Podcasts about Bertolt Brecht

Was passiert, wenn junge Menschen Theater nicht nur anschauen, sondern selbst erfahren? In dieser besonderen Episode von "Mittwochs in der Bibliothek" nehmen wir Sie mit hinter die Kulissen eines Theaterworkshops, der die Dreigroschenoper von Bertolt Brecht ins Zentrum stellt.

„Die Dreigroschenoper“ ist Bertolt Brechts berühmtestes Werk. Der Ruhm ist gar so groß, dass sich „Die Moritat von Mackie Messer“ bzw. „Mack the Knife“ zu einem Hunderte Male gecoverten Welthit entwickeln konnte. Uraufgeführt wurde das Stück 1928 in Berlin. Als Vorlage diente John Gays „Beggar's Opera“ von 1728. In enger Zusammenarbeit mit dem Komponisten Kurt Weill und der Übersetzerin und Autorin Elisabeth Hauptmann gelang Brecht eine subversive Mischung aus Revue, Satire und gesellschaftskritischem Musiktheater, das die bürgerliche Moral, die Mechanismen des Kapitalismus und die Verkommenheit aller gesellschaftlichen Klassen ironisch entlarvt. Der Bettlerkönig Peachum ist ein Unternehmer mit monopolistischen Tendenzen, Verbrecher Mackie Messer fragt sich, was ein Einbruch in eine Bank gegen die Gründung einer solchen ist, während Polly und Jenny romantisch-bürgerliche Liebesvorstellungen ad absurdum führen. Noch immer hat „Die Dreigroschenoper“ nichts von ihrer Wirkmacht verloren. In der neuen Folge von WfA-Literatur sprechen Ole Nymoen und Wolfgang M. Schmitt darüber, wie Brecht mit populären Mitteln den Kapitalismus analysiert. Unsere Zusatzinhalte könnt ihr bei Apple Podcasts, Steady und Patreon hören. Vielen Dank! Apple Podcasts: https://podcasts.apple.com/de/podcast/wohlstand-f%C3%BCr-alle/id1476402723 Patreon: https://www.patreon.com/oleundwolfgang Steady: https://steadyhq.com/de/oleundwolfgang/about

En este episodio rendimos homenaje a la inolvidable Dina Rot (1932–2020), docente, pianista, musicóloga y una de las voces más singulares de la música de autor en América Latina. Nacida en Mendoza, criada en Santiago de Chile y consagrada en Buenos Aires, su vida fue una travesía entre la canción, la poesía y la memoria cultural de los pueblos.Dina Rot no solo interpretó canciones; musicalizó el alma de la poesía. A lo largo de su carrera dio voz a poetas como Juan Gelman, Raúl González Tuñón, Pedro Orgambide, Bertolt Brecht, Antonio Machado, García Lorca, Pablo Neruda y Clarisse Nicoidsky. Su propuesta artística integró el romancero sefardí, la canción de protesta y la recuperación de lenguas y tradiciones casi silenciadas. Exiliada en España durante la dictadura argentina, Rot supo reinventarse como investigadora y docente, sin dejar de lado su profundo vínculo con la palabra cantada.Escucharemos algunas de sus interpretaciones, conoceremos los contextos que marcaron su obra y exploraremos el legado que dejó en la música, la cultura judía y la poesía iberoamericana. Su voz fue puente entre generaciones, entre lenguas, entre el dolor del exilio y la belleza de la resistencia.

Em mais um episódio da nossa mais extensa série, desta vez falamos de um termo tão utilizado, superutilizado e, muitas vezes, incompreendido no mundo dos videogames: a imersão. O que esse termo realmente quer dizer? O quão realmente importante é a imersão para um jogo, e como jogos podem ou não se beneficiar dela ou de um distanciamento por parte do jogador? Como isso se relaciona com o teatro do Bertolt Brecht (????). Tudo isso e mais algumas coisas no episódio desta semana.Mandem e-mails com comentários para umeventualocultismo@gmail.comParticipantes: Luca Piancastelli, Pedro Santos e Vítor BatistaMúsicas: Main Title (Alexander Brandon, Deus Ex OST); Epilogue (Vasily Kashnikov, Pathologic 2 OST); Hunt Or Be Hunted (Marcin Przybyłowicz, The Witcher 3 OST, Gingertail Cover)

