Search results for ""author theodore f. rippey""

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. This volume includes a special section of five articles focused on Bertolt Brecht and Georg Büchner, revolutionary playwright of an earlier era. Also featured are articles and keynote addresses from the International Brecht Society symposium held in Brazil in 2013, under the theme "The Creative Spectator." New research on Brecht and Puccini, Brechtand tragedy, and George Tabori's play Nathans Tod rounds out the volume, along with reviews of recent books and Jost Hermand's tribute to Werner Mittenzwei.

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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. This volume features a dossier on writer-actor-director Manfred Karge, unpublished documents from Brecht's life in Augsburg, new research articles on Brecht, and reviews of recent books. Article topics include Brecht and Adorno in Los Angeles, Brecht and Wagner at the Kroll Opera, Brecht and Abstraction, and transcultural aspects of epic theater.

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The leading publication on Brecht, his work, and topics of interest to him; this annual volume documents the International Brecht Society's 2016 symposium, "Recycling Brecht." 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 includes a wide variety of perspectives and approaches, and, like Brecht himself, is committed to the concept of the use value of literature, theater, and theory. Volume42 features a selection of the papers given and protocols of the events held at the International Brecht Society's "Recycling Brecht" symposium at St. Hugh's College, Oxford, in June 2016. The theme of recycling is understood bothas a description of Brecht's own creative practice and as an activity applied to his works by others. The volume includes keynote papers by Hans-Thies Lehmann and Amal Allana on Brecht's reception of Antigone and on the reception and recycling of Brecht in India, respectively. Other papers are on a wide range of topics, from Brecht's own "recycling" of Shakespeare and others, through the reception of his own works in a range of contexts and by later writers, to contemporary works that may be understood as post-Brechtian. The final section, introduced by an extended interview with American playwright Tony Kushner, documents additional creative responses to the theme. Volume co-editors Tom Kuhn and David Barnett are, respectively, Professor of Twentieth-Century German Literature at the University of Oxford and Professor of Theatre at the University of York. Managing Editor Theodore F. Rippey is Associate Professor of German at Bowling Green State University.

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Newest volume of the central scholarly forum for discussion of Brecht and aspects of theater and literature of particular interest to him, especially the politics of literature and theater in a global context. Now published for the International Brecht Society by Camden House under the Society's editorship, the Brecht Yearbook is the central scholarly forum for discussion of the life and work of Bertolt Brecht and of aspects of theater and literature that were of particular interest to him, especially the politics of literature and theater in a global context. The Yearbook welcomes a wide variety of perspectives and approaches, and, like Brecht himself, it is committed to the use value of literature, theater, and theory. Volume 40 features new research on Brechtian concepts of temporality (Matthias Rothe) and the apparatus (Thomas Pekar), as well as articles on the "Bilder aus der Kriegsfibel" (Arnold Pistiak), the poem "Die Nachtlager" (Klaus-Dieter Krabiel), Brecht and Peruvian theater (Carlos Vargas-Salgado), early Brecht productions in Australia (Laura Ginters), and Brecht and Karl Kraus (Jost Hermand). Biographically oriented pieces focus on Brecht and the Chinese author Feng Zhi (Lin Cheng) and an unpublished letter to Brecht from 1918 (Jürgen Hillesheim). Special contents include a portfolio of drawings by DieterGoltzsche, with a brief introduction by the artist, a tribute to Sara Joffré, a brief set of texts related to the exchanges between Hanns Eisler and Hans Bunge, introduced by Sabine Berendse, and an open letter to Brecht from Hans-Thies Lehmann and Helene Varopoulou. Theodore F. Rippey is Associate Professor of German at Bowling Green State University.

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Alongside the usual wide-ranging lineup of research articles, volume 41 features an interview with Berliner Ensemble actor Annemone Haase and an extensive special section on teaching Brecht. Now published for the International Brecht Society by Camden House, the Brecht Yearbook is the central scholarly forum for discussion of Bertolt Brecht's life and work and of topics of particular interest to Brecht, especially the politics of literature and of theater in a global context. It includes a wide variety of perspectives and approaches, and, like Brecht himself, is committed to the concept of the use value of literature, theater, and theory. Volume 41 features an interview with longtime Berliner Ensemble actor Annemone Haase by Margaret Setje-Eilers. A special section on teaching Brecht, guest-edited by Per Urlaub and Kristopher Imbrigotta, includes articles on creative appropriation in the foreign-language classroom (Caroline Weist), satire in Arturo Ui and The Great Dictator (Ari Linden), performative discussion (Cohen Ambrose), Brecht for theater majors (Daniel Smith), teaching performance studies with the Lehrstück model (Ian Maxwell), Verfremdung and ethics (Elena Pnevmonidou), Brecht on the college stage (Julie Klassen and Ruth Weiner), and methods of teaching Brechtian Stückschreiben (Gerd Koch). Other research articles focus on Harry Smith's Mahagonny (Marc Silberman), inhabiting empathy in the contemporary piece Temping (James Ball), Brecht's appropriation of Kurt Lewin's psychology (Ines Langemeyer), and Brecht's collaborations with women, both across his career (Helen Fehervary) and in exile in Skovsbostrand (Katherine Hollander). Editor Theodore F. Rippey is Associate Professor of German at Bowling Green State University.

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