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Bertolt Brecht (1898 – 1956)

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Bertolt Brecht (1898 – 1956). Bertolt Brecht (1898 – 1956). Interest in film, esp. Chaplin and slap stick. Bertolt Brecht (1898 – 1956). Interest in film, esp. Chaplin and slap stick Dramaturg in Berlin. Bertolt Brecht (1898 – 1956). Interest in film, esp. Chaplin and slap stick - PowerPoint PPT Presentation

Text of Bertolt Brecht (1898 – 1956)

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Bertolt Brecht (1898 1956)

Bertolt Brecht (1898 1956)Interest in film, esp. Chaplin and slap stickBertolt Brecht (1898 1956)Interest in film, esp. Chaplin and slap stickDramaturg in BerlinBertolt Brecht (1898 1956)Interest in film, esp. Chaplin and slap stickDramaturg in BerlinDramaturg: researcher, scholar; but with eye towards productionBertolt Brecht (1898 1956)Interest in film, esp. Chaplin and slap stickDramaturg in BerlinDramaturg: researcher, scholar; but with eye towards production1933-45: exile in Denmark and USBertolt Brecht (1898 1956)Interest in film, esp. Chaplin and slap stickDramaturg in BerlinDramaturg: researcher, scholar; but with eye towards production1933-45: exile in Denmark and USCollaborates with Fritz Lang in Hollywood on film, Hangman also DieBertolt Brecht (1898 1956)Interest in film, esp. Chaplin and slap stickDramaturg in BerlinDramaturg: researcher, scholar; but with eye towards production1933-45: exile in Denmark and USCollaborates with Fritz Lang in Hollywood on film, Hangman also DieHUAC, returns to Europe and settles in East GermanyJungle of CitiesAgassiz Players, Harvard, 1967Jungle of CitiesAgassiz Players, Harvard, 1967The Crimson, August 18, 1967: Even in theory the set is out of place. A jungle gym may remind one of the jungle, but it is misguided to try to cage the scenes of a highly dialectic play into once central playing area.

Jungle of CitiesAgassiz Players, Harvard, 1967The Crimson, August 18, 1967: Even in theory the set is out of place. A jungle gym may remind one of the jungle, but it is misguided to try to cage the scenes of a highly dialectic play into once central playing area.

A.R.T. 1998 under Paul WoodruffPrefatory remark:It is the year 1912 in the city of Chicago: you are witnessing an inexplicable wrestling match, and the destruction of a family that has come from the prairie lands to the great city jungle. In observing this battle, do not rack your brains for motives: concern yourself with the human element, evaluate the antagonists fighting spirit impartially and concentrate your interest on the showdown.Prefatory remark:It is the year 1912 in the city of Chicago: you are witnessing an inexplicable wrestling match, and the destruction of a family that has come from the prairie lands to the great city jungle. In observing this battle, do not rack your brains for motives: concern yourself with the human element, evaluate the antagonists fighting spirit impartially and concentrate your interest on the showdown.Upton Sinclairs The Jungle (1906), set in the slaughterhouses of Chicago

Upton Sinclairs The Jungle (1906), set in the slaughterhouses of ChicagoCity is difficult to navigate; things are connected, you just dont know how

Upton Sinclairs The Jungle (1906), set in the slaughterhouses of ChicagoCity is difficult to navigate; things are connected, you just dont know howparanoia

Upton Sinclairs The Jungle (1906), set in the slaughterhouses of ChicagoCity is difficult to navigate; things are connected, you just dont know howParanoiaOpening scene: Shlink has prearranged everything; someone is pulling the strings

Prefatory remark:It is the year 1912 in the city of Chicago: you are witnessing an inexplicable wrestling match, and the destruction of a family that has come from the prairie lands to the great city jungle. In observing this battle, do not rack your brains for motives: concern yourself with the human element, evaluate the antagonists fighting spirit impartially and concentrate your interest on the showdown.Brechts emerging theory of theaterGoing to the theater like watching sportsBrechts emerging theory of theaterGoing to the theater like watching sportsNot about motives, but moves in a gameBrechts emerging theory of theaterGoing to the theater like watching sportsNot about motives, but moves in a gameDo not empathize, but observe impartiallyPaul Samson-Krner

