Brecht and the Mothers of Epic Theatre

This is the publisher's version, also available electronically from http://www.jstor.org/stable/3207978?origin=crossref&seq=1#page_scan_tab_contents.Despite the growing criticism of Bertolt Brecht's use of women in the theater, it cannot be denied that the most prominent and interesting roles in his later plays are female. Not only did he have the incentive of writing for the extraordinarily talented actress, Helene Weigel; Brecht probably sensed as well that dilemmas facing women, as estranged and disenfranchised members of society, could articulate his own views. It remains for feminists to capitalize on their potential for gender studies

Practicing Authorship: The Case of Brecht’s Plays

Practicing Culture seeks to revitalize the field of cultural sociology with an emphasis not on abstract theoretical debates but on showing how to put theoretical sources to work in empirical research. Culture is not just products and representations but practices. It is made and remade in countless small ways and occasional bursts of innovation. It is something people do – and do in rich variety and distinctive contexts as engaging case studies from the book reveal. Practicing Culture will reshape and invigorate the sociology of culture, not only through internal development, but through enhanced connections to the interdisciplinary social theory and to related fields like the sociology of knowledge and ethnography. It will prove an essential tool for students and researchers of cultural theory, contemporary social theory and cultural sociology

Eine «einzige große Verzögerung». Die Exilliteratur Maria Lazars und ihre Rezeption: [A «single great delay». Maria Lazar’s exile literature and its reception]

The Austrian novelist, essayist and journalist Maria Lazar (1895-1948), only recently rediscovered, who was a contemporary of Thomas Mann and an acquaintance of Bertolt Brecht, wrote many different types of texts. Considered a promising talent back in Vienna, the reception of her works decreased during Lazar’s years in exile. The following contribution aims to reconstruct the dynamics of her marginalization and takes a closer look at the socially critical dimension of No Right to Live and Die Eingeborenen von Maria Blut [The Natives of Maria Blood]

O TEATRO DE BRECHT EM DOIS GESTUS DE HELENE WEIGEL

Brecht acreditava na mudança. Para ele fatal era não aprender. Na busca por seu teatro, em todos os aspectos, foi um experimentador. No caso de “Mãe Coragem e seus filhos”, os modelos revelam o quanto os gestus de Helene Weigel demonstram a atitude crítica da atriz, e, ao mesmo tempo, aalienação a que está submetida sua personagem. Este artigo traz um breve resumo do teatro de Brecht e do gestus em quanto revelador.Brecht believed in the change. For him fatal it was not to learn. In the search for its theater, in all the aspects, it was an experimenting. In the case of “Mother Courage and her Children”, the models reveal the as Helene Weigel's gestus demonstrates the actress's critical attitude, and at the same time, the alienation the one that its character is submitted. This article brings a briefsummary of the theater of Brecht and of the gestus in as discloser

O compromisso político de Bertolt Brecht

Bertolt Brecht (1898-1956), German playwright and director, devoted his entire oeuvre to critical thinking and exploring the workings of social processes. His commitment to the political and cultural issues of his time - such as the advance of Nazi-fascism, his life in exile, and his criticism of capitalism –, as well as the theoretical formulation of a new form of theatrical production that opposes the bourgeois, hegemonic and market theater, find concreteness in his artistic practice, collectively realized in the work of the Berliner Ensemble, a theater group created by him and Helene Weigel in September 1949. It was his involvement with social issues that led him to develop a new way of making theater and to radicalize and refunctionalize the device. Based on a dialogue with Adorno and Benjamin, the article discusses the question of Brechtian engagement in light of aspects of his work.Bertolt Brecht (1898-1956), dramaturgo e diretor alemão, dedicou o conjunto de sua obra ao pensamento crítico e à exploração dos funcionamentos dos processos sociais. Seu compromisso com as questões políticas e culturais de sua época – como o avanço do nazifascismo, sua vida no exílio e as críticas ao capitalismo –, assim como a formulação teórica de uma nova forma de produção teatral que se contrapõe ao teatro burguês, hegemônico e mercadológico, encontram concretude em sua prática artística, realizada coletivamente no trabalho do Berliner Ensemble, grupo teatral criado por ele e Helene Weigel, em setembro de 1949. Foi seu envolvimento com as questões sociais que o levou a desenvolver um novo jeito de fazer teatro e a radicalizar e refuncionalizar o aparelho. A partir do diálogo com Adorno e Benjamin, o artigo debate a questão do engajamento brechtiano, à luz de aspectos de sua obra