Describes the life and influence of B. Brecht. Offers useful explanations of several key concepts Brecht employed, and revised over his career, including: gestus, Verfremdung, and Verfremdungseffekt.

During his period of exile in Scandinavia, Bertolt Brecht wrote “I don’t think the traditional form of theatre means anything any longer. Its significance is purely historic; it can illuminate the way in which earlier ages regarded human relationships […] [but] a modern spectator can’t learn anything from them”. To create a modern theatre fit for a modern audience, Brecht holds that not only would the content of plays have to change, but the experience of theatrical spectatorship (...) itself. To fully capture how Brecht’s work differs from that of previous playwrights, a close analysis of spectatorial experience and perception is required. In this paper, I compare the aesthetic techniques used in Brecht’s epic theatre to the genetic phenomenology of Edmund Husserl. Reading Brecht’s Verfremdungseffekt through a Husserlian lens, I argue that Brecht mobilizes phenomenological methodology in order to suspend the audience’s preconceived notions of theatre and to cultivate self-conscious, critically aware, and socially motivated spectatorship. Just as Husserl describes phenomenology as a presuppositionless science, so too does Brecht offer epic theatre as a way to free “[…] socially-conditioned phenomena from the stamp of familiarity”. (shrink)

Summary The aim of this paper is to compare Brechtian theory concerning empathy in theatre and recent studies showing the biological basis of empathy. First of all, a brief summary about the concept of empathy is provided, with particular attention to empathy in Brechtian theatre. Then, a paragraph is dedicated to explain how empathy and emotional involvement are linked to neurobiological mechanisms and body state. In the end, an analysis of the Verfremdungseffekte in the Threepenny Opera is traced to understand (...) how recent studies contradict Brechtian theory as far as empathy is concerned. (shrink)

Bertolt Brecht’s poem “A Worker’s Speech to a Doctor” is frequently cited as a means to raise awareness among health workers of the health effects of living and working conditions. Less cited is his Call to Arms trilogy of poems, which calls for class-based action to transform the capitalist economic system that sickens and kills so many. In this article, we show how “A Worker’s Speech to a Doctor,” with its plea for empathy for the ill, contrasts with (...) the more activist and often militant tone of the Call to Arms trilogy: “Call to a Sick Communist,” “The Sick Communist’s Answer to the Comrades,” and “Call to the Doctors and Nurses.” We also show that, while “A Worker’s Speech to a Doctor” has been applied in the training of health workers, its accusatorial tone towards health workers’ complicity in the system the poem is critiquing risks alienating such workers. In contrast, the Call to Arms trilogy seeks common ground, inviting these same workers into the broader political and social fight against injustice. While we contend that the description of the sick worker as a “Communist” risks estranging these health workers, our analysis of the Call to Arms poems nevertheless indicates that their use can contribute to moving health workers’ educational discourse beyond a laudable but fleeting elicitation of empathy for the ill towards a structural critique and deeper systemic understanding in order to prompt action by health workers to reform or even replace the capitalist economic system that sickens and kills so many. (shrink)

Este texto compreende uma proposta educativa baseadano processo didático para o teatro desenvolvido pelo dramaturgo e teóricoalemão Bertolt Brecht, que tenta através do uso da peça A vida de Galileu, uma das mais importantes do autor, desenvolvercom alunos de Ensino Médio um processo semelhante ao desenvolvido por Brechtpara servir aos atores. Acrescenta-se a isso a ação da reflexão filosóficausada para pensar os temas discutidos na peça como o advento do conhecimentocientífico e as consequências deste para a formação do (...) novo homem, um homemregido agora pelas vias do pensamento racional. (shrink)

This essay seeks to illuminate the motives behind Alfred Kurella's damning review of Bertold Brecht's Lehrstück The Measures Taken. This review of 1931 is commonly regarded as having turned the official marxist literary critique against Brecht, straining the relations between the playwright and the nomenklatura for the years that followed. Yet, a closer examination of Alfred Kurella's biography reveals that his review of The Measures Taken has much less to do with Bertold Brecht or with marxist cultural (...) politics, than with the serious political difficulties its author was facing at the time. (shrink)

Nicht erst durch sein antibürgerliches Engagement verdient sich Brecht den Namen eines politischen Schriftstellers, sondern vor allem dadurch, dass die höchst kommunikative Sprache seiner Dichtung aktiv ins Bewusstsein eingreift. Im vorliegenden Buch wird gezeigt, wie die semantische Wirkung der sich im Gestischen festbeissenden Brechtschen Bilder durch strukturalistische und sprachwissenschaftliche Forschungsmethoden voll erfasst werden kann. Sich auf ein Drittes beziehend, bewirken Metaphern und Symbole im aktionsfördernden Kontext, verallgemeinernd und anschaulich zugleich, tiefgründig politische Klärung.

