Bertolt Brecht

Bertolt Brecht is undoubtedly one of the most famous and influential dramatists and poets in the world. His literary works began in the twentieth century. These years, the Second World War influenced not only his life but also his worldview. Hence, it was thought that Brecht felt the sufferings of the war and this feeling inspired his works and theatrical dramas. He created epic theater or rather „dialectical theater“, with which he was famous in the world. On the basis of his prominent works, this article aims to describe the phases of the reception of the dramatist Bertolt Brecht in Turkey. The primary focus of this article is the reception of the dramatist Bertolt Brecht. The term ‚alienation effect’ is particularly mentioned for this purpose. In addition to the plays, scientific publications by Turkish germanists and comparative works with other kinds of literature are also considered.

Ellen Foyn Bruun, førsteamanuensis i drama/teater, NTNU Trondheim Summary This article addresses theatre production working with script. First, I look at the hegemonic status of the play text in Western theatre history and how this was challenged during the 20 th century. Then I present relevant theoretical perspectives for developing methods integrating script in ensemble theatre. These are drawn from dramaturgy today and physicallybased improvisation. The main body of the article is the case study of a students production of The Caucasian Chalk Circle by Bertolt Brecht. The students produced their unique version of the play in collaboration. The study demonstrates how dramaturgical competence was developed as a collective resource. The findings reveal that the dramaturgical processes of text, performance and group dynamics were interdependent in a complex system. Reflexive practice therefore stands out as an important learning point. The article is aimed at teachers, directors, facilitators and students in educational contexts and other that use theatre production as a learning arena. practice Nøkkelord: tekstbasert, ensembleteater, Brecht, dramaturgi, improvisasjon, refleksiv praksis Innledning Teaterproduksjon basert på et teatermanus har tradisjonelt blitt forstått som en hierarkisk prosess. Regissøren-med sin tolkning av teksten-har stått på toppen, og skuespillerne har vaert utøvere av regissørens skapende prosess med å realisere sin tolkning. Denne tradisjonen har møtt kritikk i snart hundre år og er ikke lenger den eneste og dominerende. Teaterproduksjon basert på scenetekst behøver ikke å stå i motsetning til teaterproduksjon som en kollektiv, skapende prosess. I praksis kan dette møtet likevel by på utfordringer på grunn av ulike arbeidsmåter og konvensjoner. I denne artikkelen vil jeg belyse den faglige bakgrunnen for disse og presentere metodikk som integrerer det tekstbaserte med ensembleteatrets idealer om demokratiske prinsipper. Teoretiske perspektiver hentes fra dramaturgisk praksis og skuespiller-improvisasjon. Forskningskonteksten er teaterproduksjon 1

This paper aims to rescue the work of Bertolt Brecht in Brazil, by means
of the theater company from São Paulo Companhia do Latão which worries about developing artistic ways that allow to discuss the art role in the society, not any longer as a mere entertainment promoted by cultural industry, thus becoming as one of the main directions current Brazilian theatrical production. According to the company director, Sérgio de Carvalho, an artistic group interested in social issues
must be interested in new critical ways of representing and criticizing society. In this way, intending to make explicit the mediation existent between literature and society, the study focused on the play “Ensaio sobre o Latão”, based on fragments of “A compra do Latão” (1939-1955), which is an epitome of Brecht’s artistic thinking in light of the concept of Epic Theater. The company, working in the epic drama based on the dialectical and historical materialism, discusses in “Ensaio sobre o Latão” social relations that underlie the representational status (and,
therefore, also real). The analysis culminates in the updatable character of this work that, though based on the writings of the mid 1940’s, deals with several critical aspects of contemporary society.

Stage Acting and Gestus Explanation of the the history and concept of gestus, which is an essential device for the stage actor, in a scientific way with examples while scientifically emphasizing that this concept is a norm in Epic Theatre with a practical, explanatory approach. Documents the the creation process of finding, internalizing and interpreting of gestus in stage actor's mind. Gestus is also a device for the actor; he/she interprets this device in his/her subjective cosmos in parallel with the principle of expediency and utilizes it on stage along with the phenomena whose areas of creation were also appointed by him/her. Enquiry 1: Where does an actor gets gestus into his/her memory? What is the source? Enquiry 2: What can be understood from the utilization of gestus in subjective cosmos? Third enquiry might be thus: In what way actor processes his/her gestus and social criticism? ÖZET Tiyatro Oyuncusu için çok gerekli bir araç olan Gestus kavramının, tarihsel sürecini...

