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345:, but âthe writerâs words are only sacred insofar as they are trueâ. This went for Brechtâs own words as well, and his plays were subject to continual small changes even in the course of a single run. Atmosphere and âpsychologyâ did not matter as such; everything would emerge given a clear and credible sequence of concrete events. âEach scene,â says a writer in
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As we cannot invite the public to fling itself into the story as if it were a river, and let itself be swept vaguely to and fro, the individual events have to be knotted together in such a way that the knots are easily seen. The events must not succeed one another indistinguishably but must give us a
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and its formal shaping of the events portrayed. It also includes an analysis of the semiotic fabric of the play, recognizing that it "does not simply correspond to actual events in the collective life of human beings, but consists of invented happenings he stage figures are not simple representations
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during the course of a production, each detailing and clarifying a different aspect of the process: a dramatic analysis; an interpretive proposal; an initial springboard position from which to initiate a process of exploration and experiment in rehearsals; a description of individual production
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was something utterly concrete and practical. Acting, music, the visual elements of the staging, in short, everything an audience perceived, had to contribute to the storytelling and make it lucid, convincing, entertaining and âelegantâ--as Brecht liked to put it. One result was that the
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at the beginning of the rehearsal process, the director may return to it near the end of rehearsals to check that the production is 'telling the story' intended (or, alternatively, to clarify the ways in which that story has changed as a result of rehearsal exploration and development).
262:â. If they were to watch a play through a glass wall blocking all sound, the audience should still be able to follow the essential story. He also insisted that each of the performance elements: acting, design, music and so forth, should remain a recognisable
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work which is so often neglected: the actual story. âIt is a long time,â he found, âsince our theatre played these scenes for the events contained in them; they are played only for the outbursts of temperament which the events allow.â
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In such conferences Brecht would get his colleagues to make a written or verbal précis of the play, and later they would have to write descriptions of an actual performance. Both were practice in distilling the incidents that
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is subdivided into a succession of episodes. Brecht produces as though each of these little episodes could be taken out of the play and performed on its own. They are meticulously realized, down to the smallest
278:, and the term 'scenic writing' may best convey what he was aiming for. The thorough and extremely detailed preparation included countless discussions in which a text was dissected to determine which
420:(which have been generated by the production either at different stages of the process or in relation to different aspectsâlighting, sound, blocking, etc.---of it); for example, having produced a
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analyzes the attitudes that the play appears to embody and articulate (in the sense of the author's, the characters' and, eventually, the company's). Brecht refers to this aspect of a play as its
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calls it; and the sense is what Brecht tried to get clear in any play, first for himself and his collaborators, then for the audience too.Hence, for example, his emphasis on that side of
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provides a fixed 'snapshot' of a transitory and constantly developing process in a form that enables comparisons to be made. These comparisons may be between the description in the
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or story. The chain of events must be clearly and strongly established not just in the production, but beforehand in the actual play. Where it was not clear it was up to the â
64:', which is a form of short narrative (hence the retention of the original German spelling in its adoption into English usage). Elizabeth Wright argues that it is "a
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specifies, narrativizes, and objectifies the attitudes and activities involved in the process of producing a play. In doing so, it enables company members to
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of a play in such a way as to emphasize the production's interpretation of that play-text. It is produced in order to make clear the company's
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As a critical term, a fabel includes three interrelated but distinct aspects: firstly, an analysis of the events portrayed in the story. In an
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of actors and all props employed in a scene. He regarded this arrangement as the most important means to achieve a clear presentation of the
303:, etc.); an account of progress made at different stages of the rehearsal process; individual actor performance and character behaviour
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productions were quite well understood by international audiences who could not follow the German text. Brecht insisted that the
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form part of the process of engaging with a play-text undertaken by a company when mounting a production of a play. A
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329:â to alter the text, in order to cut unnecessary entanglements and come to the point. The play itself might be by
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As Weber's reference here to 'scenic writing' suggests, a director or other company member may produce multiple
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607:. 1994. âBrecht and the Berliner Ensemble - the making of a model.â In Peter Thomson and Glendyr Sacks, eds.
307:. Virtually any aspect of the theatrical process of production may be explored through the use of a specific
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of this play centres on the transformation of an individual through his insertion into a collective."
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of understanding and rendering the story. In this respect, it is related to the concept of
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611:. Cambridge Companions to Literature Ser. Cambridge: Cambridge University Press.
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does not predetermine the style of production nor does it necessarily require an
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summarizes "the moral of the story not in a merely ethical sense, but also in a
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play encodes such attitudes; "for art to be 'unpolitical'", he argued in his "
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of the play told as a sequence of interactions, describing each event in the
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The chain of events had become his substitute for the tidy, comprehensive â
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667:. p.17: "he suspense concerns less the ending than the separate events".
559:. Critics of the Twentieth Century Ser. London and New York: Routledge.
538:. Critics of the Twentieth Century Ser. London and New York: Routledge.
321:"he primary principle which taught his collaborators was that of the
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147:. Analyzing a play in this way presupposes Brecht's recognition that
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and the reality of the production as it stands or between different
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of living persons, but invented and shaped in response to ideas."
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17:
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245:. This may sound quite theoretical, but in Brechtâs practice the
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155:" (1949), "means only to ally itself with the 'ruling' group".
