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Brecht in Practice: Theatre, Theory and Performance [Minkštas viršelis]

3.67/5 (14 ratings by Goodreads)
Series edited by (University of Leeds, UK), Series edited by (University of Michigan, USA), (University of York, UK)
  • Formatas: Paperback / softback, 256 pages, aukštis x plotis: 216x138 mm, weight: 304 g, 10 illus
  • Serija: Methuen Drama Engage
  • Išleidimo metai: 20-Nov-2014
  • Leidėjas: Methuen Drama
  • ISBN-10: 1408185032
  • ISBN-13: 9781408185032
Kitos knygos pagal šią temą:
Brecht in Practice: Theatre, Theory and PerformanceDidesnis paveikslėlis
  • Formatas: Paperback / softback, 256 pages, aukštis x plotis: 216x138 mm, weight: 304 g, 10 illus
  • Serija: Methuen Drama Engage
  • Išleidimo metai: 20-Nov-2014
  • Leidėjas: Methuen Drama
  • ISBN-10: 1408185032
  • ISBN-13: 9781408185032
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9781408185032.html
Raktažodžiai:
"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, interventionist theatre. What emerges is a nuanced understanding of his concepts, his work with actors and his approaches to directing. The reader is encouraged to engage with Brecht's method that sought to 'make theatre politically' in order to locate the innovations he introduced into his stagecraft. There are many examples given of how Brecht's ideas can be staged, and the final chapter takes two very different plays and asks how a Brechtian approach can enliven and illuminate their production. Ultimately, the book invites readers, students and theatre-makers to discover new ways of apprehending and making use of Brecht"--

David Barnett invites readers, students and theatre-makers to discover new ways of apprehending and making use of Brecht in this clear and accessible study of Brecht's theories and practices. The book analyses how Brecht's ideas can come alive in rehearsal and performance, and reveals just how carefully Brecht realized his vision of a politicized, interventionist theatre.
What emerges is a nuanced understanding of Brecht's concepts, his work with actors and his approaches to directing. The reader is encouraged to engage with his method which sought to 'make theatre politically', in order to appreciate the innovations he introduced into his stagecraft. Barnett provides many examples of how Brecht's ideas can be staged, and the final chapter takes a closer look at two very different plays: one written by Brecht and one by a playwright with no acknowledged connection to Brecht. Through an interrogation of The Resistible Rise of Arturo Ui and Patrick Marber'sCloser, Barnett asks how a Brechtian approach can enliven and illuminate production.

Recenzijos

The theater of Bertolt Brecht (18981956) has long suffered lamentable neglect in the US and the UK ... Fortunately, Barnett champions Brecht's cause with clarity and authority in this slim volume, which this reviewer predicts will soon prove indispensable to any serious Anglophone student of Brecht. ... The author draws on profound knowledge of the material, including Brechts drama, the crucial Messingkauf fragments, and the history of the Berliner Ensemble. At the heart of the book is the chapter 'Brecht and the Actor,' which elegantly dispatches the fallacy of a Brechtian 'style' and should be required reading in any acting class. Later chapters offer excellent illustrative readings of the application of Brechts principles to both Brechtian and non-Brechtian drama. Barnett has delivered a vital corrective to the misapprehension of Brechts theater. Summing Up: Essential. Lower-division undergraduates through faculty and professionals; general readers. -- R. Remshardt, University of Florida * CHOICE * Barnetts jargon-free study, accessible to students and enjoyable for specialists, effectively re-introduces Brechts performance theory, charts its evolution during the exile years, and demonstrates its application through Brechts formation of the Berliner Ensemble, when his long-simmering ideas could at last be put into practice. * Journal of Dramatic Theory and Criticism * Barnett's style of writing is not only crystam clear but also jargon free ... The book is an important and timely contribution to Brechtian scholarship. * Brecht Yearbook * Barnett has done meticulous research and presents a very engaging scholarly argument. -- Nathaniel Nesmith * American Theatre * Brecht in Practice leads its reader seamlessly from Brechts theoretical concerns to the practical matters with which they are inextricably linked ... [ Barnett] writes with enviable clarity and precision ... as a result, successive potentially complex discussions are rendered effortlessly digestible. -- Michael Wood, University of Edinburgh, UK * Modern Language Review *

