Format:
1 Online-Ressource (x, 311 pages)
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illustrations
Edition:
Also issued in printing
ISBN:
9781350077096
Series Statement:
Bloomsbury revelations
Uniform Title:
Works Selections
Content:
"Now available in Bloomsbury Revelations series, Brecht on Performance: Messingkauf and Modelbooks presents a selection of Brecht's principal writings about the craft of acting and realising texts for the stage. It crystallises and makes concrete many of the more theoretical aspects of his other writing and illuminates the practice of this hugely influential director and dramatist. The volume is in two parts. The first features an entirely new commentated edition of Brecht's dialogues and essays about the practice of theatre, known as the Messingkauf, or Buying Brass, including the 'Practice Pieces' for actors (rehearsal scenes for classics by Shakespeare and Schiller). The second contains rehearsal and production records from Brecht's work on productions of Life of Galileo, Antigone, Mother Courage and others. Edited by an international team of Brecht scholars and including an essay by director and teacher Di Trevis examining the practical application of these texts for theatres and actors today, Brecht on Performance is a wonderfully rich resource. The text is illustrated with over 30 photographs from the Modelbooks."--
Note:
"Texts by Brecht originally published in Bertolt Brecht, Werke, Grosse kommentierte Berliner und Frenkfurter Ausgabe (vols. 22 and 25) Copyright ̦Surkamp Verlag, Frankfurt am Main, 1988-2000."
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Compliant with Level AA of the Web Content Accessibility Guidelines. Content is displayed as HTML full text which can easily be resized or read with assistive technology, with mark-up that allows screen readers and keyboard-only users to navigate easily
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Includes bibliographical references and index
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Part One - The Messingkauf, or Buying Brass -- Introduction to Buying Brass -- Preamble -- First Night -- (i) Setting the Scene -- (ii) Naturalism, Realism, Empathy -- (iii) Tragedy; Learning, Science, Marxism -- Second Night -- (i) Intoxication, Empathy, V-effect -- (ii) Acting, Performance -- (iii) Science, Social Class, Learning -- (iv) Elizabethan Theatre, Shakespeare -- (v) The Augsburger, Piscator -- Third Night -- (i) The Fourth Wall, Emotion; V-effect, Acting -- (ii) The Augsburger, Piscator, Weigel -- (iii) Social Science and Art -- (iv) 'Extreme Situations' -- Fourth Night -- (i) The Nature of Art -- (ii) Emotion, Critique, Representation -- (iii) The Augsburger -- (iv) Shakespeare -- (v) Finale -- Miscellaneous Texts -- (i) Illusionism, Realism, Naturalism; Social Function of Theatre; Empathy -- (ii) Acting -- (iii) Thaëter, Piscator, Neher -- Plans and Appendices -- (i) Plans -- (ii) Appendices -- Practice Pieces for Actors -- (i) Parallel Scenes -- The Murder in the Porter's Lodge -- (Parallel Scene to Shakespeare's Macbeth, Act 2, Scene 2) -- The Battle of the Fishwives -- (Parallel to Schiller's Maria Stuart, Act 3) -- (ii) Intercalary Scenes -- Ferry Scene -- (To be played between Scenes 3 and 4, Act 4 of Shakespeare's Hamlet) -- The Servants -- (To be played between Scenes 1 and 2, Act 2 of Shakespeare's Romeo and Juliet) -- (iii) Circular Poems -- Part Two - Modelbooks -- Introduction to the Modelbooks -- On Life of Galileo (1947/48) from Constructing a Role: Laughton's Galileo -- Foreword -- A Sequence from Scene One: Rotation of the Earth and Rotation of the Brain -- Background to the Performance -- On The Antigone of Sophocles (1947/48) from Antigone Model 1948 -- Foreword -- Ruth Berlau's Prefatory Note -- Prelude and Bridge to Scene One -- Neher's Second Design for the Antigone Stage -- On Mother Courage and Her Children (1949/50/51) from Courage Model 1949 -- Opening Remarks -- Notes and Scene-Photos for the Prologue, Scenes One and Two -- Details from Scene Three -- Variations in Berlin and Munich -- Concluding Texts from the Model: Scene Twelve -- From Theatre Work (1952) -- Some Remarks on My Discipline -- Bertolt Brecht's Stage Direction -- Phases of a Stage Direction -- Five Notes on Acting -- The Berliner Ensemble Models -- Theatre Photography -- Does Use of the Model Restrict Artistic Freedom -- How Erich Engel Uses the Model -- How the Director Brecht Uses His Own Model -- From the Correspondence of the Berliner Ensemble about the Model -- Creative Evaluation of Models -- From Katzgraben Notes 1953 -- Epic Theatre -- Rehearsal Methods -- Scenery -- Crises and Conflicts -- Politics in the Theatre -- III,2 Constructing a Hero -- Is Katzgraben a Proselytizing Play? -- The Verse Form -- Verfremdung -- II, 3 [Revelation and Justification] -- Empathy -- The New Farmer, the Medium Farmer, the Big Farmer -- What Are Our Actors Actually Doing? -- The Positive Hero -- Second Dress Rehearsal -- Criticism of Elli and Criticism of Elli 2 -- New Content - New Form -- Di Trevis: "Acting is Not Theoretical".
,
Also issued in printing
,
Barrierefreier Inhalt: Compliant with Level AA of the Web Content Accessibility Guidelines. Content is displayed as HTML full text which can easily be resized or read with assistive technology, with mark-up that allows screen readers and keyboard-only users to navigate easily
Additional Edition:
ISBN 9781350077065
Additional Edition:
ISBN 9781350077072
Additional Edition:
ISBN 9781350077089
Additional Edition:
Erscheint auch als Online-Ausgabe Brecht, Bertolt, 1898-1956, author Brecht on performance London : Bloomsbury Academic, 2019 ISBN 9781350077072
Additional Edition:
Erscheint auch als Online-Ausgabe ISBN 9781350077089
Additional Edition:
Erscheint auch als Online-Ausgabe ISBN 9781350077072
Additional Edition:
Erscheint auch als Paperback version ISBN 9781350077065
Additional Edition:
Erscheint auch als Original
Language:
English
DOI:
10.5040/9781350077096
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