Taken together, the commentaries by Sigrid Merx and Tom Paulus suggest a remarkable dialectical relationship with regard to our article “Performing Phenomenology: Negotiating Presence in Intermedial Theatre”. On the one side a lack of elaborated political consciousness is being detected, while on the other side an alleged surplus of political consciousness is being criticized. Although apparently contradictory, these reactions seem to originate in the same ideological stress: both are somehow haunted by the legacy of Bertolt Brecht and the (...) ideology of the image implicit in critical theory. We argue that the tension between illusion and deconstruction indeed is crucial to the history of the mediatized image, but that it should be taken to a deeper level where it not only remains unsolved but where it forms the heart of the experience. The user knows very well that she is being fooled and, moreover, generously lets herself being fooled. We historicize this fundamental ambivalence with a short excursion in pre-cinematic, pre-Brechtian times. Throughout the nineteenth and the twentieth century, periodic shifts between illusion and its suspension indicates the emergence of what we, in the digital era, might refer to as a ‘meta-realism’, an imagery that incorporates its own critique inside itself. If this analysis holds true, we eventually have to reformulate the stakes of deconstruction and push critical theory beyond its own borders. (shrink)

Bertolt Brecht is internationally known as one of the most influential dramatists, directors, and theater theorists of the twentieth century and also, within German culture, as one of its most innovative modern poets and prose stylists. Whereas Brecht’s contributions to a Marxist aesthetics of drama, theater, poetry, and prose are widely acknowledged, he is less well known as a major thinker on ethical issues, mostly because of his materialist orientation, which conflicts with ethical traditions rooted in metaphysics. (...) Against these traditions, Brecht envisioned an “ethics for the satisfaction of needs”1 and claimed that “material needs as ethical, ethical ones as material, this is not grasped.”2 This.. (shrink)

Bertolt Brecht and Theodor W. Adorno stand for opposing modes and stances within an artistic modernism oriented toward radical social transformation. In his 1962 essay ‘Commitment’, Adorno advanced a biting critique of Brecht’s work and artistic position. Adorno’s arguments have often been dismissed but, surprisingly, are seldom closely engaged with. This paper assesses these two approaches that have been so central to twentieth-century debates in aesthetics: Brecht’s dialectical realism and Adorno’s sublime or dissonant modernism. It provides (...) what still has been missing: a close reading and immanent critique of Adorno’s case against Brecht. And it clarifies one methodological blind spot of Adorno’s formalist conceptualisation of autonomy: he fails to provide the detailed analysis of context that his own dialectical method immanently calls for. The paper shows how and why Brecht’s dialectical realism holds up under Adorno’s attack, and draws conclusions for contemporary artistic practice. (shrink)

This paper focuses on philosophical issues regarding Bertolt Brecht's engagement with film. Topics that are discussed include: Brecht's influence on filmmaking and film theory; the claim that Brecht held that mainstream films place viewers under the "illusion" that what they are watching on screen is real; Brecht's rejection of empathy; and the linkage of film form and socially critical content.

In this radical and deliberately controversial re-reading of Brecht, first published in 1989, Elizabeth Wright takes a new view of the playwright, giving us a more ¿Brechtian¿ reading than so far achieved and making his work historically relevant here and now. The author discusses in detail Brecht¿s principle theories and concepts in the light of poststructuralist theory, and reassess the aesthetics and politics with regard to Marxist critics of his own day. Wright includes a re-reading of Brecht¿s (...) early works, which presents them in relation to a postmodern theatre, and gives critical analyses of the work of Pina Bausch, Robert Wilson, and Heiner M¿ller, who use the techniques of performance theatre, showing how they deconstruct Brecht¿s distinction between illusion and reality and point to a postmodern understanding of their dialectical relation. (shrink)

In the past few years doomsayers and critics have predicted a decline in prominence of Bertolt Brecht, both as playwright and as theoretician. This paper presents the opposite point of view: the life and works of Bertolt Brecht are as renowned now as ever before, as demonstrated by immensely popular novels about his personal adventures and recent productions of his plays. Also, Brecht, the poet, continues, alive and well, to figure in multiple anthologies. Even his (...) personal nature is chronicled, for better or for worse, in numerous creative works. As a personality, he surfaces in fiction and poetry. Even the comments of critics who are predicting his fading from prominence are forced to acknowledge his visibility through the numerous stagings of his works and the application of his dramatic theories. Brecht's undiminished influence inspires, even now, fifty years after his death, a new generation of artists. Vilified or glorified, Brecht remains at the center of global attention of playwrights, directors, and their audiences. (shrink)