London, Anfang des 18. Jahrhunderts: Die Gassen sind dunkel, das Gesetz oft machtlos – eine organisierte Polizei gibt es noch nicht, von Scotland Yard keine Spur. Verbrechen sind Alltag, Angst regiert die Stadt. Inmitten dieser Unordnung erhebt sich ein Mann, der vorgibt, für Ordnung zu sorgen – und zugleich das Chaos orchestriert: Jonathan Wild. -- In dieser Folge BRITPOD CRIME rekonstruieren Alexander-Klaus Stecher und Claus Beling das Leben eines der berüchtigtsten Doppelspieler der britischen Kriminalgeschichte. Wild gibt sich als gesetzestreuer Verbrechensbekämpfer aus – in Wahrheit ist er das Mastermind hinter einem perfekt organisierten Diebesnetzwerk. Er lässt stehlen, fängt die Täter öffentlichkeitswirksam selbst – und kassiert gleich doppelt: an der Beute und am Ruhm. Diese Episode beleuchtet seinen Aufstieg vom Gefängniswärter zum selbsternannten „Thief Taker General“, seine geschickte Manipulation von Presse und Justiz und den wachsenden Einfluss, den er auf das Londoner Verbrechensmilieu ausübt. Auch Jonathan Wilds dramatischer Fall wird detailliert erzählt: von Intrigen, Verrat und der Hinrichtung am Galgen von Tyburn im Jahr 1725 – einem Schauspiel, dem Tausende beiwohnen. Das Doppelleben des "Königs der Unterwelt" inspirierte Schriftsteller wie Bertolt Brecht und Komponisten wie Kurt Weill ("Die Dreigroschenoper") – sein Name steht bis heute für Machtmissbrauch, Inszenierung und moralische Abgründe. Ein Krimineller, der die Regeln schrieb – und gleichzeitig brach. BRITPOD CRIME, Englands Mystery Crime Stories! -- WhatsApp: Du kannst Alexander und Claus direkt auf ihre Handys Nachrichten schicken! Welche Ecke Englands sollten die beiden mal besuchen? Zu welchen Themen wünschst Du Dir mehr Folgen? Warst Du schon mal in Great Britain und magst ein paar Fotos mit Claus und Alexander teilen? Probiere es gleich aus: +49 8152 989770 - einfach diese Nummer einspeichern und schon kannst Du BRITPOD per WhatsApp erreichen. -- Ein ALL EARS ON YOU Original Podcast.

„Warum unsere Gesellschaft Arbeitslose verachtet und sie dennoch braucht – als drohendes Bild des Elends, damit alle anderen wissen, dass sie das Richtige tun, nämlich arbeiten“. Das beschreibt die Journalistin und Buchautorin Anna Mayr, die als Kind von Langzeitarbeitslosen aufgewachsen ist. Vor allem analysiert sie, warum Armutsbetroffenen falsche Vorteile begegnen: faul, desinteressiert, ungebildet. Und Armut gewollt ist – „welches System dahintersteckt“. Im Grunde, wie schon Bertolt Brecht den Armen sagen lässt: „Wär‘ ich nicht arm, wärst du nicht reich“. Wie geht dann Menschlichkeit?

