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Alongside the usual wide-ranging lineup of research articles,
volume 41 features an interview with Berliner Ensemble actor
Annemone Haase and an extensive special section on teaching Brecht.
Now published for the International Brecht Society by Camden House,
the Brecht Yearbook is the central scholarly forum for discussion
of Bertolt Brecht's life and work and of topics of particular
interest to Brecht, especially the politics of literature and of
theater in a global context. It includes a wide variety of
perspectives and approaches, and, like Brecht himself, is committed
to the concept of the use value of literature, theater, and theory.
Volume 41 features an interview with longtime Berliner Ensemble
actor Annemone Haase by Margaret Setje-Eilers. A special section on
teaching Brecht, guest-edited by Per Urlaub and Kristopher
Imbrigotta, includes articles on creative appropriation in the
foreign-language classroom (Caroline Weist), satire in Arturo Ui
and The Great Dictator (Ari Linden), performative discussion (Cohen
Ambrose), Brecht for theater majors (Daniel Smith), teaching
performance studies with the Lehrstuck model (Ian Maxwell),
Verfremdung and ethics (Elena Pnevmonidou), Brecht on the college
stage (Julie Klassen and Ruth Weiner), and methods of teaching
Brechtian Stuckschreiben (Gerd Koch). Other research articles focus
on Harry Smith's Mahagonny (Marc Silberman), inhabiting empathy in
the contemporary piece Temping (James Ball), Brecht's appropriation
of Kurt Lewin's psychology (Ines Langemeyer), and Brecht's
collaborations with women, both across his career (Helen Fehervary)
and in exile in Skovsbostrand (Katherine Hollander). Editor
Theodore F. Rippey is Associate Professor of German at Bowling
Green State University.
A substantive exploration of bodies and embodiment in theatre.
Theatre is inescapably about bodies. By definition, theatre
requires the live bodies of performers in the same space and at the
same time as the live bodies of an audience. And, yet, it's hard to
talk about bodies. We talk about characters; we talk about actors;
we talk about costume and movement. But we often approach these as
identities or processes layered onto bodies, rather than as
inescapably entwined with them. Bodies on the theatrical stage hold
the power of transformation. Theatre practitioners, scholars, and
educators must think about what bodies go where onstage and what
stories which bodies to tell. The essays in Theatre Symposium,
Volume 27 explore a broad range of issues related to embodiment.
The volume begins with Rhonda Blair's keynote essay, in which she
provides an overview of the current cognitive science underpinning
our understanding of what it means to be 'embodied' and to talk
about 'embodiment.' She also provides a set of goals and cautions
for theatre artists engaging with the available science on
embodiment, while issuing a call for the absolute necessity for
that engagement, given the primacy of the body to the theatrical
act. The following three essays provide examinations of historical
bodies in performance. Timothy Pyles works to shift the common
textual focus of Racinian scholarship to a more embodied
understanding through his examination of the performances of the
young female students of the Saint-Cyr academy in two of Racine's
Biblical plays. Shifting forward in time by three centuries, Travis
Stern's exploration of the auratic celebrity of baseball player
Mike Kelly uncovers the ways in which bodies may retain the ghosts
of their former selves long after physical ability and wealth are
gone. Laurence D. Smith's investigation of actress Manda
Bjoerling's performances in Miss Julie provides a model for how
cognitive science, in this case theories of cognitive blending, can
be integrated with archival theatrical research and scholarship.
From scholarship grounded in analysis of historical bodies and
embodiment, the volume shifts to pedagogical concerns. Kaja Amado
Dunn's essay on the ways in which careless selection of working
texts can inflict embodied harm on students of color issues an
imperative call for careful and intentional classroom practice in
theatre training programs. Cohen Ambrose's theorization of
pedagogical cognitive ecologies, in which subjects usually taught
disparately (acting, theatre history, costume design, for example)
could be approached collaboratively and through embodiment, speaks
to ways in which this call might be answered. Tessa Carr's essay on
"The Integration of Tuskegee High School" brings together ideas of
historical bodies and embodiment in the academic theatrical context
through an examination of the process of creating a documentary
theatre production. The final piece in the volume, Bridget Sundin's
exchange with the ghost of Marlene Dietrich, is an imaginative
exploration of how it is possible to open the archive, to create
new spaces for performance scholarship, via an interaction with the
body.
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