Brecht on Theatre by Brecht, Bertolt -- Read -- Imperial Library of Trantor

Index

Cover Halftitle Page Title Page Contents List of Illustrations Picture Credits General Introduction Part One A New Theatre

Introduction to Part One

Frank Wedekind Me in the Theatre Theatre as Sport A Reckoning On the Aesthetics of Drama On the ‘Downfall of Theatre’ More Good Sport Three Cheers for Shaw Prologue to Drums Shouldn’t We Liquidate Aesthetics? Epic Theatre and Its Difficulties On New Dramatic Writing Latest Stage: Oedipus Dialogue on Acting On Subject Matter and Form On Rehearsing Dialectical Dramatic Writing Notes on the Opera Rise and Fall of the City of Mahagonny Notes on The Threepenny Opera Notes on the Comedy Man Equals Man Notes on The Mother (1933) Notes on The Mother (1938)

Part Two Exile Years

Introduction to Part Two Old versus New Theatre

Theatre for Pleasure or Theatre for Instruction On Experiments in Epic Theatre The German Drama: Pre-Hitler On the Use of Music in an Epic Theatre Short List of the Most Frequent, Common and Boring Misconceptions about Epic Theatre The Progressiveness of the Stanislavsky System On Experimental Theatre A Short Private Lecture for My Friend Max Gorelik

On Chinese Theatre, Verfremdung and Gestus

On the Art of Spectatorship Maintaining Gestures over Multiple Generations Verfremdung Effects in Chinese Acting Three Notes on Verfremdung and the Elder Breughel

On Determining the Zero Point The Zero Point Notes on Pointed Heads and Round Heads On the Production of the V-effect On Gestic Music On Rhymeless Verse with Irregular Rhythms The Street Scene Short Description of a New Technique of Acting that Produces a Verfremdung Effect Athletic Training On Epic Dramatic Art: Change On the Gradual Approach to the Study and Construction of the Figure Realism and the Proletariat

The Popular and the Realistic Two Essay Fragments on Non-professional Acting The Attitude of the Rehearsal Director (in the Inductive Process) Notes on the Folk Play

Part Three Return to Germany

Introduction to Part Three Short Organon

Short Organon for the Theatre Appendices to the Short Organon

Theatre Work

Friedrich Wolf – Bert Brecht: Formal Problems Arising from the Theatre’s New Content From a Letter to an Actor What Makes an Actor Gesture Kurt Palm Two Notes about Urfaust

About Our Stagings The Plot

Classical Status as an Intimidating Factor

On Stanislavsky

Some of the Things That Can Be Learnt from Stanislavsky On Stanislavsky Stanislavsky Studies [3] A Few Thoughts on the Stanislavsky Conference

Dialectical Theatre

From Epic to Dialectical Theatre Dialectics in the Theatre

Study of the First Scene of Shakespeare’s Coriolanus Relative Haste A Detour (The Caucasian Chalk Circle) Another Case of Applied Dialectic Letter to the Actor Playing Young H?r in Winter Battle Mother Courage Played in Two Ways Example of a Scenic Innovation Through the Observation of a Mistake Something about Representing Character Conversation about Coerced Empathy

Miscellaneous

Cultural Policy and Academy of Arts Socialist Realism in the Theatre Can the Present-Day World Be Reproduced by Means of Theatre? Our London Season

Select Bibliography Index Imprint