Atriz fala sem filtro sobre sexo, envelhecimento, conservadorismo, identidade de gênero, relacionamentos e fama tardia Aos 60 anos, Nany People é uma força da natureza: são cinco décadas de palco, quatro desde que trocou o interior de Minas pela capital paulista e três na televisão brasileira, onde foi uma das primeiras mulheres trans a ocupar espaço com dignidade, inteligência e humor — mesmo quando o país ainda não sabia bem como lidar com isso. “O fato de eu existir como sou já é um ato político. Ir na padaria comprar pão, entrar num hotel cinco estrelas pela porta da frente, lançar um livro, contar minha história, estar viva: tudo isso é um posicionamento. Não preciso subir em palanque. O meu partido sou eu", afirma. No Trip FM, a atriz e humorista fala da infância em que cantar veio antes de falar, da mãe que a acolheu quando o mundo queria reprimir, da coragem de se afirmar, da vida afetiva, do envelhecer com prazer e dos altos e baixos de uma trajetória feita de escolha, entrega e muita persistência. “Eu abri mão de vida pessoal. Sepultei minha mãe numa sexta e no sábado estava no palco, porque eu precisava de teatro pra acontecer, pra estar viva", conta. No papo com Paulo Lima, Nany também divide sua visão sobre os limites do humor: “A comédia sempre me salvou. Brecht dizia: qualquer discurso, pra ser pertinente, tem que ser bem-humorado. Mesmo brincando, falei aquilo que eu pensava. O humor me deu condição de rir comigo mesma, não rir de mim. Agora, fazer humor da desgraça alheia é humor de vampiro. O novo sempre vem.” E completa: “A vida é uma transa: tem que ser gostosa, divertida, fluente e é preciso estar lubrificada pro orgasmo ser bom.” O programa fica disponível no Spotify e no play aqui em cima. [IMAGE=https://revistatrip.uol.com.br/upload/2025/07/687a84bf654f4/nany-people-humorista-drag-mulher-trans-trip-fm-mh.jpg; CREDITS=Moisés Pazianotto; LEGEND=Nany People; ALT_TEXT=Nany People] O humor te salvou? De que forma? Nany People. A comédia sempre me salvou. Sempre. Todas as vezes em que a vida ficou dura demais comigo, foi o humor que me deu respiro. Eu transformei tragédia em catarse, em riso. Eu lembro do que o Bertolt Brecht dizia: qualquer discurso, pra ser pertinente, tem que ser bem-humorado. E eu acredito muito nisso. Mesmo quando estou brincando, estou falando sério. O humor me reposicionou, me deu a chance de existir no palco, na TV, nas entrevistas. Mas não é aquele humor que ri de mim. É o que ri comigo. Tem uma diferença enorme. E tem mais: fazer humor da desgraça alheia é humor de vampiro. Eu nunca fui disso. Eu faço humor com consciência, porque ele foi minha maior ferramenta de sobrevivência. Qual o impacto real de conquistar o nome social? Foi libertador. Um reconhecimento do Estado brasileiro. Um pedaço de papel que parece burocracia, mas muda tudo. Antes, era aquele constrangimento… O sorrisinho amarelo do recepcionista, o nome de batismo que te obriga a levantar na sala do médico, o crachá errado na portaria do hotel. Quando você vê seu nome, a sua foto, o gênero certo, você entende: a minha existência foi validada. Não é mais favor, é direito. O nome social acaba com esse vazio entre o que você é e o que o mundo vê. Eu brinco que agora está escrito ali: Dona Nany People. Está certo. Está inteiro. É isso. Acabou. Você já abriu mão da vida pessoal pela carreira. Se arrepende? Eu abri mão da vida pessoal, sim, mas não me arrependo. Eu sepultei minha mãe numa sexta-feira e no sábado já estava no palco. Não porque eu sou fria, mas porque é ali que eu me sinto viva. É ali que eu existo. O teatro é meu amante, meu marido, meu pior funcionário. E é meu maior amor. Eu sempre priorizei minha vida profissional. Quando alguma paixão tentava me tirar desse caminho, eu lembrava do que minha mãe me disse lá atrás: “Homem tira o nosso brilho em função de um poder próprio. Cuidado pra não abrir mão dos seus sonhos.” Eu ouvi. E escolhi. Até hoje. Porque estar no palco é estar inteira. É estar em mim.

Roda el món i torna a Mare Coratge. Crítica teatral de l'obra «Moeder Courage». Text de Bertolt Brecht. Títol original: «Mutter Courage und ihre Kinder» (La mare Coratge i els seus fills). Dramatúrgia: Dina Dooreman i Erwin Jans. Intèrprets: Laetitia Dosch, Koen De Sutter, Joeri Happel, Aydin Ìşleye, Alain Franco, Laura De Geest, Lisi Estaras, Pietro Quadrino. Música original: Paul Dessau. Arranjaments musicals, músiques addicionals i disseny del so: Alain Franco. Performance music: Alain Franco i Aydin Ìsleyen. Vocals i saz: Aydin Ìsleyen. Vestuari: Oumar Dicko. Disseny de la il·luminació: Fabiana Piccioli. Disseny de l’escenografia: Lisaboa Houbrechts i Ralf Nonn. Responsable de producció: Ella De Gregoriis. Regidor: Carlo Bourguignon. Tècnica de llums: Margareta Andersen. Tècnic de so: Brecht Beuselinck. Subtítols: Inge Floré. Traducció al francès: Irène Bonnaud (Bertolt Brecht est publié et représenté par L’ARCHE – éditeur & agence théâtrale); in het Nederlands: Gerrit Kouwenaar. Hebrew: Amit Lebleng. Kurdish: Aynur Bozkurt. Assistents de direcció: Daan Haeverans i Ludwig Sander. Amb la col·laboració de: Lubna Azabal. Una producció de KVS & Toneelhuis. Coproduït per Théâtre De Liège, Le Phénix-Scène Nationale De Valenciennes, Théâtre de la Ville Paris, Perpodium. Amb el suport de The Taxshelter of the Belgian Federal Government via Cronos Invest, The Flemish Community i Regio Hauts-de-France. Direcció: Lisaboa Houbrechts. Festival Grec 2025. Sala Fabià Puigserver, Teatre Lliure Montjuïc, Barcelona. Del 16 al 17 de juliol 2025. Veu: Andreu Sotorra. Música: Chanson de la mère courage. Interpretació: Germaine Montero. Composició: Paul Dessau. Àlbum: All my success, 2010.

