Description
Book SynopsisAnnual 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 Günter 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 Müller'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 Müller'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, André Fischer, Phoebe von Held, Nicholas E. Johnson, Christian Kirchmeier, Günter Kunert, Nikolaus Müller-Schöll, Stephan Pabst, Corina L. Petrescu, David Shepherd, Katrin Trüstedt, 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.
Table of ContentsBRECHT, GÜNTER KUNERT, AND EDGAR LEE MASTERS Brecht-Masters-Kunert - Gerrit-Jan Berendse Übersetzung von Edgar Lee Masters' "The Hill" aus der Spoon River Anthology mit Brechts handschriftlichen Korrekturen - Günter Kunert BRECHT'S DRAMATIC FRAGMENTS Fragments for a Dialectic of Resistance: Fatzer, Keuner, and the Revolution - André Fischer In the Stockyards of Finance: Brecht's Aesthetics of Fragmentation in Fleischhacker - Phoebe von Held The David Fragments in Performance - Nicholas E. Johnson and David Shepherd PURE JOKE: THE COMEDY OF THEATER SINCE BRECHT Introduction: Pure Joke - Christian Kirchmeier and Katrin Trüstedt ". . . All Questions Remain Open": On the Epilogue of The Good Person of Szechwan and Bertolt Brecht's Poetics of Interpretation - Christian Kirchmeier Affirmation and Alienation: The Comedy of Heiner Müller's Hamletmaschine - Katrin Trüstedt Early Modern Characters in the Late Modern Age: On the Return of the "Chorus of Comedy" in Contemporary Performance Practices after Brecht - Nikolaus Müller-Schöll Reiner Spaß? Komödie als Real-Satire - Uwe Wirth NEW BRECHT RESEARCH Die Schulden des Herrn Julius Caesar: Brechts Historie der Kreditökonomie - Burkhardt Wolf Post-Communist Irony: Bertolt Brecht's Mr. Keuner in Heiner Müller's Interviews - Stephan Pabst Di dray groschn opere: Bertolt Brecht on the Yiddish Stage - Corina L. Petrescu Brechts Rezeption Mao Tse-tungs in zwei Gedichten - Xue Song BOOK REVIEWS