This is the first study that employs a materialist framework to discuss the political implications of form in the films of Lars von Trier. Focusing mainly on early films, Politics as Form in Lars von Trier identifies recurring formal elements in von Trier’s oeuvre and discusses the formal complexity of his films under the rubric of the post-Brechtian. Through an in depth formal analysis, the book shows that Brecht is more important to von Trier’s work than what most critics seem to acknowledge and deems von Trier as a dialectical filmmaker. This study draws on many untranslated resources and features an interview with Lars von Trier, and another one with his mentor – the great Danish director Jørgen Leth

L'adaptation au cinéma de L'Opéra Je pual'soMs est le plus souvent citée comme l'exemple même de la trahison d'une œuvre littéraire. Les vicissitudes qui ont amené l'auteur de la pièce, Bertolt Brecht, à citer la maison de production devant un tribunal sont à l'origine de cette renommée. Ce film, produit dans ces conditions conflictuelles, a connu un accueil vaudois particulièrement intéressant, car son interdiction et les polémiques déclenchées ont laissé de nombreuses traces dans les articles de presse, les archives de la censure et les procès- verbaux des discussions parlementaires de l'époque. En Allemagne, la réalisation du film sous la direction de Pabst a été comprise par certains comme une défaite de l'art au service de la classe ouvrière devant les intérêts du capital. Dans le canton de Vaud, par contre, son interdiction trahit une défaite de la gauche.

This paper—a conversation between scholar/practitioners working separately on the mediation of bodies—is an interrogation into practices of acting for stage and for camera, and the ways that practices for the theatre can be used in training actors for film. Challenging the essentializing metaphor, “acting for camera,” we engage strategies for dislocation of the sovereign seat of the director—a point of focus toward which bodies are trained and become entrained. Rather than accept habitually repeated logics of representation and the subjectivities they tend to produce, we develop practices that replace actor with player. Drawing on various inflections of the physical action from divergent Western theatrical training traditions (Stanislavski, Grotowski, and Brecht), we have developed strategies for actors and a framework for thinking about what “works” for the camera and what doesn’t. These strategies pull the camera into practice and process as an active player rather than seating it as an apparatus of capture to be coped with by a performer on one side and a director/crew on the other. The player plays with the camera rather than for a future audience it represents. Much of the paper draws from workshops where we used theatrical devising techniques and games with filmmakers and actors. We take as a given that most actors-in-training in the West already have a relationship to camera that brings along habits, ways of seeing, and entanglements that require examination as part of rehearsal and performance processes. We pull the camera into the making process, not as a capture device or a stand-in for a future audience, nor as “content,” but as one of the elements of mise-en-scène and the games that players use to produce it. Actors become filmmakers and vice versa. The processes we found emerging unsettled the habitual narrativizations arising from the actor-filmmaker-editor continuum.

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Theater und Philosophie – dieser Band vereint erstmals zwei paradigmatische, historische Konstellationen: zum einen jene von der Zusammenarbeit mit Walter Benjamin geprägte Theatertheorie und -praxis Bertolt Brechts, die sich in den »Lehrstücken« und im Fragment »Der Messingkauf« findet. Zum anderen die in gegenwärtigen Theater- und Theoriediskursen einander korrespondierenden Redeweisen von Theater als einer Form des szenischen Denkens (William Forsythe u.a.) und von Philosophie als einer Form des Theaters (Jacques Derrida, Samuel Weber). Die Beiträge aus Philosophie, Theater- und Literaturwissenschaft analysieren das Theater der Philosophie und fragen, wie Theater denkt.

Mit einem Beitrag von Jacques Derrida.