Brecht and Krner

Brechts emerging theory of theaterGoing to the theater like watching sportsNot about motives, but moves in a gameDo not empathize, but observe impartiallyBrechts admiration for the objective fighting style of Boxer Paul Samson-Krner, to whom he devotes a (unfinished) play called The Human Fighting MachinePrefatory remark:It is the year 1912 in the city of Chicago: you are witnessing an inexplicable wrestling match, and the destruction of a family that has come from the prairie lands to the great city jungle. In observing this battle, do not rack your brains for motives: concern yourself with the human element, evaluate the antagonists fighting spirit impartially and concentrate your interest on the showdown.Prefatory remark:It is the year 1912 in the city of Chicago: you are witnessing an inexplicable wrestling match, and the destruction of a family that has come from the prairie lands to the great city jungle. In observing this battle, do not rack your brains for motives: concern yourself with the human stakes, evaluate the antagonists fighting spirit impartially and concentrate your interest on the showdown.Brechts emerging theory of theaterNot about motives, but moves in a game; not why, but how

Brecht:"The actions of people in our time, as they are presented in the newspapers, cannot be explained by means of common motives. More and more police reports appear without providing the motive of the perpetrator. For this reason you must not be surprised that in the new drama certain people act differently in certain situation than you would expect and that your hypotheses about their motives prove to be false. In this world and in this drama philosophers have an easier time than psychologists."

Brecht:"The actions of people in our time, as they are presented in the newspapers, cannot be explained by means of common motives. More and more police reports appear without providing the motive of the perpetrator. For this reason you must not be surprised that in the new drama certain people act differently in certain situation than you would expect and that your hypotheses about their motives prove to be false. In this world and in this drama philosophers have an easier time than psychologists."

Brechts emerging theory of theaterNot about motives, but moves in a game: not why, but howWatch theater like a philosopher: develop hypotheses

Battle: "The basic idea of the play is that pure sportsmanship could involve two men in a battle which fundamentally transforms their economic situation and themselves beyond recognition." Battle: "The basic idea of the play is that pure sportsmanship could involve two men in a battle which fundamentally transforms their economic situation and themselves beyond recognition." Economic battleBuying books, buying ideasEconomic battleBuying books, buying ideasExtreme world of starvation and plenty, selling yourself, selling your body, dependency and dominationEconomic battleBuying books, buying ideasExtreme world of starvation and plenty, selling yourself, selling your body, dependency and dominationShady business dealingsEconomic battleBuying books, buying ideasExtreme world of starvation and plenty, selling yourself, selling your body, dependency and dominationShady business dealingsRough sexist and racist language; unvarnishedEconomic speculation and gamblingShlink I declare war on you. Ill begin this fight by shaking the foundations of your life (16)Economic speculation and gamblingShlink I declare war on you. Ill begin this fight by shaking the foundations of your life (16)Garga: Youve skinned me, just for the hell of it. And Ill settle my accounts with you. (25)Economic speculation and gamblingShlink I declare war on you. Ill begin this fight by shaking the foundations of your life (16)Garga: Youve skinned me, just for the hell of it. And Ill settle my accounts with you. (25)Manky: Its all part of the same business (33)Economic speculation and gamblingShlink I declare war on you. Ill begin this fight by shaking the foundations of your life (16)Garga: Youve skinned me, just for the hell of it. And Ill settle my accounts with you. (25)Manky: Its all part of the same business (33)Shlink: Ive gambled away all I had (39)Economic speculation and gamblingShlink I declare war on you. Ill begin this fight by shaking the foundations of your life (16)Garga: Youve skinned me, just for the hell of it. And Ill settle my accounts with you. (25)Manky: Its all part of the same business (33)Shlink: Ive gambled away all I had (39)Garga: Every time I look at your face I see youre sizing me up. Youve backed the wrong horse? (49)Shlink: The losses are heavy, on both sides (55)Battle: "The basic idea of the play is that pure sportsmanship could involve two men in a battle which fundamentally transforms their economic situation and themselves beyond recognition." Changes in character by changing places:

Changes in character by changing places:Garga takes over Shlinks lumber business

Changes in character by changing places:Garga takes over Shlinks lumber businessShlink supports Gargas family