durée : 01:54:57 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - - réalisation : Virginie Mourthé

The collaboration between Kurt Weill and Bertolt Brecht is rightly legendary. The two men could not have been more different from each other, and like the Brahms/Joachim relationship I mentioned in my recent show about the Brahms Double concerto, the friendship between Weill and Brecht was stormy to say the least. The two collaborated on some of the most memorable works of the Weimar era in Germany, such as the Threepenny Opera, which features a pretty famous tune called Mack the Knife. Their final collaboration was on the “sung ballet” The Seven Deadly Sins. This is a piece that was written at a point of remarkably high tension within Weimar Germany. On an artistic level, the 1920s and early 1930s had seen a veritable explosion in the world of culture, with art, dance, theater, and music all featuring artists who were pushing the boundaries with wild experimentation and a kind of ecstatic fervor that produced some of the world's greatest and most memorable cultural achievements. On a parallel track however, the rise of the Nazis cast a pall over all of this. By 1933, both Brecht and Weill(who was Jewish) knew that Germany was not a place that they could stay safely. Weill ended up in Paris and then in the US for the rest of his life, while Brecht bounced around Europe before returning to East Germany after the war, hoping to be a part of the Marxist Utopia that he believed had been founded there.  The simmering combination of Weill's mastery of transforming popular forms into a unique kind of classical music along with Brecht's pointed satire and brilliantly inventive libretti resulted in the Seven Deadly Sins, a piece that that brutally satirizes extreme capitalism and the degradation of the human soul that supposedly results from it. This is a nakedly political piece, and I should make it clear that by talking about it, by choosing to feature it on the show, and by regularly performing it, I don't necessarily endorse its views. Brecht was extreme in all ways, as we'll get to today, and the power of this piece in my opinion doesn't come from its politics, but from its remarkable and devastating portrayal of a human soul and the tragedies that can befall it. This is one of my favorite pieces of the whole 20th century, and I'm so happy to share it with you today. Join us!

Lundi 14 avril 2025Rencontre autour de Rosa Luxemburg avec Muriel Pic. L'autrice présentera l'édition établie et préfacée par ses soins de l' "Herbier de prison" de Rosa Luxemburg publié par les éditions Héros-Limite ainsi que "Le dernier printemps de Rosa Luxemburg et autres poèmes dramatiques" paru aux éditions Le Bruit du Temps."Herbier de prison de Rosa Luxemburg"Traduction de Claudie Weill, Gilbert Badia, Irène Petit, Muriel PicÉdition établie et préfacée par Muriel PicL'herbier de Rosa Luxemburg est une archive sans équivalent. Composé de sept cahiers, datés d'avril 1915 à octobre 1918, sa fragilité et son histoire en font un témoignage de résistance et d'évasion, une fabrique de formes et de joie, un document sur le sentiment politique de la nature, fondement de toute écologie.Herbier de prison est constitué de 133 planches botaniques accompagnées de la traduction des légendes manuscrites de celles-ci. Cet ouvrage recueille également une soixantaine de lettres, dans lesquelles la révolutionnaire évoque sa passion pour les plantes, ainsi que pour les animaux. Des documents inédits en français complètent le volume, notamment un journal où Rosa Luxemburg consigne les faits et gestes de sa vie d'incarcérée."Le Dernier Printemps de Rosa Luxemburg et autres poèmes dramatiques", Muriel PicMuriel Pic s'était déjà approchée du théâtre en donnant la parole à d'illustres défunts sur une scène imaginaire, dans ses récents Dialogues des morts sur l'amour et la jouissance, Rosa Luxemburg y faisait d'ailleurs une apparition. On sait que Bertolt Brecht désirait écrire une pièce sur le destin tragique de la révolutionnaire allemande et Le Dernier Printemps de Rosa Luxemburg pourrait donc apparaître comme la réalisation de ce souhait. Or Muriel Pic a eu la bonne idée de faire du dramaturge allemand un personnage, mais dans une pièce qui prend le contre-pied de celle qu'il aurait souhaitée, et qui réintroduit l'amour (« car seul l'amour est révolutionnaire ») et donc la vie dans ce qui n'aurait été que propagande, autant dire lettre morte (pour Brecht, « une bonne révolutionnaire est une révolutionnaire morte »). Outre Mathilde Jacob, la secrétaire à qui l'on doit la préservation des archives de Rosa, et Brecht, les deux protagonistes sont Rosa Luxemburg elle-même, au printemps de 1918 alors qu'elle est emprisonnée à Breslau, et Arthur Gertel, le jeune soldat qui a été chargé de veiller sur elle (et qui a laissé, écrit en français, un émouvant témoignage de son expérience). Écrivaine et chercheuse indépendante, également traductrice de l'allemand et artiste Muriel Pic, docteure de l'EHESS et HDR de l'Université de Fribourg, écrit en vers, en prose, en films et collages. Ses travaux ne séparent pas la pensée et le poème et son écriture littéraire interagit avec son travail philologique, cherchant le lieu d'un lyrisme documentaire pour circuler entre la science et les arts, l'imagination et le savoir. Elle a publié une vingtaine d'ouvrage. Dernières parutions : Henri Michaux. The Mescaline Drawings, catalogue pour The Courtauld Gallery, avec F. Leibovici et G. Ketty ; Le dernier printemps de Rosa Luxemburg et autres poèmes dramatiques (éd. Le Bruit du temps).

