488 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
Brecht and the Bible
No full textThis study identifies the underlying patterns of persistent biblical allusion in the work of renowned playwright Bertolt Brecht. Rather than reducing Brecht's use of the Bible to the purely satirical, the author interprets the full dramatic function of Brecht's complex use of scripture. Using examples from plays written throughout the span of Brecht's career, Murphy shows how Brecht invokes the stories of Old Testament figures such as Job and Isaiah as well as the crucifixion accounts of the New Testament in order to build sympathetic characters and explore his more political themes
Brecht and the Bible
No full textThis study identifies the underlying patterns of persistent biblical allusion in the work of renowned playwright Bertolt Brecht. Rather than reducing Brecht's use of the Bible to the purely satirical, the author interprets the full dramatic function of Brecht's complex use of scripture. Using examples from plays written throughout the span of Brecht's career, Murphy shows how Brecht invokes the stories of Old Testament figures such as Job and Isaiah as well as the crucifixion accounts of the New Testament in order to build sympathetic characters and explore his more political themes
Efficiënt gebruik van perslucht
No full textHet gebruik van perslucht in een bedrijf is duur en moet daarom zo efficiënt mogelijk gebeuren. Nyrstar Budel vermoedt dat de perslucht in de afdeling Loging en Zuivering niet voldoende efficiënt wordt ingezet. Het doel van deze masterproef is te analyseren of een optimalisatie mogelijk is en nagaan wat de terugverdientijd is van eventuele investeringen in een nieuw leidingnet en/of een nieuwe compressor
O teatro experimental de Brecht
No full textEste trabalho tem por objetivo abordar a passagem de Bertolt Brecht pela
história do teatro e a influência de sua proposta na fase contemporânea da arte.
Inicialmente, analisamos a crítica de Brecht dirigida a algumas concepções
tradicionais de teatro e o caminho percorrido pelo autor para pensar a crise do
drama que se instalara tempos antes. Nesse percurso foram consideradas algumas
referências e possíveis objeções de Brecht a Aristóteles e ao modelo aristotélico de
teatro. Nesse debate polêmico, analisamos as referências ao filósofo grego, a fim de
esclarecer se o que Brecht pretendia era rejeitar mesmo Aristóteles, ou mais uma
apropriação daquele modelo formal. Sabe-se que o modelo aristotélico de teatro foi
retirado da obra Poética de Aristóteles e que sofreu apropriações segundo as
épocas, sendo uma delas a leitura burguesa. Essa leitura é rebatida por Brecht que
revê a realidade do drama burguês e percebe que era preciso que ele fosse revisto
imediatamente, pois o teatro já não atingia mais as pessoas, mas sua disposição
dependia de uma relação de passividade por parte dos espectadores.
Frente a dessa crise do drama, alguns artistas, tentaram reformulá-lo sem,
no entanto, obter sucesso. Brecht, quando deu início a seu trabalho, já tinha
conhecimento dessas tentativas e diante desses fracassos, o objetivo era fazer o
teatro inaugurar um novo lugar dentro da sociedade. Em busca do melhor lugar, ele
tem em mente um lugar de produção de consciências, opondo-se radicalmente à
logica burguesa-capitalista que buscava a alienação dos indivíduos. Assim,
localizado já fora do debate de acerto de contas com o passado, Brecht concentrase
em seu presente e enfrenta György Lukács que se opõe a Brecht ao pensar a
arte de uma forma diferente, atribuindo a este a imagem de Formalista. Nos
ocupámos de defender Brecht também dessas acusações.
Esta dissertação, diferente do aspecto comum de textos sobre Bertolt
Brecht não se propõe a analisar minuciosamente as técnicas desenvolvidas pelo
dramaturgo na formulação do Teatro Épico, ou a falar dos aspectos formais de sua
obra, senão que se apoia numa abordagem filosófica, que passa rapidamente por
alguns momentos do pensamento do autor até chegar à fase considerada como fase
de uma concepção madura de teatro, que é também a última fase de sua carreira,
quando ele reviu muitas de suas posições anteriores. Esta fase é aquela em que ele
escreve peças como A Alma Boa de Setsuan (1939-1942) e Vida de Galileu (1938-
1939). Neste momento do trabalho nosso foco foi essa dada concepção madura da
obra do autor e as características de seu pensamento nessa época, pensamento
que tomamos como próprio brechtiano. Concentramos nossa atenção neste
momento da obra, a fim de mostrar a compatibilidade desse pensamento e uma
concepção de teatro contemporâneaThis master s thesis aims to approach the passage of Bertolt Brecht through
the theater history and the influence of his proposal for the contemporary art. Initially,
we analyzed Brecht s criticism towards some traditional conceptions of theater and
the path taken by the author to think the crisis of drama that had settled times before.
Along the way were considered some references and possible objections from Brecht
to Aristotle and the Aristotelian model of theater. In this controversial debate, we
analyzed the references to the Greek philosopher, to clarify weather Brecht really
wanted to reject Aristotle, or he proposed an appropriation of that formal model. It is
known that the Aristotelian model of theater was removed from the Poetics of
Aristotle and suffered different appropriations in different epochs, one of them being
the bourgeois reading. This view is refuted by Brecht, when he analyzes the reality of
bourgeois drama and realizes that it was necessary that it be revised immediately,
because the theater is no longer affecting the people, in the sense that their
willingness depended on a relationship of passivity on the part of viewers.
