Brecht on Theatre: The Development of an Aesthetic (3rd by Bertolt Brecht

By Bertolt Brecht

Brecht on Theatre is a seminal paintings that has remained the vintage textual content for readers and scholars short of a wealthy appreciation of the advance of Brecht's considering on theatre and aesthetics. First released in 1964 and on examining lists ever for the reason that, it has now been absolutely revised, re-edited and extended with extra texts, illustrations and editorial fabric, and new translations. The ensuing paintings is a much fuller and extra exact quantity that might offer readers with a clearer and extra profitable figuring out of Brecht's paintings and writings. This up to date 3rd variation positive aspects: * Clearer structure and business enterprise of the textual content to facilitate examine * New translations of some of the Brechtian texts featured * Over forty new, formerly untranslated essays * Essay titles now correspond to the German originals * A revised number of illustrations this option of Bertolt Brecht's serious writing charts the advance of his pondering on theatre and aesthetics over 4 a long time. the amount demonstrates how the theories of Epic Theatre and Verfremdung developed, and comprises notes and essays at the staging of The Threepenny Opera, Mahagonny, mom braveness, Puntila, Galileo etc of his performs. additionally integrated is 'Short Organon for the Theatre', Brecht's so much entire assertion of his innovative philosophy of the theatre.

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Extra resources for Brecht on Theatre: The Development of an Aesthetic (3rd Edition)

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Meanwhile, to develop this theme of capitalism as a force denigrating the national consciousness, from 1914 onwards Orage used issues where capitalists became prominent in the conduct of the war, especially war loans, to demonstrate the alleged antithesis between patriotic and capitalist goals. Ever-higher rates of interest on war loans were irrefutable evidence of capitalism’s corrosive nature, placing private interest before that of the nation. Analysis of the first war loan of £350 million not only claimed that it would yield its investors £14 million a year in interest, but also that it would ultimately cost the state in excess of £500 million.

The era of the lion was needed to tear down the era of the camel, and so Orage presented Nietzsche himself as one of the ‘laughing lions’ who were trying to achieve this creative destruction. Crystalizing the creative destructive tenor here, Tom Steele’s analysis on these writings is worth stressing. ‘Out of this holocaust’, Steele argues ‘would come the era of the child who now in Orage’s text appears recognizably the superman of Consciousness . . 8 So these writings drawing heavily on Nietzsche show a clearly modernist attitude to confronting modernity, diagnosing it as radically decadent.

Pacifists had demonstrated themselves to be intellectually naïve with respect to this innate flaw in the human condition. The pacifist method of pursuing peace by simplistically refusing to use force to repel an enemy was doomed to failure when confronted by ruthless opposition. For peace to exist at all, enemies of freedom and liberty needed to be fought periodically. 21 The war was one such occasion, and defeating Germany was just such a cause. This helps to clarify why Orage rejected what he regarded as erroneously ‘progressive’ notions of warfare as a phenomenon that could be eliminated through the steady introduction of reason into collective human existence.

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