INHALT

Vorwort | 7

SHAKESPEARES THEATERDENKEN

The Merchant of Venice
(Auszug)
William Shakespeare | 23

„When mercy seasons justice“
Vorbemerkung zu einer Vorlesung Jacques Derridas
Nikolaus Müller-Schöll | 29

Was ist eine „relevante“ Übersetzung?
(Auszug)
Jacques Derrida | 33

NACH BRECHT UND BENJAMIN

Über Theater überhaupt und das Theater des Menschen
Benjamin, Brecht, Derrida, Le Roy
Nikolaus Müller-Schöll | 59

Die Bühne mit der Bühne denken
Zu Pirandellos Sechs Personen suchen einen Autor und Brechts
Der Messingkauf
Lydia J. White | 81

Besessen vom Theater
Der Dibbuk am Habima Theater Moskau (1922)
Freddie Rokem | 95

(Musik-)Dramaturgische Verfremdungen
Zur Aktualität von Brechts Naturalismuskritik
Tore Vagn Lid | 117

SZENISCHE KONSTELLATIONEN

Die Bühne des Denkens
Über den Dialog von Manes und Empedokles in Hölderlins
Empedokles auf dem Ätna
Jörn Etzold | 137

Zur Dekonstruktion der Bühne bei Antonin Artaud
Timo Ogrzal | 155

Heideggers Schweigen vom Theater
Marten Weise | 167

Konstellationen denken
Ulrike Haß | 181

ANDERE CHRONOTOPOGRAPHIEN

„Hold your breath against time“
Zum Denken einer Widerständigkeit der Zeit bei William Kentridge
Julia Schade | 201

Was heißt: sich im Tanzen orientieren?
Zwei verschiedene Denkweisen auf der Bühne
Leonie Otto | 215

Entzug und Bezug
Das Theater der Affizierbarkeit in Walid Raads
Scratching on Things I Could Disavow
Leon Gabriel | 229

CHORA UND TOPOS

Die denkende Bühne
Samuel Weber | 249

Autorinnen und Autoren | 273

Da C. Vicentini, La teoria del teatro politico (Firenze, Sansoni, pp. 83-124)

Sommario: 1 La formula del teatro politico. 2 Teatro e trasformazione storica. 3 Epoca storica e modello teatrale. 4 Unicità e molteplicità del modello. 5 Connotazioni delle tecniche teatrali. 6 Liquidazione e ricupero dell'estetica.  7 Carattere politico del teatro. 8 Connotazioni politiche delle tecniche teatrali. 9 Brecht e la formula del teatro politico

Weimar representa una herencia ambivalente: la de una Constitución relativamente lograda para una República que acabaría fracasando por razones en buena medida ajenas al texto aprobado en 1919; la de unos debates de gran altura en el plano de la teoría del Estado y del Derecho constitucional que, sin embargo, no lograron dar soporte a la pretensión normativa de la Constitución vigente. A partir de algunos fragmentos del texto de Weimar, la tensión entre, de un lado, su interpretación canónica por parte de Gerhard Anschütz y, de otro, su incorporación, de la mano de Bertolt Brecht, en el espacio cultural que él mismo configura con su obra y su presencia, quizá pueda arrojar luz sobre tal ambivalencia.

Lässt sich die politische Problemlage unserer Zeit literarisch erfassen? Was ist die Rolle von Literatur im globalen Kapitalismus? Lässt sich ein dauerhafter Arbeitszusammenhang von Autorinnen und Autoren organisieren? Diesen Fragen widmete sich im April 2015 eine Schriftstellertagung unter dem Titel „Richtige Literatur im Falschen?“, die im Literaturforum im Brecht-Haus stattfand. In Zentrum stand die Frage nach dem Verhältnis zwischen Literatur, Engagement und kapitalistischer Gesellschaft. Der Band „Richtige Literatur im Falschen?“ zeichnet die Tagung dokumentarisch nach und präsentiert darüber hinaus aktuelle Statements der Beteiligten. Mit Beiträgen von Ann Cotten, Annett Gröschner, Joachim Helfer, Jan Loheit, Thomas Meinecke, Norbert Niemann, Helmut Peitsch, Monika Rinck, Kathrin Röggla, David Salomon, Stefan Schmitzer, Erasmus Schöfer, Ingo Schulze, Ingar Solty, Enno Stahl, Thomas Wagner, Michael Wildenhain und Raul Zelik.