Facing this crisis of drama, some artists tried to reformulate it without however
succeeding. Brecht, when began his work, had knowledge of these attempts and
facing their failures, the goal was to make theater inaugurate a new place in society.
In search of the best place he has in mind a place of production of consciousness,
radically opposed to the bourgeois-capitalist logic that sought the alienation of
individuals. So, now located outside the debate of reckoning with the past, Brecht
focuses on your present and faces the ideas of György Lukács which oppose Brecht
by thinking art in a different manner and attributing to him the image of Formalist. We
also deal whit defending Brecht from these charges.
This dissertation, different from common aspect of texts on Bertolt Brecht is
not intended to scrutinize the techniques developed by the playwright in the
formulation of the Epic Theater, or talking about the formal aspects of his work, but it
is based on a philosophical approach, passing briefly through a few moments of the
author s thought until it reaches the stage considered as a mature conception of
theater, which is also the last phase of his career, when he revised many of his
previous positions. This phase is one in which he writes pieces like The Good Soul of
Setsuan (1939-1942) and Life of Galileo (1938-1939). Being so, our focus was this
mature conception of the author s work and the characteristics of his thinking at that
time, thinking that we take as very Brechtian itself. We focus at this moment of his
work, to show the compatibility of his thought and a contemporary conception of
theaterConselho Nacional de Desenvolvimento Científico e Tecnológic
Efficiënt gebruik van perslucht
No full textHet gebruik van perslucht in een bedrijf is duur en moet daarom zo efficiënt mogelijk gebeuren. Nyrstar Budel vermoedt dat de perslucht in de afdeling Loging en Zuivering niet voldoende efficiënt wordt ingezet. Het doel van deze masterproef is te analyseren of een optimalisatie mogelijk is en nagaan wat de terugverdientijd is van eventuele investeringen in een nieuw leidingnet en/of een nieuwe compressor
Brecht by Formosa. Between effective staging and poetic conciseness
No full textPer 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
Brecht et Lukács, staliniens en situation
No full textAlain Brossat, Brecht and Lukacs ; Stalinists in their context
In this article, the author outlines a paradox the analysis of which appears to him stimulating for the understanding of Stalinism : while Brecht and Lukacs were diametrically opposed to each other in the well-known literary and aesthetic discussion in which they engaged, their positions were closer and they appear as « twin stars » when their situation as intellectuals under Stalinism is considered. Seen from this angle, the Brecht-Lukacs relationship, the convergent elements of which can be found in their respective attitudes to Stalinism and in their « Stalinist » way of thinking, gives us an opportunity of exploring the infinitely complex relationship between intellectuals and Communism in the 1930's. An « arranged marriage » rather than a profession of faith, the conversion of Brecht and Lukacs to Stalinism, sheds an often unexpected light on what was the « commitment » of the radical intelligentsia between the wars.Dans cet article, l'auteur met en relief un paradoxe dont l'analyse lui paraît stimulante pour la compréhension de ce que fut le stalinisme : autant Brecht et Lukacs s'opposent dans le fameux débat littéraire et esthétique qui les a mis aux prises, autant ils se rapprochent et se présentent comme des « étoiles jumelles » lorsqu'on examine leur situation, en tant qu'intellectuels, dans le stalinisme. Reconsidérés sous cet angle, le rapport Brecht-Lukacs, les éléments convergents que l'on constate dans leurs attitudes respectives vis-à-vis du stalinisme, dans leur mentalité de « staliniens » sont l'occasion d'engager une réflexion sur la dialectique infiniment complexe des relations entre les intellectuels et le communisme dans les années 1930. « Mariage de raison » plus qu'acte de foi, la conversion de Brecht et Lukacs au stalinisme jette une lumière souvent insolite sur ce que fut l'« engagement » de l'intelligentsia radicale dans l'entre-deux-guerres.Brossat Alain. Brecht et Lukács, staliniens en situation. In: L'Homme et la société, N. 87, 1988. La démocratie en défaut. pp. 84-103
Brecht in Shaffer: a Revision
No full textEn este trabajo se analiza la presencia de elementos de la poética brechtiana en el teatro del autor británico Peter Shaffer. Un sector de la crítica ha postulado que las principales obras de Shaffer se encuentran profundamente influidas por la poética teatral de Bertold Brecht; esto se advertiría especialmente en el repertorio de técnicas del alemán que son utilizadas por el británico. Un sector minoritario de la crítica incluye la obra de Shaffer dentro de dentro de otras tradiciones como el drama poético, el teatro de la crueldad y el existencialismo. El objetivo de esta investigación es revisar los alcances de la poética de Brecht en torno el teatro shafferiano. Esto implica polemizar con el modo en que se suelen pensar las influencias en el campo de la producción artística así como en el modo en que ha sido leída la poética de Brecht y adjudicada a otros dramaturgos.In this article we study te presence of Brecht’s poetics in Peter Shaffer’s work. Some critics have stated that this British author is deeply influenced by Brechtian theatrical poetics, given his use of a repertory of the German playwright’s techniques. A few other critics argue instead that Shaffer’s production is better understood in the light of some other traditions, such as poetic drama, theatre of cruelty and existencialism.
The aim of this study is to revise the contact between Brecht and Shaffer. This implies questioning the way in which influences are usually thought of and the way in which Brecht’s theory has been attributed to several dramatists.Facultad de Humanidades y Ciencias de la Educació
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