Download PDF by Peter Thomson, Glendyr Sacks: The Cambridge Companion to Brecht (Cambridge Companions to
By Peter Thomson, Glendyr Sacks
This up to date significant other deals scholars an important counsel on nearly each point of the paintings of this complicated and debatable author. It brings jointly the contrasting perspectives of significant critics and lively practitioners, and this variation introduces extra voices and issues. the hole essays position Brecht's inventive paintings in its old and biographical context and are via chapters on unmarried texts, from The Threepenny Opera to The Caucasian Chalk Circle, on a few early performs and at the Lehrst?cke. different essays examine Brecht's directing, his poetry, his curiosity in track and his paintings with actors. This revised version additionally comprises extra essays on his early event of cabaret, his value within the improvement of movie concept and his new angle to dramaturgy. an in depth calendar of Brecht's existence and paintings and a selective bibliography of English feedback entire this provocative assessment of a author who continuously aimed to impress.
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Extra info for The Cambridge Companion to Brecht (Cambridge Companions to Literature)
It was here that the Communist Party sought and found a constituency, by varying its rhetorical appeal to the revolutionary proletariat with practical efforts to organise in working-class neighbourhoods around the particular needs of workers and their families outside the workplace. This brought the Party closer to the plebeian culture of the 11 Cambridge Collections Online © Cambridge University Press, 2007 e v e ro s e n h a f t streets. In Berlin, where the Party had its strongholds in the old workingclass districts, the slums and notorious ‘criminal areas’, the communists rubbed shoulders with members of the much-mythologised crime bosses of the Ringvereine and attempted to politicise the prostitutes, and repeatedly engaged in campaigns to recruit members of the capital’s youth gangs.
Their most illustrious and best remembered victims were Karl Liebknecht and Rosa Luxemburg, clubbed to death and their bodies thrown into the Landwehr Canal in Berlin in January 1919. Closer to the young Bert Brecht, in spirit as well as geographically, was the 1918–19 revolution in Bavaria, led by artists and writers such as Kurt Eisner, Ernst Toller and Erich Mühsam. Himself a member of the Augsburg workers’ and soldiers’ council, Brecht made frequent rail journeys to Munich to observe what was going on and take part in meetings and demonstrations there.
During the first months following the collapse of the monarchy, the Communists maintained a stance of opposition to the provisional government’s plan for a popularly elected constituent assembly; they argued that real political democracy could not precede the socialisation of the economy, which should be carried out through the network of workers’ and soldier’s councils formed all over Germany since the beginning of November. The Communists also took a leading role in the revolutionary violence that flared up in the winter of 1918–19 and recurred periodically up to the end of 1923, fear of which drove the constituent assembly to hold its deliberations in Weimar rather than Berlin.
The Cambridge Companion to Brecht (Cambridge Companions to Literature) by Peter Thomson, Glendyr Sacks