Now available in Bloomsbury Revelations series, Brecht on Performance: Messingkauf and Modelbooks presents a selection of Brecht''s principal writings about the craft of acting and realising texts for the stage. It crystallises and makes concrete many of the more theoretical aspects of his other writing and illuminates the practice of this hugely influential director and dramatist.The volume is in two parts. The first features an entirely new commentated edition of Brecht''s dialogues and essays about the practice of theatre, known as the Messingkauf , or Buying Brass , including the ''Practice Pieces'' for actors (rehearsal scenes for classics by Shakespeare and Schiller). The second contains rehearsal and production records from Brecht''s work on productions of Life of Galileo , Antigone , Mother Courage and others.Edited by an international team of Brecht scholars and including an essay by director and teacher Di Trevis examining the practical application of these texts for theatres and actors today, Brecht on Performance is a wonderfully rich resource. The text is illustrated with over 30 photographs from the Modelbooks .>

These two volumes represent an excellent extension of Brecht's writings in English. The editors draw on contemporary scholarship, apply high editorial standards, and offer a readability that opens up Brecht's theories and practices for a new generation.

Vorwort
The volume presents a selection of Brecht's principal writings for directors and theatre practitioners, including an entirely new commentated edition of Brecht's dialogues and essays about the practice of theatre, known as the Messingkauf, or Buying Brass, as well as rehearsal and production records from Brecht's work on productions of Life of Galileo, Antigone, Mother Courage and others.

Autorentext

Bertolt Brecht (1898-1956) is acknowledged as one of the great dramatists whose plays, work with the Berliner Ensemble and critical writings have had a considerable influence on the theatre. His landmark plays include The Threepenny Opera, Fear and Misery of the Third Reich, The Life of Galileo, Mother Courage and Her Children and The Caucasian Chalk Circle.

Tom Kuhn is Professor of 20th century German Literature at St Hugh's College, University of Oxford, UK, and General Editor of Bloomsbury Methuen Drama's Brecht publications.Steve Giles is Professor Emeritus of German Studies and Critical Theory at the University of Nottingham, UK. He has contributed to Brecht on Art and Politics (Methuen Drama, 2003) as well as authoring books on Modern European Drama and Critical Theory.Marc Silberman is Professor of German at the University of Wisconsin - Madison, USA. He is the co-editor of the completely revised and updated third edition of Brecht on Theatre and of Brecht on Performance (both 2014), and editor of Brecht on Film & Radio.

Klappentext
Now available in Bloomsbury Revelations series, Brecht on Performance: Messingkauf and Modelbooks presents a selection of Brecht's principal writings about the craft of acting and realising texts for the stage. It crystallises and makes concrete many of the more theoretical aspects of his other writing and illuminates the practice of this hugely influential director and dramatist. The volume is in two parts. The first features an entirely new commentated edition of Brecht's dialogues and essays about the practice of theatre, known as the Messingkauf, or Buying Brass, including the 'Practice Pieces' for actors (rehearsal scenes for classics by Shakespeare and Schiller). The second contains rehearsal and production records from Brecht's work on productions of Life of Galileo, Antigone, Mother Courage and others. Edited by an international team of Brecht scholars and including an essay by director and teacher Di Trevis examining the practical application of these texts for theatres and actors today, Brecht on Performance is a wonderfully rich resource. The text is illustrated with over 30 photographs from the Modelbooks.

Inhalt

General Introduction and Acknowledgements

Part One The Messingkauf, or Buying Brass

Introduction to Buying Brass
Preamble
First Night
(i) Setting the Scene
(ii) Naturalism, Realism, Empathy
(iii) Tragedy; Learning, Science, Marxism
Second Night
(i) Intoxication, Empathy, V-effect
(ii) Acting, Performance
(iii) Science, Social Class, Learning
(iv) Elizabethan Theatre, Shakespeare
(v) The Augsburger, Piscator
Third Night
(i) The Fourth Wall, Emotion; V-effect, Acting
(ii) The Augsburger, Piscator, Weigel
(iii) Social Science and Art
(iv) 'Extreme Situations'
Fourth Night
(i) The Nature of Art
(ii) Emotion, Critique, Representation
(iii) The Augsburger
(iv) Shakespeare
(v) Finale
Miscellaneous Texts
(i) Illusionism, Realism, Naturalism; Social Function of Theatre; Empathy
(ii) Acting
(iii) Thaëter, Piscator, Neher
Plans and Appendices
(i) Plans
(ii) Appendices
Practice Pieces for Actors
(i) Parallel Scenes
The Murder in the Porter's Lodge
(Parallel Scene to Shakespeare's Macbeth, Act 2, Scene 2)
The Battle of the Fishwives
(Parallel to Schiller's Maria Stuart, Act 3)
(ii) Intercalary Scenes
Ferry Scene
(To be played between Scenes 3 and 4, Act 4 of Shakespeare's Hamlet)
The Servants
(To be played between Scenes 1 and 2, Act 2 of Shakespeare's Romeo and Juliet)
(iii) Circular Poems

Part Two Modelbooks

Introduction to the Modelbooks

On Life of Galileo (1947/48) from Constructing a Role: Laughton's Galileo
Foreword
A Sequence from Scene One: Rotation of the Earth and Rotation of the Brain
Background to the Performance

On The Antigone of Sophocles (1947/48) from Antigone Model 1948
Foreword
Ruth Berlau's Prefatory Note
Prelude and Bridge to Scene One
Neher's Second Design for the Antigone Stage

On Mother Courage and Her Children (1949/50/51) from Courage Model 1949
Opening Remarks
Notes and Scene-Photos for the Prologue, Scenes One and Two
Details from Scene Three
Variations in Berlin and Munich
Concluding Texts from the Model: Scene Twelve

From Theatre Work (1952)
Some Remarks on My Discipline
Bertolt Brecht's Stage Direction
Phases of a Stage Direction
Five Notes on Acting
The Berliner Ensemble Models
Theatre Photography
Does Use of the Model Restrict Artistic Freedom
How Erich Engel Uses the Model
How the Director Brecht Uses His Own Model
From the Correspondence of the Berliner Ensemble about the Model
Creative Evaluation of Models

From Katzgraben Notes 1953
Epic Theatre
Rehearsal Methods
Scenery
Crises and Conflicts
Politics in the Theatre
III,2 Constructing a Hero
Is Katzgraben a Proselytizing Play?
The Verse Form
Verfremdung
II, 3 [Revelation and Justification]
Empathy
The New Farmer, the Medium Farmer, the Big Farmer
What Are Our Actors Actually Doing?
The Positive Hero
Second Dress Rehearsal
Criticism of Elli and Criticism of Elli 2
New Content New Form

Di Trevis: Acting is Not Theoretical

Select Bibliography

Index of Names and Key Terms