The article is intended to show that bertolt brecht absorbed foreign materials, In this case chinese philosophy, And transformed them into new intellectual experiences and visions which were strictly his own. The author examines the thought of five chinese philosophers, Confucius, Lao-Tzu, Mencius and chuang-Tzu and mo-Tzu, With whom brecht became familiar. Since chinese philosophers are essentially social philosophers, Brecht read them in order to find guidance in his search for a political and social theory which (...) was to become the basis of his literary work. The study of chinese philosophy led brecht to modify his marxism in a way which amounts to a reinvention of it. (shrink)

Die Erschütterungen neuzeitlicher Gewissheitsordnungen haben das menschliche Selbst- und Weltverständnis in eine tiefe Krise gestürzt. Darauf antworten Bertolt Brecht und Antonin Artaud wie auch ihr Rezipient Roland Barthes mit einem Theater des Nichtverstehens - sowohl auf der Bühne wie auch im Text. Dieses Theater zeigt, dass Kultur in erster Linie ein ästhetisches System und daher immer ein riskanter Prozess ist. Melanie Reichert überführt die drei bisher vor allem literatur- und kunstwissenschaftlich gelesenen Autoren in einen kulturphilosophischen Diskurs über Philosophie, (...) Theater und die Wiederentdeckung der Ambiguitätstoleranz nach dem Scheitern der Ideologiekritik. (shrink)

Abstract:This essay presents a refreshing reading of Bertolt Brecht's Stories of Mr. Keuner through the lens of classical Chinese dialectics. Through careful analysis, I uncover not only interesting resonances between Brecht's stories and classical Chinese philosophy but also intriguing dialectic tensions between individual and clusters of stories in the collection, and between Brecht (the man, the artist, and his dramatic oeuvre) and Mr. Keuner (Mr. Nobody), his philosophical alter ego, as the titular character dialogues with his (...) many interlocutors on momentous issues such as knowledge, power, justice, fatherland, and more. (shrink)

As two of the most important twentieth-century theatre directors, Bertolt Brecht and Vsevolod Meyerhold shared striking artistic, personal, and professional similarities. In addition to their middle-class background, both were the sons of merchants, well educated, politically persecuted, and exposed to the cultural innovations that spread throughout Germany and Russia during the 1920s and 1930s. Although Brecht's legacy is more salient, Meyerhold's artistic contributions can be traced to the work of numerous successors, including Brecht himself.

Can one reject copyright law and be a qualified observer of its dispositives? This question was taken up by Bertolt Brecht in an intriguing essay concerning the litigation surrounding the film adaptation ofThe Threepenny Opera(1928). Brecht here develops an experimental observation around the nature of film adaptation and cultural production in copyright. While an experimental approach to law was in itself a subversive gesture, the specific legal process enabled him to expose the paradoxical ways in which the (...) copyright system worked. (shrink)

La présente étude propose une relecture de trois théoriciens dont les investigations continuent à servir de pierre angulaire à la théâtrologie : celles d'Aristote dont La Poétique, outre le fait qu'elle consacre le théâtre occidental, sert de fondement à l'esthétique dramatique et celles, plus récentes, d'Antonin Artaud et de Bertolt Brecht qui, bien qu'ils aient réfuté radicalement les théories aristoté- liciennes, ne se sont pas moins distingués l'un de l'autre pour donner les deux grandes voies que l'on sait (...) à la réflexion dramaturgique contemporaine. Ces spéculations seront envisagées sous l'éclairage décisif de la mimèsis et de la catharsis qui ne se posent pas chez eux comme des notions distinctes, mais comme l'avers et l'envers d'un même travail sur un réel à chaque fois redéfini, qu'il s'agisse de l'obéissance aristotélicienne à une stricte logique narrative, de l'utopique déculturation artaudienne ou de l'engagement brechtien.The author proposes a review of three major theoreticians whose works are considered to be the corner-stones of theatrical studies : Aristotle, whose Poetics, the first reflexion on Occidental theatre, also serve as the foundation of the aesthetics of drama, and, closer to us, Antonin Artaud and Bertolt Brecht who, although unanimous in rejecting the Aristotelian theory, have quite different views on contemporary theatre. Their definitions are analyzed in the light of mimesis and catharsis, which are not taken here as separate notions, but rather as a mean of grasping the fluctuant outlines of the concept of "reality", be it Aristotle's obedience to a strict narrative structure, Artaud's denial of culture or Brecht's political commitment. (shrink)

