In:
Theatre Research International, Cambridge University Press (CUP), Vol. 41, No. 2 ( 2016-07), p. 106-121
Abstract:
Documentation is often descriptive, yet Brecht's approach to the task was to unpack as much of the process as possible in order to share his method and to make it available to other theatre-makers. This article initially examines how such documentation functioned and goes on to consider how and why it gradually declined over time. By the mid-1960s, the Berliner Ensemble had entered a period of crisis, yet the development of post-Brechtian practices in the early 1970s did not lead to a resurgence of documentation. However, at certain points, interest in manufacturing the carefully taken Notate resurfaced. The article thus investigates the relationship between documenting and transmitting Brechtian practices. Documentation becomes a yardstick by which to measure the fêted company's self-understanding as Brecht's theatre.
Type of Medium:
Online Resource
ISSN:
0307-8833
,
1474-0672
DOI:
10.1017/S0307883316000031
Language:
English
Publisher:
Cambridge University Press (CUP)
Publication Date:
2016
detail.hit.zdb_id:
2045177-5
SSG:
9,3
