Annual volume, this time featuring special sections on Brecht's
dramatic fragments and on comedy in post-Brechtian theater, along
with a variety of other contributions. Published for the
International Brecht Society, the Brecht Yearbook is the central
scholarly forum for discussion of Brecht's life and work and of
topics of particular interest to him, especially the politics of
literatureand of theater in a global context. It embraces a wide
variety of perspectives and approaches and, like Brecht himself, is
committed to the use value of literature, theater, and theory.
Volume 44 features the first publication of Gunter Kunert's
translation of Edgar Lee Masters's poem "The Hill" with handwritten
annotations by Brecht. A special section, "Brecht's Dramatic
Fragments," includes essays on the unresolved tension between
individual and collectivist resistance in Fatzer, the fragmentary
aesthetic of Fleischhacker, and the first English translation and
performance of the David fragments. The next section, "Pure Joke:
The Comedy of Theater since Brecht," features articles on the
poetics of interruption in the epilogue to The Good Person of
Szechwan, Heiner Muller's Hamletmachine as theater of affirmation,
a reassessment of the harlequin and the chorus in post-Brechtian
performance, and the performative gestures of quotation in
contemporary reality-satire. The volume also includes essays on
capitalist guilt and debt in The Debts of Mister Julius Caesar,
Heiner Muller's "Keuneresque" interview strategies, the 1962 world
premiere of The Threepenny Opera in Yiddish, and Brecht's reception
of Mao Tse-tung in two of his poems. Contributors include
Gerrit-Jan Berendse, Andre Fischer, Phoebe von Held, Nicholas E.
Johnson, Christian Kirchmeier, Gunter Kunert, Nikolaus
Muller-Schoell, Stephan Pabst, Corina L. Petrescu, David Shepherd,
Katrin Trustedt, Uwe Wirth, Burkhardt Wolf, and Xue Song. Editor
Markus Wessendorf is aProfessor in the Department of Theatre and
Dance at the University of Hawai'i at Manoa in Honolulu.
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