V oddaji se najprej posvečamo Festivalu radikalnih teles Spider, ki v Slovenijo vsako leto pripelje najaktualnejša imena evropske sodobno-plesne scene in je radikalen v tem, da ne ponuja rešitev, ampak stvari postavlja pod vprašaj. Zelo radikalen je bil tudi eden največjih dramatikov 20. stoletja - Bertolt Brecht, o njem govori predstava Življenje in časi Bertolta Brechta, ki bo nocoj v režiji Matjaža Bergerja premierno zaživela na odru Anton Podbevšek teatra. Ogledali smo si tudi Brechtovo Malomeščansko svatbo, ki je v teh dneh na ogled v Slovenskem ljudskem gledališču Celje.

durée : 00:58:07 - Toute une vie - par : Anaïs Kien, Marie Chartron - Célébré autant que contesté de son vivant, monumentalisé après sa mort, Bertolt Brecht observe son époque et fait le pari, dans sa langue mordante, poétique et précise qu'il est possible de transformer le monde. - réalisation : Franck Lilin

Concert will benefit Beacon exchange program Ten years ago, singer and actor Kelly Ellenwood lost her voice after contracting whooping cough, an ironic twist because for four years she played the part of an opera prima donna who began singing like a frog in The Phantom of the Opera on Broadway. To help regain the vocalizing, in 2016 she joined Stephen Clair (guitar) and Kathleen Bosman (violin, viola) to perform songs by German American composer Kurt Weill and French chanteuse Edith Piaf. On June 22, at 6 p.m., the Saint Rita trio (supported by Nate Allen and Brad Hubbard) will perform a program called Lost & Found at the Howland Cultural Center in Beacon featuring deep cuts and popular songs from the pair's repertoire. The show is a benefit for Beacon High School's German American Partnership Program, established in 2022 with support from the German founders of the Beacon-based software firm Docuware. It brings foreign students to Beacon in October. On June 28, to complete the annual exchange, 18 Beacon teens and two teachers leave for Munich. Ellenwood, known for getting things done around town, got the call and implemented the nuts and bolts with the Parent Teacher Student Organization. This year, with help from the U.S. State Department and the Goethe Institute in Manhattan, the school district took over responsibility for its administration. Growing up in Nebraska, Ellenwood studied in Finland as an exchange student and aimed to be a diplomat, but the arts beckoned. There is no German language program at Beacon High School, she says, but "last year, a bunch of students, led by Skylar Clair, started a German study group and some of the kids are going this year, so this is changing lives." Rita, "patron saint of the impossible," says Ellenwood, is also the name of a new 100-seat music venue at the KuBe Art Center that she and her family plan to open with trombonist Dick Griffin on July 19 in the former high school's band room. Relevant to the concert, Piaf is said to have asked friends "to pray for Saint Rita, patron saint of lost causes" before her death from liver cancer in 1963 at age 47. The June 22 show will include Piaf's most popular song, "La Vie En Rose," which sold 1 million discs in the U.S. when released as a single in 1947. After Mack David translated the lyrics into English in 1950, eight artists charted with it, including Bing Crosby and Louis Armstrong. Weill fused pop and classical music and collaborated with Ogden Nash, Bertolt Brecht and Ira Gershwin, among others. His hits include "Mack the Knife," "Bilbao Song" and "Alabama Song" (covered as "Whisky Bar" on the first album by The Doors). "We do a down-and-dirty version" of the latter, says Ellenwood, which is saying something because the song is about "prostitutes looking for the next trick - sex, drugs and rock 'n' roll - in 1930." The Howland Cultural Center is located at 477 Main St. in Beacon. Tickets are $20 at dub.sh/saint-rita-show.

Berlin, 17. Juni 1953: Günter Grass ist auf dem Weg zum Potsdamer Platz. Menschenmassen, wohin man sieht, sowjetische Panzer eingeklemmt in der Menge. Auf der anderen Seite des Platzes steht Bertolt Brecht. Über den Intellektuellen in der Revolution wird Günter Grass später ein umstrittenes Lehrstück schreiben. Von Cornelia Epping-Jäger und Jean Claude Kuner.