This talk was written in response to an invitation to speak to Utah Valley University's Honors Program students about my research. It is meant to provide students with a basic introduction to Bertolt Brecht's critique of Aristotelean / dramatic theatrical form (that is, it assumes no prior knowledge of the field). In telling them about Brecht's theatrical "revolution," my real aim was to introduce them to the concept of the politics of aesthetic form.

Das vorliegende Buch liefert Interpretationsansätze und methodische Hilfen für den Deutschunterricht. Neben einer ausführlichen Darstellung des guten Menschen liefert der Band auch biografische Bezüge zum Autor, allgemeintheoretische zu Brechts Epischen Theaters als auch Fakten zur Entstehungs- und Rezeptionsgeschichte

The interface between philosophy and literature in the joycean jolt of 'letter-litter' L'interface entre philosophie et littérature dans la secousse joycienne de la 'lettre-litière' Η διεπιφάνεια μεταξύ φιλοσοφίας και λογοτεχνίας στο τζοϋσικό ξάφνιασμα του 'letter (γράμματος)-litter (σκουπιδιού)' Yiorgos Sarantopoulos Gestus: bridging the gap between the theatrical sign and the social reality Η Gestus ως σημείο γεφύρωσης του σκηνικού σημείου με την κοινωνική πραγματικότητα Le Gestus: comblant l'écart entre le digne théâtral et la réalité sociale Ιωάννης Μήτρου Wesen-Lust (ή «αυτό» που δεν παύει να επιστρέφει) Wesen-Lust (or «that» which does not cease to return) Wesen-Lust (ou «cela» qui ne cesse pas de revenir)

« Aucun écrivain, me semble-t-il, n'écrit pour les étoiles, tout aussi peu pour le public, mais il écrit pour lui-même », notait Max Frisch en 1958. Et pourtant, le succès de ses romans Stiller (1954) et Homo Faber (1957) a fait soudain exister ce public comme une réalité pressante, qui l'arracha à la solitude de l'écriture et le convoqua à s'exprimer devant lui en des occasions aussi diverses qu'une foire du livre, un congrès de dramaturgie, une remise de prix littéraire ou encore la fête nationale suisse. Le présent ouvrage rassemble les plus importantes de ces interventions. Qu'elles portent sur la situation de la culture dans l'après-guerre, la condition des travailleurs saisonniers ou les enjeux politiques du théâtre, toutes frappent par leur lucidité et leur actualité. On lit à chaque page le souci d'un auteur partagé entre la responsabilité de sa parole publique et la fidélité aux exigences propres de son travail artistique. Frisch interroge ici la véritable nature de l'engagement de l'écrivain, tout en écornant au passage, avec l'ironie mordante qu'on lui connaît, les certitudes, les mythes et les angoisses crispées de ses contemporains. Entrer avec lui dans un partenariat critique pour questionner sans relâche ni complaisance le monde et l'art, voilà ce que Max Frisch nous propose tout au long des dix textes de ce recueil.

Max Frisch est né en 1911 à Zurich. Après des études de littérature puis d’architecture, il mènera de front son métier d’architecte et son activité d’écrivain, avant de se consacrer entièrement à l’écriture à partir de 1955. Ses journaux, ses romans (Stiller, Homo Faber, …) et ses pièces de théâtre (Monsieur Bonhomme et les incendiaires, Andora, …) font de lui dès les années cinquante l’une figure majeure de la littérature de langue allemande. Son œuvre fut couronnée de nombreuses récompenses, dont le Prix Georg-Büchner en 1958. Il est mort à Zurich le 4 avril 1991.


