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  1. Brecht in Practice
    Theatre, Theory and Performance
    Autor*in: Barnett, David
    Erschienen: 2014
    Verlag:  Bloomsbury Publishing, London

    Bertolt Brecht's reputation as a flawed, irrelevant or difficult thinker for the theatre can often go before him to such an extent that we run the risk of forgetting the achievements that made him and his company, the Berliner Ensemble, famous around... mehr

    Standort:
    Hochschulbibliothek Friedensau
    Signatur:
    Online-Ressource
    Fernleihe:
    keine Fernleihe
    Link zum Verbundkatalog:
    Gemeinsamer Bibliotheksverbund (GBV)

     

    Bertolt Brecht's reputation as a flawed, irrelevant or difficult thinker for the theatre can often go before him to such an extent that we run the risk of forgetting the achievements that made him and his company, the Berliner Ensemble, famous around the world. David Barnett examines both Brecht the theorist and Brecht the practitioner to reveal the complementary relationship between the two.This book aims to sensitize the reader to the approaches Brecht took to the world and the stage with a view to revealing just how carefully he thought about and realized his vision of a politicized, inte Bertolt Brecht''s reputation as a flawed, irrelevant or difficult thinker for the theatre can often go before him to such an extent that we run the risk of forgetting the achievements that made him and his company, the Berliner Ensemble, famous around the world. David Barnett examines both Brecht the theorist and Brecht the practitioner to reveal the complementary relationship between the two.This book aims to sensitize the reader to the approaches Brecht took to the world and the stage with a view to revealing just how carefully he thought about and realized his vision of a politicized, int

     
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    Hinweise zum Inhalt
    Quelle: Verbundkataloge
    Beteiligt: Brater, Enoch; Taylor-Batty, Mark
    Sprache: Englisch
    Medientyp: Ebook
    Format: Online
    ISBN: 9781408183663
    Schriftenreihe: Methuen Drama Engage
    Umfang: Online-Ressource (257 p)
    Bemerkung(en):

    Description based upon print version of record

    Cover; Contents; Acknowledgements; Introduction; (Re)Introducing Brecht; Format and scope; 1 Revealing the Radical Theorist; Brecht as theorizing practitioner; The different functions of theory to Brecht; Theorizing as a private and public activity; Understanding the assumptions of the 'Short Organon', or: An introduction to dialectics; The appeal of dialectics to Brecht; What is Brecht teaching?; Defining 'the Brechtian'; Making theatre politically; The radicalism of the 'Short Organon'; 2 Buying Brass as Performative Thinking; Theorizing with more than one voice

    The possibilities of performing theoryA Brechtian performance of Buying Brass; Not only dialogues: Buying Brass's scenes for actors; Montage, or: Structured disruption in the episodic form of Buying Brass; 3 Brecht and Difference; The centrality of change and its relationship to difference in Brecht's theatre; Forgetting 'character'; How to build a contradictory 'figure'; The dangers of empathy in theatrical communication; Interrupting empathy in Brecht's theatre; Separating the elements of the performance and the meaning of 'epic theatre'; Historicization and/as Verfremdung

    Theatre as a site of contradiction, not merely conflict4 Method Trumps Styles; The Brechtian method: Greater than the sum of its parts; The centrality of the Fabel; Arrangement as the Fabel made flesh; Locating the actor in society: The discovery of a figure's Gestus; A figure is the sum of all its Haltungen; Brecht's theatre of showing; Realism and Brecht's dialectical method; 5 Brecht and the Actor; There is no 'Brechtian Style' of acting; Brecht and casting, or: Cleaving the actor from the role; Observation, realism and Gestus; Sensitizing the actor to dialectics

    The actor-as-demonstrator in theory and practicePlaying the situation and not the character, or: The problem of saying 'I'; The pursuit of naturalness and lightness in a stylized theatre; Acting and emotion; 6 Brecht and the Director; Inductive direction, or: The 'invisibility' of the Brechtian director; The tasks of the Brechtian director; The prerequisite for a Brechtian director: A vibrant ensemble; Rehearsing with an inductive director; Abolishing the read-through, or: The status of the text in rehearsal; The rehearsal process and its social goals

    Connecting the individual to society: Details, customs and monologuesBringing out the social in performance: Focus on The Broken Jug; 7 Brecht, Documentation and the Art of Copying; Imitation and innovation; The building blocks of documentation at the Berliner Ensemble: Notate; Demystifying the theatrical process: 'Modelbooks'; Making use of the 'models'; Copying as productive activity; 8 Using Brecht's Method; Applicability and approach; The Resistible Rise of Arturo Ui: Identifying the problems of a potential production; Relativizing the centrality of Arturo Ui; Avoiding the 'allegory trap'

    Making Ui's rise 'resistible'