Berlin, 17. Juni 1953: Günter Grass ist auf dem Weg zum Potsdamer Platz. Menschenmassen, wohin man sieht, sowjetische Panzer eingeklemmt in der Menge. Auf der anderen Seite des Platzes steht Bertolt Brecht. Über den Intellektuellen in der Revolution wird Günter Grass später ein umstrittenes Lehrstück schreiben. Von Cornelia Epping-Jäger und Jean Claude Kuner.

Os invitamos a cambiar el estado de ánimo. El que surge cuando, por fin, se presenta como alcanzable, lo que se desea. En esta ocasión, fundimos energía ecologista de esperanza con Javier Peña, que es lo mismo que decir HOPE, HOPE, HOPE, que, entre muchas otras cosas, tiene clarísimo que “es demasiado tarde para NO hablar en positivo”. Este bosque ha decidido nombrar a Javier Peña “El cronista de las soluciones”, porque siempre (lleva años haciéndolo por internet y redes, y ahora en TVE) siempre que pone el foco en un problema aporta una solución humana. Entre las grandes soluciones que defiende HOPE, que son muchas, destaca la agricultura regenerativa con mayúsculas. Vamos a viajar con él por el universo personal y colectivo de los y las concienciadas ilustradas, de la esperanza, de la inspiración, de la ciencia reparadora y creativa, del altruismo consecuente, de las verdades que no son a la carta, de los mensajes que permiten cambiar y arreglar las cosas, de las personas que están liderando soluciones, gente corriente, que de repente saben lo que se puede hacer y saben transmitirlo. Y es que sí, hay muchas soluciones a la crisis climática. Y vamos a hablar con Javier Peña de algunas de ellas, y también con Natxo Blanchart López, de la Asociación Arriba las ramas, después de haber disfrutado de los seis episodios de HOPE en TVE y en RTVE Play, dando un pasito más allá: conectar con el ser humano que conectó con otros seres humanos para que, por fin, seamos grandes seres humanos, o buena gente, como decía Bertolt Brecht. Música a cargo de Residente. HT: #HopeRadio3Escuchar audio

Chega a I Mostra de Artes Escénicas da Estrada. 🎭"Do revés" Grupo de teatro Picariños 📅 Venres 30 de maio 🕣 20:00h. 🗺️ Teatro Principal 🎭Cronoestrada S.L.U Grupo de teatro EMAE 📅 Sábado 31 de maio 🕣 10:50h. e 11:50h 🗺️ Praza da feira. 🎭Grease. O Musical Grupo de teatro Xuvenil da EMAE 📅 Sábado 31 de maio 🕣 20:00h. 🗺️ Teatro Principal. 🎭As horas invisibles. Grupo de Danza+40 📅 Domingo 1 de xuño 🕣 19:00h. 🗺️ Teatro Principal. Paula Quintas 🔊"Un dos obxetivos da Escola Municipal é fomentar toda esa parte de creatividade e de expresión artística para entender outras linguaxes e así comprender outras propostas que chegan ao teatro principal da Estrada". Anabell Gago 🔊"É algo interesante facer pezas específicas para cada lugar e utilizar o exterior como escenario. Poderemos ver como cambiou a Estrada coas nosas guías cómicas". 📢A ESCOLA MUNICIPAL DE ARTES ESCÉNICAS da Estrada, naceu no ano 2012, a partir do que era a antiga Escola Municipal de Teatro. É unha institución dependente da Fundación Cultural da Estrada que dende a súa creación no ano 2002, formou parte dun marco estratéxico de promoción e difusión das artes escénicas na vila. O antecedente da Escola foi a creación no ano 1996 da compañía de teatro afeccionado TEATRO dos TIRINAUTAS, que durante os seus 10 anos de vida, axudou a dar unha alternativa de ocio a moita xente da localidade, e a divulgar a obra de escritores da comarca coma Varela Buxán, Neira Vilas ou Manuel García Barros. Na memoria colectiva aínda pervive aquela “Ensalada de Mosquito” do ano 2003 con 12 funcións consecutivas a teatro cheo e máis de 4.500 espectadores; unha peza que facilitou a entrada na Rede de Teatro Profesional do IGAEM desta nova compañía de actores estradenses. Docentes e profesionais do teatro da talla de Anabell Gago, Xosé Lueiro, Artur Trillo, Nuria Montero, Nuria Sanz, Manuel Lourenzo, Mónica de Nut, Arturo Cobas “Nono”, Fiona Bernárdez, Cándido Pazó ou Cristina Domínguez viñeron colaborando no proxecto docente da institución dando alento escénico a pezas de Molière, Cervantes, Carlos Casares, Vidal Bolaño, Lorca, Labiche, Sergi Belbel, Anton Chèjov ou Bertolt Brecht entre outros. No ano 2012, e dado o carácter multidisciplinar do teatro contemporáneo, a Escola Municipal de Teatro, decidiu diversificar a súa oferta didáctica para ofrecerlle ao alumnado unha formación o máis integral posible, incluíndo na súa programación, clases de danza, de voz e de clown. Esta última disciplina é un vestixio do que foi a antiga Escola de Circo, que este ano 2012 decidiu fundirse coa Escola de Teatro e reimpulsar un novo proxecto docente. Paralelamente á actividade docente, a Escola ten asignada unha unidade de produción propia coa finalidade de medir ás novas remesas de actores diante do público, e tamén organizou durante os anos 2009, 2010 e 2011 un certame de teatro afeccionado, no que os alumnos da escola puideron interaccionar con outras compañías galegas. 👉Máis Información ESCOLA MUNICIPAL de ARTES ESCÉNICAS: ✔️Páxina Web: http://www.emae.aestrada.gal/ 👉Máis Información PAULA QUINTAS: ✔️Páxina Web: https://www.paulaquintas.com/ ✔️Facebook: https://www.facebook.com/pau.quintassantos ✔️Twitter: https://twitter.com/qpausantos ✔️Instagram: https://www.instagram.com/pauquintass/ ✔️Vimeo: https://vimeo.com/user10312639 ✔️YouTube: https://www.youtube.com/channel/UCm4eAixxHV9NVTGnEgN-8KA ✔️Pinterest: https://www.pinterest.es/pauquintassanto/_saved/ 👉Máis Información ANABELL GAGO: ✔️Facebook: https://www.facebook.com/profile.php?id=100009441100007 ✔️Instagram: https://www.instagram.com/anabellgago/ 🎙️ "SUSCRÍBETE" ao podcast👍 👉Máis Información e outras entrevistas: ✔️Facebook: https://www.facebook.com/PabloChichas ✔️Twitter: https://twitter.com/pablochichas ✔️Instagram: https://www.instagram.com/pablochichas/ ✔️Clubhouse: @pablochichas ✔️Twich: https://www.twitch.tv/pablochichas