Table des matières

Max Frisch, notre partenaire

Préface du traducteur 7
Discours de fête 13
La culture comme alibi 21
Notre arrogance envers l’Amérique 29
Les émigrants 39
Le public comme partenaire 57
L’auteur et le théâtre 67
Discours du Prix Schiller 87
Surpopulation étrangère I 97
Surpopulation étrangère II 101
On peut enfin de nouveau le dire 127
Remarques         141


Extrait 

"Si l’on appartient au nombre des écrivains qui ont ce bonheur léger de ne ressentir, même en cas de succès, aucune autre vocation que celle d’exercer le métier d’écrivain, parce qu’écrire leur réussit encore mieux que vivre et parce que leurs dimanches ne leur suffisent pas pour tenter de supporter la vie au moyen de l’écriture – si l’on appartient donc, comme celui qui vous parle, à ce genre d’écrivains, on se trouvera alors moins heureux que décontenancé à en découvrir les conséquences : il nous faut, par exemple, tenir des discours, nous montrer. On attend cela de nous. Et plus encore : il faut soudain avoir quelque chose à dire, simplement parce qu’on est écrivain. C’est ainsi que le public se venge de ce qu’on lui a adressé la parole !
Qui est le public ?

Ou plutôt : qu’est-il ?"

(extrait tiré de : « Le public comme partenaire », p. 57)

In this thesis, we analyze the film Antichrist (2009), by Lars von Trier, from a critical perspective that contemplates the relationship between its formal construction and its implicit and explicit content. As with other works by the artist, equally questioning, disturbing and political, Antichrist has shown itself capable of pointing out historical and social dynamics that are relevant to the comprehension of its time; it also lays bare several substantial characteristics of the hegemonic thinking, which are naturalized in an unsettling way. Accordingly, the proposed thesis is that a Brechtian aesthetic-political method is re-appropriated by the film, in order to counterpoint the dramatic model that guides much of the mainstream film productions. Being responsible for the broader structuring of Antichrist, this re-appropriation is linked to the design of the film’s narrative perspective, which is associated to the male character and shaped by various nuances of works by Strindberg and Freud, and also of Expressionism. The examination of the interrelationship between the historical and social level, and the level of the individual and of his subjectivity, including his mental construction, becomes thus essential in Antichrist. From such analysis, fundamental contradictions of Western society can be unveiled, especially the ones regarding gender issues, which are furnished by the uncanny allusion to the Witch Hunt brought up by the film.

A video file containing the instances discussed in this paper can be found at this URL:
https://mega.nz/file/RL4UyIAa#3oCV3REMrIqioqrRu5zWxmIuvXwjQAZ8bEUryg-43zY

With reference to a compilation of clips (see above and in 'Files') from a live Berliner Ensemble performance in 1957, this paper considers the variety of movement and locomotion in Helene Weigel's assumption of Mother Courage, and its role in embodying and articulating the ethical contradictions essential to our experience of the play.

Subject to anti-communist censorship for decades, the first productions of Brecht's plays in Korea emerged in the late 1980s. Initially following Western models, theatre practitioners soon started to integrate elements from “traditional” performing arts as well as local references in order to address contemporary Korean audiences. With her recent production Sacheon-ga (2007), singer-songwriter LEE Jaram radicalizes this “intercultural” approach by adapting Brecht's The Good Person of Szechwan in the style of pansori, a peculiar form of Korean music theatre. Nurtured by structural similarities between the conventions of pansori and Brecht's epic theatre, this "Song of Sichuan" not only relocates the plot of Brecht’s parable to modern-day Seoul but confronts Brechtian drama with the solo singing-storytelling specific to pansori, enabling a theatrical dialogue. The result of this thatrical dialogue is both an alienating take on Brecht's Good Person and a political re-actualization of pansori practice.

Deutsch: Seit Mitte der Zwanzigerjahre interessierte sich Bertolt Brecht für Wirtschaft, spekulative Finanzgeschäfte und die Theorien von Marx und Engels. Während der Krise, die der Zusammenbruch der Wall Street auslöste, führte der deutsche Dramatiker diese Interessen in einem neuen Theaterprojekt zusammen, das in Chicago spielt: Die Heilige Johanna der Schlachthöfe (posthume Uraufführung 1959). Indem er die Mechanismen des Industrie-und Finanzkapitalismus entlarvt und die Lage der Arbeiterklasse, die Rolle der Gewerkschaften und die Verantwortung der Medien darstellt, komponiert Brecht ein Drama über Arbeit und soziale Konflikte, das die damalige amerikanische und deutsche Realität widerspiegelt, sich aber dennoch als hochaktuell erweist.

