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Brecht projects an ancient Chinese story onto a realistic setting
in Soviet Georgia. In a theme that echoes the Judgment of Solomon,
two women argue over the possession of a child. Thanks to the
unruly judge, Azdak (one of Brecht's most vivid creations) natural
justice is done and the peasant Grusha keeps the child she loves,
even though she is not its mother. Written while Brecht was in
exile in the United States during the Second World War, The
Caucasian Chalk Circle is a politically charged, much-revived and
complex example of Brecht's epic theatre. This new Student Edition
contains introductory commentary and notes by Kristopher Imbrigotta
from the University of Puget Sound, US, offering a much-needed
contemporary perspective on the play. The introduction covers: -
narrative structure: play about a play within a play ("circle") -
songs and music - justice and social systems - context: Brecht,
exile, WWII, socialism - notions of collective and class - fable
and story adaptation, folk fairy tale
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.
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