Changes in character by changing places:Garga takes over Shlinks lumber businessShlink supports Gargas familyGarga goes to jail for Shlink

Changes in character by changing places:Garga takes over Shlinks lumber businessShlink supports Gargas familyGarga goes to jail for Shlink

Positions are more important than character

Do changes in economic circumstances change character?"When I read Marx's Capital I understood my plays. Marx is the only spectator for my plays Ive ever come across."In this world and in this drama philosophers have an easier time than psychologists:In this world and in this drama philosophers have an easier time than psychologists:Garga to Shlink: Youre staging a metaphysical battle (50)In this world and in this drama philosophers have an easier time than psychologists:Garga to Shlink: Youre staging a metaphysical battle (50)Garga to Shlink: You turn members of my family into resources, you live off my supply. And Im getting leaner and leaner, Im drifting away into metaphysics.In this world and in this drama philosophers have an easier time than psychologists:Garga to Shlink: Youre staging a metaphysical battle (50)Garga to Shlink: You turn members of my family into resources, you live off my supply. And Im getting leaner and leaner, Im drifting away into metaphysics.Shlink: So you have understood it. Were companions, comrades in a metaphysical action! (81)Shlink: You just wanted to finish me off, but I wanted the fight: and it wasnt the body, it was the soul. (85)Metaphysics: after/above physicsGeography and racismEstrangement: making the familiar unfamiliar

Geography and racismEstrangement: making the familiar unfamiliarSetting plays in America, Asia

Geography and racismEstrangement: making the familiar unfamiliarSetting plays in America, Asia"Practically speaking it would have been enough if the theater had an enlarged photography of America as a back-drop and to indicate the Asian origin, Shlink had painted his skin yellow."

Manifesto assignmentManifesto form:Making the hidden manifest, meeting rumors, exorcizing specters

Manifesto form:Making the hidden manifest, meeting rumors, exorcizing spectersGrand history culminating in the present

Manifesto form:Making the hidden manifest, meeting rumors, exorcizing spectersGrand history culminating in the presentDramatic structure, including crises and turning point, rather than dialogue or credo

Manifesto form:Making the hidden manifest, meeting rumors, exorcizing spectersGrand history culminating in the presentDramatic structure, including crises and turning point, rather than dialogue or credoDramatic story telling, including the use of the sublime and a sudden reversal

Manifesto form:Making the hidden manifest, meeting rumors, exorcizing spectersGrand history culminating in the presentDramatic structure, including crises and turning point, rather than dialogue or credoDramatic story telling, including the use of the sublime and a sudden reversalIntervention, not just description: manifesto contributes to the reversal it describes

2nd assignmentEither critical paper or creative assignment: write a Manifesto of Capitalism.2nd assignmentEither critical paper or creative assignment: write a Manifesto of Capitalism.Think about the form: would it be adequate to copy formal features from the Communist Manifesto, or should you change the form as well as the content?2nd assignmentEither critical paper or creative assignment: write a Manifesto of Capitalism.Think about the form: would it be adequate to copy formal features from the Communist Manifesto, or should you change the form as well as the content?Would you emphasize history or ideas?2nd assignmentEither critical paper or creative assignment: write a Manifesto of Capitalism.Think about the form: would it be adequate to copy formal features from the Communist Manifesto, or should you change the form as well as the content?Would you emphasize history or ideas?What role would the crises of capitalism play in your account?2nd assignmentEither critical paper or creative assignment: write a Manifesto of Capitalism.Think about the form: would it be adequate to copy formal features from the Communist Manifesto, or should you change the form as well as the content?Would you emphasize history or ideas?What role would the crises of capitalism play in your account?Whom would the manifesto be against? Marx?2nd assignmentEither critical paper or creative assignment: write a Manifesto of Capitalism.Think about the form: would it be adequate to copy formal features from the Communist Manifesto, or should you change the form as well as the content?Would you emphasize history or ideas?What role would the crises of capitalism play in your account?Whom would the manifesto be against? Marx?What would it be making manifest?Manifesto assignment cont.From what position would you write your manifesto?Would the recent financial crisis and/ Occupy Wall Street play a role?