Brecht on Theatre is a seminal work that has remained the classic text for readers and students wanting a rich appreciation of the development of Brecht's thinking on theatre and aesthetics. First published in 1964 and on reading lists ever since, Brecht's writings are presented in this definitive edition featuring the wholly revised, re-edited and expanded text produced for the 50th anniversary of the first English publication. With additional texts, illustrations and editorial material, and with almost half the material newly translated, this edition provides a far fuller and more accurate account of the development of Brecht's work and writings.
This edition features:
* Clearer layout and organisation of the text
* New translations of many of the Brechtian texts featured
* Over 40 new, previously untranslated essays
* Essay titles now correspond to the German originals
* A revised selection of illustrations
This selection of Bertolt Brecht's critical writing charts the development of his thinking on theatre and aesthetics over four decades. The volume demonstrates how the theories of Epic Theatre and Verfremdung evolved, and contains notes and essays on the staging of The Threepenny Opera, Mahagonny, Mother Courage, Puntila, Galileoand many others of his plays. Also included is 'Short Organon for the Theatre', Brecht's most complete statement of his revolutionary philosophy of the theatre.
Bertolt Brecht (1898-1956) is acknowledged as one of the great dramatists and theatre artists whose work has had a considerable influence on the theatre. His landmark plays include The Threepenny Opera, The Life of Galileo, and The Caucasian Chalk Circle. Editors: Marc Silberman is Professor of German at the University of Wisconsin - Madison, USA. Steve Giles is Emeritus Professor of German Studies and Critical Theory at the University of Nottingham, UK. Tom Kuhn is Professor of 20th century German Literature at St Hugh's College, University of Oxford, UK, and General Editor of Methuen Drama's Brecht publications.
List of Illustrations General Introduction and Acknowledgements Part One - A New Theatre Introduction to Part One Frank Wedekind (1918) Me in the Theatre (1920) Theatre as Sport (1920) A Reckoning (1920) On the Aesthetics of Drama (1920) On the `Downfall of the Theatre' (1925) More Good Sport (1926) Three Cheers for Shaw (1926) Prologue to Drums (1926) Shouldn't We Liquidate Aesthetics? (1927) Epic Theatre and Its Difficulties (1927) On New Dramatic Writing (1928) Latest Stage: Oedipus (1929) Dialogue about Acting (1929) On Subject-Matter and Form (1929) On Rehearsing (c. 1930) Dialectical Dramatic Writing (1930/31) Notes on the Opera Rise and Fall of the City of Mahagonny (1930) Notes on the Threepenny Opera (1931) Notes on the Comedy Man Equals Man (1931/38) Notes on The Mother (1933/38) Part Two - Exile Years Introduction to Part Two OLD VS. NEW THEATRE Theatre for Pleasure or Theatre for Instruction (1935) On Experiments in Epic Theatre (1935) The German Drama: pre-Hitler (1935) On the Use of Music in an Epic Theatre (1935) Short List of the Most Frequent, Common and Boring Misconceptions about Epic Theatre (1937) The Progressiveness of the Stanislavsky System (1937) On Experimental Theatre (1939) A Short Private Lecture for My Friend Max Gorelik (1944) ON CHINESE THEATRE, VERFREMDUNG AND GESTUS On the Art of Spectatorship (1935) Maintaining Gestures over Multiple Generations (1935) Verfremdung Effects in Chinese Acting (1936) Three Notes on Verfremdung and the Elder Breughel (1937) Verfremdung Techniques in the Narrative Pictures of the Elder Brueghel On the V-effect of the Elder Breughel V-effects in Some Pictures of the Elder Breughel On Determining the Zero Point (1936/37) The Zero Point (1936/37) Notes on Pointed Heads and Round Heads (1936) On the Production of the V-effect (1938) On Gestic Music (1937) On Rhymeless Verse with Irregular Rhythms (1938) The Street Scene (1938) Short Description of a New Technique of Acting that Produces a Verfremdung Effect (1940) Athletic Training (1940) On Epic Dramatic Art: Change (1940) On the Gradual Approach to the Study and Construction of the Figure (1941) REALISM AND THE PROLETARIAT The Popular and the Realistic (1938) Two Essay Fragments on Non-professional (1939) The Attitude of the Rehearsal Director (in the Inductive Process) (1939) Notes on the Folk Play (1940) Part Three - Return to Germany Introduction to Part Three SHORT ORGANON Short Organon for the Theatre (1948) Appendices to the Short Organon (1954) THEATRE WORK Friedrich Wolf - Bert Brecht: Formal Problems Arising from the Theatre's New Content. A Dialogue (1949) From a Letter to an Actor (1951) What Makes an Actor (1951) Gesture (1951) Two Notes about Urfaust (1952) About Our Stagings The Story Kurt Palm (1952) Classical Status as an Intimidating Factor (1954) ON STANISLAVSKY Some of the Things That Can Be Learnt from Stanislavsky (1951) On Stanislavsky (1953) Stanislavsky Studies  (1953) A Few Thoughts on the Stanislavsky Conference (1953) DIALECTICAL THEATRE From Epic to Dialectical Theatre 2 (1954) Dialectics in the Theatre Study of the First Scene of Shakespeare's `Coriolanus' (1953/55) Relative Haste (1955) A Detour (The Caucasian Chalk Circle) (1955) Another Case of Applied Dialectic (1953) Letter to the Actor Playing Young Hoerder in Winter Battle (1954) Mother Courage Played in Two Ways (1951) Example of a Scenic Innovation Through the Observation of a Mistake (1953) Something about Representing Character (1953) Conversation about Coerced Empathy (1953) MISCELLANEOUS Cultural Policy and Academy of Arts (1953) Socialist Realism in the Theatre (1954) Can the Present-day World Be Reproduced by Means of Theatre? (1955) Our London Season (1956) Select Bibliography Index