A 21ª Bienal da Dança de Lyon, que acontece de 6 a 28 de setembro, é um dos momentos mais marcantes do calendário cultural de 2025 na França, e continua por toda a região francesa de Auvergne-Rhône-Alpes (leste) até o dia 17 de outubro. Durante mais de um mês, a dança toma conta das ruas, palcos e espaços públicos de Lyon e arredores, com uma programação intensa, diversa e engajada. Este ano, a bienal criou um programa especial para homenagear o Brasil, convidado de honra: o Brasil agora! Com 40 espetáculos, sendo 24 estreias na França, esta edição da Bienal de Dança de Lyon se afirma como um lugar de experimentação e compromisso com o mundo contemporâneo. Grandes nomes da dança internacional se encontram com vozes emergentes da vanguarda, refletindo a pluralidade da criação coreográfica atual."Há um grande foco chamado Brasil Agora, com oito projetos de artistas brasileiros, realizados no âmbito da temporada cruzada Brasil-França. Essa é uma parte muito importante da nossa programação", explica o diretor do festival, o português Tiago Guedes. "Trata-se de uma espécie de atualização sobre o que é a dança e a coreografia brasileira hoje, com artistas de diversas trajetórias, espetáculos de diferentes formatos e representantes de várias gerações", sublinha."Por exemplo, temos o espetáculo de abertura com Lia Rodrigues [a nova criação, intitulada Borda], uma das grandes coreógrafas brasileiras. Mas também teremos artistas muito jovens, que estão começando agora e vão apresentar seus trabalhos", exemplifica o diretor.O evento acolhe oito espetáculos e performances de artistas brasileiros que vêm agitar a cena francesa da dança contemporânea em 2025, entre eles: Alejandro Ahmed, Clarice Lima, Davi Pontes, Wallace Ferreira, Diego Dantas, Lia Rodrigues, Luiz de Abreu, Calixto Neto, Original Bomber Crew e Volmir Cordeiro.AlteridadesAlejandro Ahmed, diretor e coreógrafo do grupo Cena 11, companhia de dança de Florianópolis, se apresenta pela primeira vez na Bienal de Lyon, com o trabalho "Eu não sou só eu em mim", que questiona o que poderia ser "a dança do Brasil, e no Brasil". "'Eu não sou eu em mim' é um trabalho que faz parte de um processo maior chamado 'Estado de Natureza'. Esse processo se articula a partir de uma pergunta: o que pode ser a dança no Brasil e do Brasil? Que dança seria essa?", explica o coreógrafo."O Cena 11 entende a dança como uma tecnologia de comportamento, e articula comportamento, matéria e linguagem para produzir uma modulação músculo-esquelética e emocional da gravidade. Ou seja, o peso é o nosso modo de articular pensamento, movimento e dramaturgia. Essa relação com o peso e com o corpo no espaço constitui um padrão de conexão entre diversas danças e técnicas — urbanas e locais — que o grupo Cena 11 articula nesse trabalho", desenvolve Ahmed."O trabalho é, portanto, uma pergunta sobre a alteridade: sobre o outro que nos habita, e que, de alguma forma, é sempre vital para compreendermos a nós mesmos", finaliza.Desfile de aberturaJá Diego Dantas, diretor artístico do Centro Coreográfico do Rio de Janeiro, mistura influências entre sua formação na dança clássica, no samba e em criações contemporâneas para engendrar o Défilé, o tradicional desfile de abertura da Bienal de Dança de Lyon, cujo tema em 2025 é a "reciclagem das danças". "Meu projeto se alinha à temática da Bienal, porque eu aproveito essa proposta para recuperar um repertório coreográfico ligado ao carnaval, que é um repertório exigente, que olha para as danças tradicionais, para os territórios do corpo, para o carnaval, para a cidade, e também para as danças negras e contemporâneas", contextualiza."