This reverential attitude has taken a terrible toll on the classics; they have been knocked about by reverence and blackened by incense. They would have fared better, if people had adopted a freer attitude towards them, just as science has adopted towards discoveries, even to great ones, which it has constantly corrected or even refuted, not from sheer cussedness but from necessity.

Im Zeichen aktueller Diskurse ist vom „Tod des Intellektuellen“ die Rede – des Intellektuellen als einer Figur, die ihre gesellschaftliche Identität über den Anspruch bestimmt, im Namen des „Volkes“ zu sprechen. Gestützt wird dieser Anspruch auf eine privilegierte Beherrschung der Kulturtechniken des Lesens und Schreibens. Vorliegende Studie nimmt die aktuelle Toderklärung zum Anlaß, um den Blick auf die Gründungsphase des Intellektuellenparadigmas in der deutschen Literatur zurückzuwenden. In exemplarischen Lektüren der Schriften Johann Gottfried Herders, Friedrich Schlegels, Heinrich Heines und Georg Büchners analysiert der Verfasser die literarischen Strategien, mit denen Schriftsteller vom ausgehenden 18. bis zur Mitte des 19. Jahrhunderts versucht haben, sich ihre soziale Identität auf dem Schauplatz des „Volkes“ zu erschreiben. Kurze Kapitel zu Hugo von Hofmannsthal und Bertolt Brecht geben abschließend einen Ausblick auf das 20. Jahrhundert.

Cet article étudie la place et le statut des Songs dans La Décision (1930) de Brecht et Eisler. Grâce à une étude dramaturgique et une analyse musicale, le Gestus est appréhendé dans ses différentes expressions

Presses Universitaires de Franche-Comté, coll. « Annales littéraires », p. 19-35.

AUSSTELLUNGSKATALOG 18-1 Benjamin und Brecht : Denken in Extremen ; [... anlässlich der Ausstellung Benjamin und Brecht Denken in Extremen 26. Oktober 2017 bis 28. Januar 2018 Akademie der Künste, Berlin] / im Auftrag der Akademie der Künste hrsg. von Erdmut Wizisla. -Berlin : Akademie der Künste ; Suhrkamp, 2017. -282 S. : Ill. ; 24 cm. -ISBN 978-3-518-42083-6 (Suhrkamp) : EUR 32.00 [#5752]

Possivelmente tudo já foi dito sobre Django Livre, de Quentin Tarantino, desde seu lançamento -das mais variadas reações, a favor e contra, à simples e taxativa recusa de tratar do filme. Muito do que se disse versou sobre o conteúdo: o uso desabrido da palavra nigger ("crioulo"), a invisibilização do histórico de resistência negra à escravidão, a violência, o relevo que a trama dá a um personagem branco, Dr. King (difícil pensar que o nome não é uma alusão ao Dr. Martin Luther King) Schultz. Muito se focou na forma, principalmente as duas escolhas fundamentais de criar um passado ficcional alternativo, e de usar o faroeste espaguete como marco de referência -entre as quais a reprimenda do diretor negro Spike Lee de que a "escravidão nos Estados Unidos não foi um faroeste espaguete de Sergio Leone. Foi um holocausto." 2 Infelizmente, dada a divisão de opiniões e o quão contestados são os temas em jogo, o debate frequentemente se tornou uma questão de tomar um ou outro partido e, para tanto, tendeu a reduzir o filme a uma única "mensagem" ou "sentido" conforme algum conjunto definido de "intenções" autorais.

Cette édition propose une nouvelle traduction de la pièce ainsi que de scènes restées inédites en français. Les notes et la postface essaient d'éclairer l'extraordinaire travail d'"historien du temps présent", mais aussi de philologue de la langue nazie, accompli par Brecht.

Resumo: O artigo discute a peça Quarteto, de Heiner Müller, a partir de questões recuperadas dos debates entre Walter Benjamin e Bertolt Brecht a respeito de Franz Kafka. Segundo a hipótese do artigo, o posicionamento crítico de Müller perante Brecht, exposto no ensaio "Fatzer ± Keuner" é um elemento central para a reconfiguração de seu teatro ao longo dos anos 1970. É nesse período que surge uma peça como Quarteto, a qual é analisada aqui na perspectiva do enfrentamento crítico dos pressupostos do teatro brechtiano.

