By Stephen Parker
This primary English language biography of Bertolt Brecht (1898-1956) in 20 years paints a strikingly new photo of 1 of the 20th century's such a lot debatable cultural icons.
Drawing on letters, diaries and unpublished fabric, together with Brecht's clinical files, Parker bargains a wealthy and mesmerizing account of Brecht's lifestyles and paintings, considered throughout the prism of the artist. Tracing his notable lifestyles, from his early life in Augsburg, during the First global conflict, his politicisation through the Weimar Republic and his years of exile, as much as the Berliner Ensemble's magnificent productions in Paris and London, Parker exhibits how Brecht completed his transformative influence upon international theatre and poetry.
Bertolt Brecht: A Literary lifestyles is a strong portrait of a very good, compulsively contradictory character, whose artistry left its lasting imprint on glossy tradition.
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Extra info for Bertolt Brecht: A Literary Life
National Maritime Museum, Greenwich London. —to have invented the Modern Dance” (Journey 8). III. Goethe’s Proserpina and Later Posers Hopeless the fate of the departed, ................ And among them all I err about, Goddess! Queen! Myself the slave of destiny! —J. W. Goethe, Proserpina (1776)32 Goethe’s Proserpina poses as a goddess, queen of the underworld, slave, lost child, and nymph, shifting between each with the deft manipulation of veils. Citing Lyon 40 MODERNISM’S MYTHIC POSE Hamilton’s example, Goethe incorporated attitudes and the related group pose or tableau vivant into the spectacular conclusion of Proserpina.
What things she who traced the shadow of her lover with so much pleasure told him! What sounds could she have used to convey this movement of the stick? —J. J. Rousseau, “Origin of Languages” (ca. 2 As his gendered lover with her stick suggests, romanticism often linked gesture to women as more passionate and primitive. Romanticism produced several performance forms, including the monodrama and attitude, which featured the emotive gestures of a single, usually female body in a mythic role. Rousseau’s Pygmalion (1762) introduced the monodrama to feature poetic declamation that is abandoned for pantomime and music at heights of emotional expression.
The Apollonian force, the second element in the familiar dyad, provides solace in beautiful forms, a reconciliation for the painful process of individuation (Tragedy 50–51). 57 Whereas Nietzsche postulates the death of ritual, Harrison emphasizes its cyclical recurrence, persistence in religion, potential for transforming culture, and somewhat debased remnants in modern art. She traces the emergence of drama through revisions of the ritual space and then the development of roles: “There is no division at ﬁrst between actors and spectators; all are actors, all are doing the thing done, dancing the dance danced.