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Brecht Yearbook 48 features a section on Brecht's and Heiner
Müller's engagement with modern living, a group of essays on
"Brecht Post-2020," and additional new Brecht research on various
topics. The Brecht Yearbook, published on behalf of the
International Brecht Society, is the central scholarly forum for
the study of Brecht's life and work and of topics relevant to him.
Volume 48 opens with an article on the research that informed the
2022 exhibition Brecht's Paper War. The next section examines
Brecht's and Heiner Müller's engagement with modern living: from
the housing question in the 1920s to the dramaturgical function of
furniture to dialectical stage-auditorium configurations in the
early GDR. The following section on "Brecht Post-2020" explores
dramaturgical approaches to the learning play under pandemic
conditions as well as the "spectrological" aspects of Drums in the
Night. Additional new research includes essays on the critical
edition of Brecht's notebooks, his reception in fascist Italy, the
ambivalence of the heroic in his work, the prioritization of
political parable over avant-garde aesthetics in Round Heads and
Pointed Head, boxing as inspiration for epic theater, Hegelian
aspects of Refugee Conversations and The Measures Taken, and the
working alliance of Brecht and Kurt Weill. Edited by Markus
Wessendorf. Contributors: Fanti Baum, Luke Beller, Manuel Clancett,
Daniel Cuonz, Raffaella Di Tizio, Patrick Eiden-Offe, Anja Hartl,
Fritz Hennenberg, Matthew Hines, Alba Knijff, Sophie König,
Grischa Meyer, Marie Millutat, Ramona Mosse, Zafiris Nikitas,
Cornelia Ortlieb, Joseph Prestwich, Matthias Rothe, Kumars Salehi,
Francesco Sani, Fadi Skeiker, Stephan Strunz, Lara Tarbuk, Julia
Weber, Marten Weise, Noah Willumsen, Claus Zittel.
The leading scholarly publication on Brecht; volume 43 contains a
wealth of articles on diverse topics and a reconstruction of the
two-chorus version of The Exception and the Rule. Published for the
International Brecht Society by Camden House, the Brecht Yearbook
is the central scholarly forum for discussion of Brecht's life and
work and of topics of interest to him, especially the politics of
literature and theater in a global context. It encourages a wide
variety of perspectives and approaches and, like Brecht, is
committed to the use value of literature, theater, and theory.
Volume 43 opens with a reconstruction of Brecht's two-chorus
version of The Exception and the Rule (Reiner Steinweg) and
continues with a selection of Helmut Heissenbuttel's reviews of
Brecht's work. Four articles (by Christine Kunzel, Carsten Mindt,
Judith Niehaus,and Sebastian Schuller) address Brechtian aspects of
Gisela Elsner's novels. The next two essays (by Hunter Bivens and
Friedemann Weidauer) revisit Brecht's reflections on affect and
empathy. Also included are papers from the 2016IBS "Recycling
Brecht" Symposium: on Brecht's recycling of Lenin in his "neue
Dramatik" (Joseph Dial), on Paul Celan as a reconfiguration of
Brecht (Paul Peters), on Brecht's adaptation of Shakespeare's
Coriolanus (MartinRevermann), and on Hilary Mantel's Brechtian
reconfiguration of Thomas Cromwell (Markus Wessendorf). The volume
features Richard Schroeder's farewell lecture on Brecht's Life of
Galileo and an essay by Ulrich Plass on BerndStegemann's allegedly
Brechtian reclamation of critical realism. It concludes with Zhang
Wei's interview with the Chinese dramaturg, playwright, and Brecht
translator Li Jianming. Editor Markus Wessendorf is a Professorin
the Department of Theatre and Dance at the University of Hawai'i at
Manoa in Honolulu.
Annual volume with contributions on writers and artists whose work
intersects with Brecht's from three thematic perspectives: Brecht
in a global age, women and Brecht, and Brecht's learning plays.
Published for the International Brecht Society by Camden House, 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 literature and of theater in a global
context. It, like Brecht himself, is committed to the concept of
the use value of literature, theater, and theory. This is the
second volume dedicated to the proceedings of the 16th Symposium of
the IBS, held at Leipzig University in 2019. The contributions
discuss artists whose work intersects with Brecht's from three
thematic perspectives: Brecht in a global age, women and Brecht,
and Brecht's learning plays. The artists include Utpal Dutt,
Elisabeth Hauptmann, Elfriede Jelinek, Peter Konwitschny, Siegfried
Kracauer, Tom Kuhnel, Jurgen Kuttner, Heiner Muller, Rimini
Protokoll, Margarete Steffin, Teatro Due Mondi, Teatro Maquina, Tom
Tykwer, and Hella Wuolijoki. The articles cover a broad range of
genres and topics, such as crime and detective fiction; neo-noir
television series; the learning play according to and after Brecht;
theater pedagogy; the migration dilemma; and post-dramatic,
refugee, and transcultural theater.
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.
Bertolt Brecht continues to be regarded as one of the twentieth
century's most controversial and influential writers. His life and
work raise important questions about the nature and function of
literature and theater, about perception and commitment, about
feminist approaches to politics and literature, and about
intellectual property rights. The Brecht Yearbook is a venue for
discussion about aspects of theater and literature that were of
particular interest to Brecht, especially the politics of
literature and the politics of theater in a global context. The
volume Brecht in / and Asia contains twenty-six essays based on
presentations given at "Brecht in/and Asia,"the thirteenth
Symposium of the International Brecht Society (IBS), which was held
at the University of Hawai'i at Manoa in 2010. Themes covered
include Brecht in India; contemporary Chinese theater; the
'Chinese' Brecht; tradition, Brecht, and political theater; Brecht
between imperialism and postcolonialism, orient and occident; Fritz
Bennewitz's intercultural Brecht productions; and Brecht('s)
adaptations.
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