463:(which would characterize an epic production). One may create
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The
Theatre of Bertolt Brecht: A Study from Eight Aspects
199:
episodes that constitute the dramatic or theatrical
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1079:
710:
585:Brecht on Theatre: The Development of an Aesthetic
171:is a piece of creative writing, usually made by a
104:one". For example, in relation to Brecht's play
459:(actors, director, designers) rather than the
317:, Brecht's English translator, suggests that:
258:and objects on stage should clearly âtell the
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80:production, this analysis would focus on the
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659:. Trans. Anna Bostock. London: Verso, 1973.
408:that processâin the sense that a particular
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455:is an attempt to achieve clarity for the
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68:which cannot be adequately translated".
1049:The Trial of Joan of Arc at Rouen, 1431
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1292:Bertolt Brecht theories and techniques
1239:The Modern Theatre Is the Epic Theatre
826:Rise and Fall of the City of Mahagonny
447:, etc.), despite having originated in
383:âPlaying according to the senseâ, the
129:perspective. This includes the play's
777:Downfall of the Egotist Johann Fatzer
655:. 1939. "What is Epic Theatre? ". In
241:and, in Brechtâs last years, also by
29:
7:
557:Postmodern Brecht: A Re-Presentation
536:Postmodern Brecht: A Re-Presentation
256:configuration and movement of actors
902:Fear and Misery of the Third Reich
635:. Rev. Ed. London: Methuen, 1977.
14:
812:The Baden-Baden Lesson on Consent
609:The Cambridge Companion to Brecht
439:or aesthetic (the elimination of
377:chance to interpose our judgment.
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1260:
965:The Resistible Rise of Arturo Ui
895:The Horatians and the Curiatians
209:, who worked as a director with
46:technique that was pioneered by
1245:A Short Organum for the Theatre
993:Schweyk in the Second World War
937:Mother Courage and Her Children
581:A Short Organum for the Theatre
110:(1926), Wright argues that "he
84:between the characters and the
299:, the visual or scenic design
34:is a critical analysis of the
1:
1028:Die Verurteilung des Lukullus
979:The Visions of Simone Machard
888:Round Heads and Pointed Heads
153:Short Organum for the Theatre
60:should not be confused with '
951:Mr Puntila and His Man Matti
853:Saint Joan of the Stockyards
266:while it contributed to the
958:The Good Person of Szechwan
805:The Flight Across the Ocean
487:ones that Brecht explored.
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1224:Separation of the elements
1000:The Caucasian Chalk Circle
860:The Exception and the Rule
451:practice. The creation of
195:indicates the sequence of
15:
1258:
1109:What Keeps Mankind Alive?
749:Mysteries of a Barbershop
587:. London: Methuen, 1964.
555:Wright, Elizabeth. 1989.
534:Wright, Elizabeth. 1989.
445:defamiliarization effects
121:analyzes the plot from a
1088:Reminiscence of Marie A.
583:". In John Willett, ed.
50:, a 20th century German
16:Not to be confused with
1014:The Days of the Commune
756:In the Jungle of Cities
1168:Non-Aristotelian drama
923:How Much Is Your Iron?
909:Señora Carrar's Rifles
398:
291:aspects (the lighting
284:
179:, that summarizes the
94:historical materialist
1232:Messingkauf Dialogues
1035:Report from Herrnburg
944:The Trial of Lucullus
881:The Seven Deadly Sins
319:
233:fashion developed by
219:
163:As a practical tool,
986:The Duchess of Malfi
798:The Threepenny Opera
657:Understanding Brecht
52:theatre practitioner
742:Driving Out a Devil
82:social interactions
1070:Trumpets and Drums
728:Drums in the Night
502:Dramatic Structure
131:dramatic structure
31:[ËfaË.blÌ©]
1302:Stage terminology
1274:
1273:
1180:Defamiliarization
1123:Einheitsfrontlied
972:Hangmen Also Die!
784:The Elephant Calf
335:Gerhart Hauptmann
217:, explains that:
215:Berliner Ensemble
96:perspective; the
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1297:Plot (narrative)
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1116:SolidaritÀtslied
791:Little Mahagonny
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643:. p.152-153,154)
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282:it might yield."
221:"hat he called
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366:â. Thus the "
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1095:Alabama Song
1080:Poems, songs
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1130:Kinderhymne
874:Kuhle Wampe
833:Der Jasager
605:Weber, Carl
428:The use of
137:Thirdly, a
66:term of art
1281:Categories
1162:LehrstĂŒcke
1149:techniques
1137:Die Lösung
1042:Coriolanus
867:The Mother
518:References
507:Dramaturgy
479:approach)
437:dramaturgy
252:Ensembleâs
207:Carl Weber
42:. It is a
1214:Not / But
1021:The Tutor
819:Happy End
763:Edward II
735:A Wedding
579:. 1949. "
512:Dramaturg
477:Artaudian
457:producers
449:Brechtian
327:Dramaturg
231:dialectic
201:narrative
173:dramaturg
90:behaviour
88:of their
86:causality
1267:Category
1063:Don Juan
1056:Turandot
1007:Antigone
711:Dramatic
631:. 1959.
595:. p.196.
491:See also
461:audience
441:suspense
385:Ensemble
331:Farquhar
272:blocking
225:was the
177:director
127:semiotic
546:. p.28.
475:(in an
356:detail.
343:MoliĂšre
213:at his
175:or the
92:from a
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1198:Gestus
930:Dansen
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567:. p.33
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485:social
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467:(in a
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418:fabels
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288:fabels
211:Brecht
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189:Gestus
165:fabels
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123:formal
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62:fable
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38:of a
26:Fabel
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661:ISBN
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434:epic
364:plot
339:Lenz
239:Marx
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341:or
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237:,
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696:e
689:t
682:v
20:.
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