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Brecht and Political Theatre: The Mother on Stage (Oxford Modern Languages and Literature Monographs) 🔍
Laura J. R. Bradley CLARENDON/OXFORD; Oxford University Press, USA, Oxford University Press USA, Oxford, 2006
英语 [en] · PDF · 2.7MB · 2006 · 📗 未知类型的图书 · 🚀/upload · Save
描述
This production history of The Mother provides substantial new insights into Bertolt Brecht's theatre and drama, his impact on political theatre, and the relationship between text, performance, and politico-cultural context. As the only play which Brecht staged in the Weimar Republic, during his exile, and in the GDR, The Mother offers a unique opportunity to compare his theatrical practice in contrasting settings and at different points in his career. Through detailed analysis of original archival evidence, Bradley shows how Brecht became far more sensitive to his spectators' political views and cultural expectations, even making major tactical concessions in his 1951 production at the Berliner Ensemble. These compromises indicate that his "mature" staging should not be regarded as definitive, for it was tailored to a unique and delicate situation.
The Mother has appealed strongly to politically committed theatre practitioners both in and beyond Germany. By exploiting the text's generic hybridity and the interplay between Brecht's "epic" and "dramatic" elements, directors have interpreted it in radically different ways. So although Brecht's 1951 production stagnated into an affirmative GDR heritage piece, post-Brechtian directors have used The Mother to promote their own political and theatrical concerns, from anti-authoritarian theatre to reflections on the legacies of state Socialism. Their ideological and theatrical subversion have helped Brecht's text to outlive the political system that it came to uphold.
备用文件名
motw/Brecht and Political Theatre_ T - Laura Bradley.pdf
备选标题
0199286582.pdf
备选作者
Bradley, Laura J. R.
备用出版商
Clarendon Press ; Oxford University Press
备用出版商
IRL Press at Oxford University Press
备用出版商
Oxford Institute for Energy Studies
备用出版商
German Historical Institute London
备用版本
Oxford modern languages and literature monographs, Oxford, New York, 2006
备用版本
Oxford modern languages and literature monographs, Oxford, England, 2006
备用版本
United Kingdom and Ireland, United Kingdom
备用版本
OXFORD, Unknown, 2006-08-07
备用版本
August 7, 2006
元数据中的注释
producers:
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元数据中的注释
Memory of the World Librarian: Slowrotation
元数据中的注释
Includes bibliographical references (p. [231]-247) and indexes.
备用描述
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Contents 8
List of Illustrations 11
List of Abbreviations 12
Introduction 14
1. Brecht, Performance, and Die Mutter (The Mother) 14
2. Brecht's Political Theatre: Methods and Concepts 16
3. Die Mutter: The Text and Plot 21
4. Re-interpreting Die Mutter for New Audiences 24
5. Methodology: Reconstructing Past Productions 27
6. Structural Outline 29
1. From Nizhni-Novgorod to Moabit: The Genesis and Première of Die Mutter, 1931–2 32
1. Introduction 32
2. The Genesis of the Text 34
3. Preparations for the Première 42
4. Politics 44
5. Dramaturgy and Aesthetics 48
6. Music 57
7. The Polarized Reception and Brecht's Response 64
8. Conclusion 69
2. Model or Museum Exhibit? Die Mutter at the Berliner Ensemble, 1951–71 71
1. Introduction 71
2. The Process of Production 75
3. Brecht's New Approach: Courting the Audience 80
4. The Production's Reception 92
5. The 1967 Revival: Change and Development 96
6. The Model and the Museum Exhibit 101
7. Conclusion 104
3. The Politics of Performance: Die Mutter in West and East Berlin, 1970 and 1974 106
1. Introduction 106
2. Cultural and Political Context 107
3. The Schaubühne am Halleschen Ufer and the Berliner Ensemble 109
4. Repertoire 113
5. Staging Die Mutter 117
6. Cultural Politics in East and West 141
7. Conclusion 145
4. Translation and Transference since 1932 148
1. Introduction 148
2. Productions of Die Mutter Worldwide 150
3. Ideological and Aesthetic Appropriation: Mother in New York, 1935 155
4. Interrogating the Foreign: La Mère in Lille, 1979 168
5. Post-1968 Political Theatre: The Mother in London, 1986, and New York, 1997 172
6. Radical English and Irish Rewrites from the 1970s and 1980s 180
7. Conclusion 186
5. Die Mutter and German Reunification, 1988–2003 189
1. Introduction 189
2. The Apotheosis of the Staatsfeststück: The Berliner Ensemble, 1988 190
3. Archaeological Self-Discovery: Theater 89, 1998 202
4. An Outsider's Perspective: The Stadttheater in Konstanz, 2002 210
5. Opposing the War: The Berliner Ensemble, 2003 214
6. Political Theatre, the Wende, and the Berlin Republic 226
Conclusion 229
1. Die Mutter: The Text and its Performances 229
2. Brecht's Theatrical Practice 232
3. GDR Cultural Politics 235
4. Post-Brechtian Approaches 237
5. Future Perspectives 239
Glossary 242
Bibliography 244
Index of Works 262
Index of Names and Subjects 266
A 266
B 266
C 267
D 267
E 268
F 268
G 268
H 269
I 269
J 269
K 269
L 270
M 270
N 271
O 271
P 271
R 271
S 272
T 273
U 273
V 273
W 273
X 274
Z 274
备用描述
This production history of The Mother provides substantial new insights into Bertolt Brecht's theatre and drama, his impact on political theatre, and the relationship between text, performance, and politico-cultural context. As the only play which Brecht staged in the Weimar Republic, during his exile, and in the GDR, The Mother offers a unique opportunity to compare his theatrical practice in contrasting settings and at different points in his career. Through detailed analysis of original archival evidence, Bradley shows how Brecht became far more sensitive to his spectators' political views and cultural expectations, even making major tactical concessions in his 1951 production at the Berliner Ensemble. These compromises indicate that his "mature" staging should not be regarded as definitive, for it was tailored to a unique and delicate situation.
The Mother has appealed strongly to politically committed theatre practitioners both in and beyond Germany. By exploiting the text's generic hybridity and the interplay between Brecht's "epic" and "dramatic" elements, directors have interpreted it in radically different ways. So although Brecht's 1951 production stagnated into an affirmative GDR heritage piece, post-Brechtian directors have used The Mother to promote their own political and theatrical concerns, from anti-authoritarian theatre to reflections on the legacies of state Socialism. Their ideological and theatrical subversion have helped Brecht's text to outlive the political system that it came to uphold.
**
开源日期
2025-10-27
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