Brecht on Performance: Messingkauf and Modelbooks

Description

Now available in Bloomsbury Revelations series, Brecht on Performance: Messingkauf and Modelbooks presents a selection of Brecht's principal writings about the craft of acting and realising texts for the stage. It crystallises and makes concrete many of the more theoretical aspects of his other writing and illuminates the practice of this hugely influential director and dramatist. The volume is in two parts. The first features an entirely new commentated edition of Brecht’s dialogues and essays about the practice of theatre, known as the Messingkauf, or Buying Brass, including the ‘Practice Pieces’ for actors (rehearsal scenes for classics by Shakespeare and Schiller). The second contains rehearsal and production records from Brecht's work on productions of Life of Galileo, Antigone, Mother Courage and others. Edited by an international team of Brecht scholars and including an essay by director and teacher Di Trevis examining the practical application of these texts for theatres and actors today, Brecht on Performance is a wonderfully rich resource. The text is illustrated with over 30 photographs from the Modelbooks. Title Page Copyright Page Contents Picture Credits General Introduction Part 1: Messingkauf, or Buying Brass Introduction Preamble The First Night (i) Setting the Scene (ii) Naturalism, Realism, Empathy (iii) Tragedy; Learning, Science, Marxism The Second Night (i) Intoxication, Empathy, V-effect (ii) Acting, Performance (iii) Science, Social Class, Learning (iv) Elizabethan Theatre, Shakespeare (v) The Augsburger, Piscator The Third Night (i) The Fourth Wall, Emotion; V-effect, Acting (ii) The Augsburger, Piscator, Weigel (iii) Social Science and Art (iv) ‘Extreme Situations’ The Fourth Night (i) The Nature of Art (ii) Emotion, Critique, Representation (iii) The Augsburger (iv) Shakespeare (v) Finale Miscellaneous Texts (i) Illusionism, Realism, Naturalism; Social Function of Theatre; Empathy (ii) Acting (iii) Thaëter, Piscator, Neher Plans and Appendices (i) Plans (ii) Appendices Practice Pieces for Actors (i) Parallel Scenes The Murder in the Porter's Lodge The Fishwives' Quarrel (ii) Intercalary Scenes Ferry scene The Servants (iii) Circular Poems Part 2: Modelbooks Introduction On Life of Galileo (1947–8) from Constructing a Role: Laughton’s Galileo Introduction Foreword A Sequence from Scene 1: Rotation of the Earth and Rotation of the Brain Background to the Performance On The Antigone of Sophocles (1947–8) from Antigone Model 1948 Introduction Foreword Ruth Berlau’s Prefatory Note Prelude and Bridge to Scene 1 Neher’s Second Design for the Antigone stage. On Mother Courage and Her Children (1949–51) from Courage Model 1949 Introduction Opening Remarks Notes and Scene-Photos for the Prologue, Scenes 1 and 2 Details from Scene 3 Variations in Berlin and Munich Concluding Texts from the Model: Scene 12 From Theatre Work (1952) Introduction Some Remarks on My Discipline Bertolt Brecht’s Stage Direction Phases of a Stage Direction Five Notes on Acting The Berliner Ensemble Models Theatre Photography Does Use of the Model Restrict Artistic Freedom? How Erich Engel Uses the Model How the Director Brecht Uses His Own Model From the Correspondence of the Berliner Ensemble about the Model Creative Evaluation of Models From the Katzgraben Notes 1953 Introduction Epic Theatre Rehearsal Methods Scenery Crises and Conflicts Politics in the Theatre III, 2 Constructing a Hero Is Katzgraben a Proselytizing Play? The Verse Form II, 3 Revelation and Justification Empathy The New Farmer, the Medium Farmer, the Big Farmer What Are Our Actors Actually Doing? The Positive Hero Second Dress Rehearsal Criticism of Elli Criticism of Elli 2 New Content – New Form 'Acting is not Theoretical' Select Bibliography Index