Results 221 to 230 of about 119,272 (256)
Some of the next articles are maybe not open access.
TDR (1967), 1967
Much has been written about Brecht in this country, some—though not enough—of his theoretical writings have been translated, and most of his plays have been published in English. From all of this, people quite naturally get the idea that Brecht was primarily a poet and playwright ...
Carl Weber, Erika Munk
openaire +2 more sources
Much has been written about Brecht in this country, some—though not enough—of his theoretical writings have been translated, and most of his plays have been published in English. From all of this, people quite naturally get the idea that Brecht was primarily a poet and playwright ...
Carl Weber, Erika Munk
openaire +2 more sources
Modern Drama, 1989
When the Soviet poet and playwright, Sergei Tretyakov, went into hospital in the summer of 1937 suffering from nervous exhaustion, Bertolt Brecht urged him to get well:
openaire +2 more sources
When the Soviet poet and playwright, Sergei Tretyakov, went into hospital in the summer of 1937 suffering from nervous exhaustion, Bertolt Brecht urged him to get well:
openaire +2 more sources
Theatre Journal, 1987
Brecht often used the term "montage" to contrast modern from traditional art. In the Expressionism debate of the 1930s, he firmly defended modem writing practices (key to which was the montage principle) against Lukics's skepticism and a critical Realism based on aesthetic categories derived from nineteenth-century writers, in particular from Balzac ...
openaire +2 more sources
Brecht often used the term "montage" to contrast modern from traditional art. In the Expressionism debate of the 1930s, he firmly defended modem writing practices (key to which was the montage principle) against Lukics's skepticism and a critical Realism based on aesthetic categories derived from nineteenth-century writers, in particular from Balzac ...
openaire +2 more sources
Vijenac : novine Matice hrvatske za književnost, umjetnost i znanost, 2014
Prikaz premijerne predstave Dobra duša iz Sečuana, nastale prema istoimenu dramskom tekstu Bertolta Brechta, u Zagrebačkom gradskom kazalištu Komedija 2014.
openaire +1 more source
Prikaz premijerne predstave Dobra duša iz Sečuana, nastale prema istoimenu dramskom tekstu Bertolta Brechta, u Zagrebačkom gradskom kazalištu Komedija 2014.
openaire +1 more source
1994
One of Brecht's favourite sayings was: 'The proof of the pudding is in the eating.' Although his essays, poems and plays tell us a great deal about both his aesthetics and his dramatic theories, it is to his practice (and to that of others engaged in performing his work) that we must turn for meaningful insight into Brechtian performance.
openaire +2 more sources
One of Brecht's favourite sayings was: 'The proof of the pudding is in the eating.' Although his essays, poems and plays tell us a great deal about both his aesthetics and his dramatic theories, it is to his practice (and to that of others engaged in performing his work) that we must turn for meaningful insight into Brechtian performance.
openaire +2 more sources
New Literary History, 1985
IN A notorious comment, J. L. Austin once wrote that "a performative utterance will, for example, be in a peculiar way hollow or void if said by an actor on stage."' Perhaps Austin only ever attended amateur theatricals. Bertolt Brecht approved of amateur acting, since the occasional flatness and hollowness of its utterances seemed to him an unwitting ...
openaire +2 more sources
IN A notorious comment, J. L. Austin once wrote that "a performative utterance will, for example, be in a peculiar way hollow or void if said by an actor on stage."' Perhaps Austin only ever attended amateur theatricals. Bertolt Brecht approved of amateur acting, since the occasional flatness and hollowness of its utterances seemed to him an unwitting ...
openaire +2 more sources
1994
For playwrights or theatre practitioners to have their names turned into adjectives is a somewhat dubious accolade that is rarely accorded: in the last hundred years we have acquired Chekhovian, Shavian, Stanislavskian, Artaudian, even Beckettian and Pinteresque, but not Reinhardtian, Piscatorian, Brookian or Genetesque.
openaire +2 more sources
For playwrights or theatre practitioners to have their names turned into adjectives is a somewhat dubious accolade that is rarely accorded: in the last hundred years we have acquired Chekhovian, Shavian, Stanislavskian, Artaudian, even Beckettian and Pinteresque, but not Reinhardtian, Piscatorian, Brookian or Genetesque.
openaire +2 more sources
The Drama Review, 1980
On March 4, 1953, Brecht noted in his journal: “Our performances in Berlin achieve hardly any response anymore. In the pre1ss, reviews appear months after opening night and they contain nothing except a few meager sociological analyses….The efforts won't be quite meaningless only if the mode of acting can be revived at some later time, i.e.
openaire +1 more source
On March 4, 1953, Brecht noted in his journal: “Our performances in Berlin achieve hardly any response anymore. In the pre1ss, reviews appear months after opening night and they contain nothing except a few meager sociological analyses….The efforts won't be quite meaningless only if the mode of acting can be revived at some later time, i.e.
openaire +1 more source
Boxing with Brecht: David Mamet and Bertolt Brecht [PDF]
Journal of Dramatic Theory and Criticism, 2011 openaire +1 more source