen, publié par M. Brecht, Contubernium, Beiträge zur Geschichte der Eberhard-Karls Universität Tübingen 15. J.C.B. Mohr (Paul Siebeck), Tübingen, 1977. In: Revue d'histoire et de philosophie religieuses, 62e année n°3, Juillet-septembre 1982. pp. 304-305
Brecht by Formosa. Between effective staging and poetic conciseness
Get PDFPer esbrinar a quins aspectes de Bertolt Brecht donà més importància el seu principal traductor al català, Feliu Formosa, que també muntà la primera representació d’una obra de Brecht a Catalunya, aquest article tracta de les teories de Brecht tal com Formosa les va assimilar i del pes que tingueren en la pràctica i en l’evolució del teatre independent. S’hi repassaran les obres de teatre de Brecht traduïdes per Formosa, tant per a la representació com per a la publicació, i també de la seua poesia. Quasi des de l’inici, Formosa treballava amb textos dramàtics i poètics de l’autor alemany, alhora que s’impregnava de les seues teories. El Brecht que Formosa ha incorporat a la cultura catalana és un autor multifacètic que combina perfectament l’eficàcia escènica i la concisió poètica per a fer-ne una arma al servei d’uns objectius de caràcter social i polític.This article deals with the dramatic theory of Bertolt Brecht and his reception by Feliu Formosa,
who is the main Catalan translator of Brecht, and staged the first performance of a work by
Brecht in Catalonia. The paper also analyses the influence of Brecht’s theories on the so-called
“independent theatre”, and reviews Brecht’s plays as well as his poetry, both translated by Formosa.
The analysis shows that the Brecht brought in the Catalan culture by Formosa is a multifaceted
author who perfectly combines scenic efficacy and poetic conciseness to turn them into
a weapon at the service of social and political objectives
La réception de Brecht en Afrique chez Wolé Soyinka, Alioum Fantouré et Ngugi wa Thiong'o
No full textLa réception de Brecht chez Wolé Soyinka, Alioum Fantouré et Ngugi wa Thiong'o montre une certaine liberté que les auteurs africains s'octroient avec le texte de Brecht et qui nous fait réfléchir sur le rapport parfois ambivalent entre le regard que le "je" de ces auteurs porte sur "l'autre" qui est ici Brecht et ce que Brecht est en réalité. Dans le cas spécifique de Soyinka, de Fantouré et, dans une moindre mesure, de Ngugi, cette lecture devient une sorte de relecture de "l'autre" Brecht qui se voit ainsi "domestiqué" au point de devenir désormais, thématiquement et stylistiquement, un élément local dans leur complexe littéraire. Alors que Soyinka réactualise la tradition yoruba avec Brecht en toile de fond, faisant ressortir les éléments dramatiques qui interviennent dans les deux traditions africaine et européeenne, mais avec des fonctions poétiques différentes, Fantouré montre une réception ponctuelle et limitée à la reprise du cercueil de zinc dans Le Cercle des Tropiques, séparant toutefois le politique de l'idéologique. Seul Ngugi, de tendance marxiste, donne à la réception de Brecht, des contours plus affirmés avec un recours marqué au dramaturge allemand.STRASBOURG-B.N.U.S. (674821001) / SudocSudocFranceF
An analytical study of the theatre of the Syrian playwright Saadallah Wannous, with particular emphasis on the plays written after the 1967 war
Get PDFThis study is an examination of the life and work of
the Syrian dramatist Saadallah Wannous (1941-1997). Wannous's name is virtually unknown in the West; only two academic studies of any significance have appeared in English on this eminent and challenging writer, who was honoured by UNESCO at the end of his life. Even in the Arab world his standing rests largely upon his celebrity as a cultural icon, since professional performances of his plays are rare due to the decline of the theatre in the region, and little attention has been devoted to theatre studies by Arab academics. The two studies in English do not attempt to be comprehensive but focus on particular stages of Wannous's career. This study is, therefore, the first to encompass the full range of Wannous's work. To do so it combines an account of his life which seeks to comprehend the various forces that shaped his thinking with an analysis of his dramatic works. The study concentrates on the plays written in the years following the trauma inflicted on the Arab world by the catastrophe of their
defeat in the Arab-Israeli war of June, 1967. Wannous's career can be divided into three phases: the immature plays of his young manhood which are influenced by European models and generally focus on the social condition of the individual; his middle period - the `theatre of politicisation', when his Marxist politics were the main
factor shaping his drama; and his late works, which are characterised by an extraordinary freedom of thought and expression. The introduction places Wannous in his historical and sociocultural context and provides a brief background explaining the literary and theatrical traditions of the Arab world that influenced his activity as a dramatist. Each phase is then examined in turn and the plays are analysed in accordance with the focus of the study. This means that emphasis is given to the middle period,
but no significant work is neglected. The study aims to trace the trajectory of Wannous's development using a
variety of sources: the plays themselves, Wannous's own journalism and critical writings, interviews with his widow, his friends and colleagues, and numerous
journals, books and articles, some of which contain
important interviews with Wannous that shed light on his thought and ways of working. Use is also made of the
two studies mentioned above. The study shows that Wannous's theatre was influenced by the key political, social and cultural developments of his time, and that he
constantly sought to find forms that would express those transformations in dramatic terms
UKMARC AMC: Draft Rev 4.0: UK MARC format for archives and manuscripts control (UK MARC AMC)
Get PDFThis draft is the first attempt to establish a UK MARC specifically for Archives and Manuscripts Control since the British Library indicated that it would countenance such extensions to the national UK MARC format. In order to keep consistency with the general UK MARC format, standard UK MARC subject fields are not included in this document, since they should be taken from the latest version of the UK MARC manual. {A note of them should perhaps be included in UK MARC AMC.} {NB Text in braces is intended to be explanatory material for readers of this draft}. Certain other fields have not been included that might occasionally be used in the cataloguing of archival materials but would generally only be used for such materials in organizations which were combining archive
databases with library databases. This MARC version is intended for use with descriptions of archive or anuscript material that follow, or fit, the traditional style of cataloguing: we assume that these will normally relate
to paper or parchment originals. It is not intended for use with descriptions of other kinds of material. For these, fields may be drawn from the appropriate UK MARC document. MARC versions for use with archives in special formats should be developed, in order to complete the full range of facilities available to archivists and curators
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