Resumo: Bertolt Brecht foi um dos principais dramaturgos do século XX, sendo um dos principais representantes do teatro épico. Tal gênero teatral rompia com o teatro aristotélico, ou tradicional, dando as suas peças o papel de constituir questionamentos e dúvidas para impulsionar segmentos sociais à ação efetiva. Escreveu muitas peças e obras teóricas sobre o gênero épico, tais escritos causaram muito impacto no teatro moderno. Embora tenha escrito suas teorias acerca do teatro épico durante toda a sua vida, o seu desenvolvimento ganha forma na Alemanha durante o período da República de Weimar, foi também nessa época que a maioria das suas peças foram escritas. Conforme evidencia a historiadora Rosangela Patriota " […] a historicidade é inerente às criações humanas, pois elas ganham existência e inteligibilidade à luz das condições históricas que gestaram e/ou por meio de uma memória histórica que garante a sobrevivência de temas, ideias, sujeitos e obras através dos tempos ". (PATRIOTA, 2008, p.41). Levando em consideração tal citação, o presente trabalho pretende explanar as influências da sociedade na criação artística, nesse caso a escrita de um texto teatral. Para tanto faz-se uso da peça de uma peça de Brecht, A Santa Joana dos Matadouros, escrita entre os anos de 1929 – 1931, na República de Weimar. Através de tal obra tem-se como objetivo apontar as características do teatro épico, historicizar o momento de escrita da peça e mostrar os seus elementos de crítica social, tanto da peça como do teatro do próprio Brecht. Para demonstrar os aspectos de historicidade e crítica social na obra A Santa Joana dos Matadouros será mote de análise a construção dos dois principais personagens da peça, Joana Dark e seu antagonista Pedro Paulo Bocarra. Palavras-Chave: Brecht, história, teatro. Durante os anos da República de Weimar, a Alemanha presenciou um período de muitas crises sociais e econômicas, incluindo uma onda crescente de desemprego, de fome e da ascensão do nazismo, mas também foi uma época de grandes atividades culturais. Especialmente Berlim, que Após a guerra, ela [Berlim] se confirma como o centro inconteste da vida intelectual da Alemanha. Torna-se mesmo, durante alguns anos, um dos lugares de criação artística mais dinâmico do mundo. O que se convencionou chamar de vanguarda, tanto na música como na pintura e no teatro, encontrou ali possibilidades excepcionais de apresentar ao público suas produções e pesquisas. (RICHARD, 1988, p.242). Foi nessa época de crise política e econômica e de eferverscência cultural que Bertolt Brecht (1898 – 1956) escreveu a sua peça A Santa Joana dos Matadouros. Tal obra tem como objetivo contestar o sistema econômico vigente, denunciando suas consequências mais desumanas. A peça se divide em doze atos e tem como personagens principais Joana Dark, tenente dos Boinas Pretas (algo parecido com o exército da salvação) e o seu antagonista Pedro Paulo Bocarra, o rei das carnes. Tendo como cenário a cidade de Chicago é nos apresentado a história da Joana que, juntamento aos Boinas Pretas, trabalha pregando a salvação divina para os pobres e oprimidos. Em contraponto a ela, é construída a personagem Bocarra, o maior empresário do comércio de gado e da carne. Após ver o sofrimento de um animal sendo abatido, Bocarra alega querer sair do ramo. Para tanto propõe para o seu sócio a compra de parte de seus negócios. O mesmo aceita, mas com a 1 1 Graduando no curso Licenciatura Plena em História pelo IFG-campus Goiânia.