Brechts Sonettsammlung Studien entstand als Reaktion auf die sogenannte Expressionismusdebatte, die in der Exilzeitschrift Das Wort (1937/38) ausgetragen wurde. Es geht darin um die produktive Nutzung des klassischen Erbes der Weltliteratur. Während die theoretischen Schriften Brechts über diese Debatte in der Forschung viel Beachtung fanden, wurden die Studien bisher marginalisiert. Die Autorin legt erstmalig eine Gesamtdarstellung der Studien vor. Im Zentrum stehen die Bezüge zur Expressionismusdebatte, die sich, wie in der Arbeit gezeigt wird, nicht auf eine «Brecht-Lukács-Debatte» reduzieren läßt. (...) Darüber hinaus werden die Studien editionsgeschichtlich, gattungsästhetisch und im Gesamtzusammenhang des Sonett-Werkes Brechts untersucht. (shrink)

Alienation (Vefremdung) is a concept inextricably linked with the name of twentieth-century German playwright Bertolt Brecht, with modernism, the avant-garde and Marxists theory. However, as Phoebe von Held argues in this book 'alienation' as a sociological and aesthetic notion avant la lettre head already surfaced in the thought of eighteenth-century French philosopher and writer Denis Diderot. This original study destablizes the conventional understanding of alienation through a reading of Le Paradoxe sur le comTdien, Le Neveu de Rameau and (...) other works by Diderot, opening up new ways of interpretation and aesthetic practices. If alienation constitutes a historical development for the Marxist Brecht, for Diderot it defines an existential condition. Brecht uses the alienation-effect to undermine a form of naturalism based on subjectivity, identification and illusion; Diderot, by contrast, plunges the spectator into identification and illusion, to produce an aesthetic of theatricality that is profoundly alienating and yet remains anchored in subjectivity. (shrink)

We investigate some basic descriptive set theory for countably based completely quasi-metrizable topological spaces, which we refer to as quasi-Polish spaces. These spaces naturally generalize much of the classical descriptive set theory of Polish spaces to the non-Hausdorff setting. We show that a subspace of a quasi-Polish space is quasi-Polish if and only if it is Π20 source in the Borel hierarchy. Quasi-Polish spaces can be characterized within the framework of Type-2 Theory of Effectivity as precisely the countably based spaces (...) that have an admissible representation with a Polish domain. They can also be characterized domain theoretically as precisely the spaces that are homeomorphic to the subspace of all non-compact elements of an ω-continuous domain. Every countably based locally compact sober space is quasi-Polish, hence every ω-continuous domain is quasi-Polish. A metrizable space is quasi-Polish if and only if it is Polish. We show that the Borel hierarchy on an uncountable quasi-Polish space does not collapse, and that the Hausdorff–Kuratowski theorem generalizes to all quasi-Polish spaces. (shrink)

The Belgian Constitution of 1831 marked a decisive step in the continental evolution from Restoration constitutional monarchy, based on the monarchical principle, towards the establishment of parliamentary constitutional monarchy. At the time, the new balance of power desired by the Belgian revolutionaries was captured by the phrase ‘republican monarchy’. It is remarkable that this concept, despite being so central to the founding fathers’ deliberations, has hardly been commented upon by later historians and public lawyers. This article aims to reconstruct the (...) origin, meaning and uses of this concept in the context of the 1830 revolutionary wave. French revolutionary veteran general Lafayette was responsible for popularizing republican monarchy in the July Revolution, although the term’s origins went back to eighteenth-century debates on the reform of absolute monarchy. Lafayette used it to summarize the institutional demands of the republican movement vis-à-vis king Louis Philippe. Its transnational migration to the Belgian context subsequently entailed a shift in meaning which will be charted through an analysis of the Belgian constituent and public debates. Finally, the reasons for the concept’s sudden disappearance from the political stage will be addressed. (shrink)

This article explores the world of theatre from within and beyond the stage and brings together Roland Barthes as a critic and Samuel Beckett as a playwright via a third character, the Romanian-born playwright Eugène Ionesco, who anathematized the former and admired the latter. The article starts from Martin Esslin’s The Theatre of the Absurd (1961), which defined Beckett’s and Ionesco’s art, pointing out that whilst Esslin showed why their works produced ‘bewilderment’ in England and the US, he ignored the (...) Paris debates of the 1950s to early 1960s. It then covers the intricate history of Barthes’s polemical articles on avant-garde theatre and focuses on Barthes hailing Bertolt Brecht as an innovator who redefined theatre as belonging to a community. The next section engages with Beckett’s and Ionesco’s ideas on staging and their relation to Brecht and the Brechtians. The epilogue proposes a reading of Ionesco’s satirical play Improvisation or the Shepherd’s Chameleon (1955), which features Barthes and two other representatives of nouvelle critique as characters. (shrink)