Daugiau informacijos

A re-examination of Bertolt Brecht in light of his theoretical writings and his work in the theatre.
Acknowledgements ix
Introduction 1(8)
(Re)Introducing Brecht
1(5)
Format and scope
6(3)
1 Revealing the Radical Theorist
9(28)
Brecht as theorizing practitioner
9(2)
The different functions of theory to Brecht
11(5)
Theorizing as a private and public activity
16(2)
Understanding the assumptions of the `Short Organon', or: An introduction to dialectics
18(4)
The appeal of dialectics to Brecht
22(2)
What is Brecht teaching?
24(3)
Defining `the Brechtian'
27(4)
Making theatre politically
31(4)
The radicalism of the `Short Organon
35(2)
2 Buying Brass as Performative Thinking
37(18)
Theorizing with more than one voice
37(3)
The possibilities of performing theory
40(4)
A Brechtian performance of Buying Brass
44(2)
Not only dialogues: Buying Brass's scenes for actors
46(5)
Montage, or: Structured disruption in the episodic form of Buying Brass
51(4)
3 Brecht and Difference
55(28)
The centrality of change and its relationship to difference in Brecht's theatre
55(3)
Forgetting `character'
58(3)
How to build a contradictory `figure'
61(3)
The dangers of empathy in theatrical communication
64(2)
Interrupting empathy in Brecht's theatre
66(3)
Separating the elements of the performance and the meaning of epic theatre'
69(5)
Historicization and/as Verfremdung
74(5)
Theatre as a site of contradiction, not merely conflict
79(4)
4 Method Trumps Styles
83(26)
The Brechtian method: Greater than the sum of its parts
83(2)
The centrality of the Fabel
85(5)
Arrangement as the Fabel made flesh
90(3)
Locating the actor in society: The discovery of a figure's Gestus
93(4)
A figure is the sum of all its Haltungen
97(3)
Brecht's theatre of showing
100(3)
Realism and Brecht's dialectical method
103(6)
5 Brecht and the Actor
109(28)
There is no `Brechtian Style' of acting
109(1)
Brecht and casting, or: Cleaving the actor from the role
110(4)
Observation, realism and Gestus
114(2)
Sensitizing the actor to dialectics
116(2)
The actor-as-demonstrator in theory and practice
118(5)
Playing the situation and not the character, or: The problem of saying `I'
123(5)
The pursuit of naturalness and lightness in a stylized theatre
128(4)
Acting and emotion
132(5)
6 Brecht and the Director
137(24)
Inductive direction, or: The `invisibility' of the Brechtian director
137(2)
The tasks of the Brechtian director
139(3)
The prerequisite for a Brechtian director: A vibrant ensemble
142(3)
Rehearsing with an inductive director
145(3)
Abolishing the read-through, or: The status of the text in rehearsal
148(3)
The rehearsal process and its social goals
151(2)
Connecting the individual to society: Details, customs and monologues
153(3)
Bringing out the social in performance: Focus on The Broken Jug
156(5)
7 Brecht, Documentation and the Art of Copying
161(18)
Imitation and innovation
161(1)
The building blocks of documentation at the Berliner Ensemble: Notate
162(6)
Demystifying the theatrical process: `Modelbooks'
168(3)
Making use of the models'
171(4)
Copying as productive activity
175(4)
8 Using Brecht's Method
179(28)
Applicability and approach
179(2)
The Resistible Rise of Arturo Ui: Identifying the problems of a potential production
181(3)
Relativizing the centrality of Arturo Ui
184(3)
Avoiding the `allegory trap'
187(4)
Making Ui's rise `resistible'
191(3)
Closer: Why Brecht?
194(1)
The social contexts of 1990s Britain
195(3)
Investigating the `Micro-Fabel'
198(4)
Extending the reach
202(5)
Epilogue
207(12)
Working with Brecht
207(2)
Working with Brecht beyond Brecht
209(10)
Notes
219(15)
Bibliography (including list of abbreviations)
234(6)
Works by Brecht
234(1)
Other Works
235(4)
Works by Brecht: List of Abbreviations
239(1)
Index 240
David Barnett is Reader in Drama, Theatre and Performance at the University of Sussex, UK. He has published books on German theatre (studies on Heiner Müller and Rainer Werner Fassbinder), and is preparing a history of the Berliner Ensemble, the first book of its kind in any language. He has also published several essays and articles on German-, English-language, political and postdramatic theatre.