This paper aims to place an interpretation on some aspects of the Brechtian Kriegsfibel, as rendered in the two most important Italian editions of the text. The Kriegsfibel is a collection of "photo-epigrams" realized by Brecht during his exile and then published in 1955. In this work the topic of Second World War is discussed in the dialectic between photography and poetry. On the one hand, this operation aims to deconstruct the epistemological status of photography as Apparat able to reproduce the reality tout court; on the other, it questions the perception of reality in its historical, geographic and social aspects. In this way, the topicality of war photography is projected, through the epigram, in millennial History and, at the same time, the narrative of History activates in the reader the creation of meaning and, therefore, the concrete action in the present. In the light of this analysis, a study of Kriegsfibel's Italian translations is proposed, i.e. the Abicí della guerra by Fertonani (1972), more literal and classical, and the one by Solmi (1975), freer and more actualising. The focus of discussion is on the second translation, which was proposed as an accompanying booklet for an audiovisual didactical experiment to take place in schools. This is a significant operation because it vivifies the didactic element and develops the performative character of Brechtian investigation, latent in the textual (and therefore visual) dimension of the original edition.

Introducción, traducción y edición bilingüe de los poemas de Bertolt Brecht musicalizados por Paul Dessau para la  comedia Herr Puntila und sein Knecht Matti (1940-41), estrenada en junio de 1948 en la Schaupielhaus de Zurich. La versión castellana, realizada a partir de la partitura de Brecht y Dessau, comprende:  "La canción de Puntila  (1-8)", "Himno", "La canción de los limones" y  "Balada del guardabosques y la condesa"

This essay analyses Brecht’s engagement with the picaresque genre, which derives from his reading of Hašek and Grimmelshausen. Proceeding chronologically, the discussion begins with the subversive cabaret humour of Mann ist Mann (1926), which Brecht rediscovered in a different form when he read Hašek’s Švejk in 1927. The poems Aus dem Lesebuch für Städtebewohner (1926/27) are considered as an example of the transposition of picaresque elements into lyric poetry. Brecht’s involvement with Piscator’s Schwejk (1927/28) is shown to be an important phase in his development of epic theatre, since three key features of epic theatre – episodic structure, exposition and Verfremdung – have structural affinities with the picaresque genre. The essay concludes with an examination of the picaresque in the later plays Mutter Courage und ihre Kinder and Schweyk.

U našem razmišljanju o taktikama političkog i politizovanog pozorišta u drugoj polovini dvadesetog veka uporedo ćemo se baviti teorijom i istorijom. Najpre slovenačkog prostora, u kojem uprkos globalizaciji još uvek najočiglednije živimo, zatim primarno umetnošću drugog sveta (Aleš Erjavec)5 u vreme socijalizma i postsocijalizma,
sekundarno pak umetnošću prvog, zapadnog sveta. Najviše Evrope, onda Sjedinjenih Država i Kanade. Poći ćemo od činjenice da danas, barem u prvom i drugom svetu, više ne možemo da govorimo o klasičnim oblicima političkog pozorišta, kao što su ih, na primer, unutar koncepta epskog pozorišta praktikovali Ervin Piskator (Piscator) i, malo kasnije, Bertolt Breht (Brecht), u isto vreme, u ranim dvadesetim najpre ruska avangarda (s ponovnim izvođenjem revolucionarnih događaja), a posle njenog staljinističkog zatiranja – socrealistička agit-drama i agitprop. Isto tako postaje utopističko i revidirano političko pozorište Augusta Boala, koje namerno izlazi iz polja tradicije evropskog pozorišta s akcentom na dualizmu pozorište-predstava i tako nastoji da prevaziđe raskorak između scene i publike, sâmo pozorište postaje proces pomoću kojeg društvo objektivizuje oblike represije da bi ih prevazišlo. Ono što ostaje samo su još politizovana umetnost i politizovano pozorište u različitim inkarnacijama

In the 1960s, Turkey witnessed the liberalization of governmental censorship, which led to the translation and publication of foundational texts of Marxism appearing in translation alongside Bertolt Brecht’s theoretical and literary work. The reception of these two bodies of thought prompted the adaptation of Brecht’s work for the Turkish stage as well as a broader engagement with his writings on theater. A crucial forum for the Turkish encounter with Brecht’s work was the International Student Theater Festival in Erlangen, Germany (1949–68). Journalist, playwright, and stage designer Sermet Çağan, a vital participant in debates on the politics of culture and the role of theater in society, was invited to Erlangen in 1964 and 1965 with two of his plays. This essay examines Çağan’s use of Brechtian elements and his materialist-dialectical approach to history in War Game/Play (Savaş Oyunu), lauded as the most successful and significant play of the 1965 festival.