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Index
Cover Halftitle Page Series Page Title Page Contents Acknowledgements Introduction
(Re)Introducing Brecht Format and scope
1 Revealing the Radical Theorist
Brecht as theorizing practitioner The different functions of theory to Brecht Theorizing as a private and public activity Understanding the assumptions of the ‘Short Organon’, or: An introduction to dialectics The appeal of dialectics to Brecht What is Brecht teaching? Defining ‘the Brechtian’ Making theatre politically The radicalism of the ‘Short Organon’
2 Buying Brass as Performative Thinking
Theorizing with more than one voice The possibilities of performing theory A Brechtian performance of Buying Brass Not only dialogues: Buying Brass’s scenes for actors Montage, or: Structured disruption in the episodic form of Buying Brass
3 Brecht and Difference
The centrality of change and its relationship to difference in Brecht’s theatre Forgetting ‘character’ How to build a contradictory ‘figure’ The dangers of empathy in theatrical communication Interrupting empathy in Brecht’s theatre Separating the elements of the performance and the meaning of ‘epic theatre’ Historicization and/as Verfremdung Theatre as a site of contradiction, not merely conflict
4 Method Trumps Styles
The Brechtian method: Greater than the sum of its parts The centrality of the Fabel Arrangement as the Fabel made flesh Locating the actor in society: The discovery of a figure’s Gestus A figure is the sum of all its Haltungen Brecht’s theatre of showing Realism and Brecht’s dialectical method
5 Brecht and the Actor
There is no ‘Brechtian Style’ of acting Brecht and casting, or: Cleaving the actor from the role Observation, realism and Gestus Sensitizing the actor to dialectics The actor-as-demonstrator in theory and practice Playing the situation and not the character, or: The problem of saying ‘I’ The pursuit of naturalness and lightness in a stylized theatre Acting and emotion
6 Brecht and the Director
Inductive direction, or: The ‘invisibility’ of the Brechtian director The tasks of the Brechtian director The prerequisite for a Brechtian director: A vibrant ensemble Rehearsing with an inductive director Abolishing the read-through, or: The status of the text in rehearsal The rehearsal process and its social goals Connecting the individual to society: Details, customs and monologues Bringing out the social in performance: Focus on The Broken Jug
7 Brecht, Documentation and the Art of Copying
Imitation and innovation The building blocks of documentation at the Berliner Ensemble: Notate Demystifying the theatrical process: ‘Modelbooks’ Making use of the ‘models’ Copying as productive activity
8 Using Brecht’s Method
Applicability and approach The Resistible Rise of Arturo Ui: Identifying the problems of a potential production Relativizing the centrality of Arturo Ui Avoiding the ‘allegory trap’ Making Ui’s rise ‘resistible’ Closer: Why Brecht? The social contexts of 1990s Britain Investigating the ‘Micro-Fabel’ Extending the reach
Epilogue
Working with Brecht Working with Brecht beyond Brecht
Notes Bibliography (including list of abbreviations)
Works by Brecht Other Works Works by Brecht: List of Abbreviations
Index Imprint
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