É um diálogo entre o tradicional e o contemporâneo como prática de resistência e de ancestralidade em movimento — essa grande potência de comunicação com a comunidade que é o carnaval", resume. "A dança é sempre uma tecnologia muito importante de multiplicação. Então eu recupero coreografias que criei tanto para a Império da Tijuca quanto para outras escolas por onde passei, como a Unidos da Vila Kennedy e a própria Imperatriz Leopoldinense. Eu revisito esse repertório com base em uma música e em referências sonoras que o DJ Pedro Berto está desenvolvendo a partir das indicações que passei para ele, criando uma trilha sonora original — que está linda, por sinal", comemora Dantas."A ideia é levar tudo isso, essas referências ancestrais da cultura afro-brasileira, com movimentos que dialogam com as danças dos orixás, para fazer esse projeto lindo acontecer em Lyon. Queremos levar a força do Brasil e do carnaval da cidade do Rio de Janeiro para dentro desse desfile, sempre pensando nesses diálogos possíveis entre o tradicional e o contemporâneo — o que um pode oferecer ao outro", conclui o coreógrafo e bailarino carioca."Rua"O espetáculo "Rua", do premiado coreógrafo Volmir Cordeiro, baseado na França, "é uma peça que está o tempo todo suscetível a mudanças, porque é uma obra in situ, site-specific", explica o artista. "Ela tem uma escrita muito precisa, muito elaborada, muito definida — mas que se adapta a cada lugar por onde passa. Ela observa o que existe em cada espaço, lida e dança com a infraestrutura do local", diz.Apresentado pela primeira vez em 2015, o trabalho é uma espécie de camaleão que se adapta aos espaços por onde passa. "Por mais que mantenha uma forma rigorosa, a peça está sempre aberta à adaptação", afirma Cordeiro. "O que mais muda, acima de tudo, são os lugares pelos quais ela passa. E esses lugares fazem com que a peça se transforme: seja na maneira de se adaptar ao cimento, ao jardim, à ideia de uma avenida, de uma rua, de uma praça, de uma garagem ou de um estacionamento", diz."A forma como ela circula por esses espaços transforma também a maneira como ela se apresenta. Mas existe uma partitura muito precisa, baseada nos poemas de Bertolt Brecht e nos sons produzidos pelo [percussionista e músico Washington] Timbó. E é a partir disso que a dança vai surgindo", conta Cordeiro.Paisagem em movimentoA coreógrafa cearense Clarice Lima traz a Lyon Bosque, uma performance monumental. "É uma convocação artística à consciência ambiental. Através de práticas coletivas, engajamos participantes locais para virar a cidade de cabeça para baixo", diverte-se. "Não faço isso sozinha — estou junto com três parceiras incríveis: Aline Bonam, Nina Fadiga e Catarina Saraiva. Estamos muito animadas com essa participação", pontua a artista, que também participa pela primeira vez do evento no leste da França."Bosque é sempre um encontro com outras pessoas, com participantes locais, com gente que tem essa habilidade maluca de ficar de cabeça para baixo. Juntos, criamos uma paisagem em movimento dentro da cidade. E eu acho que vai ser muito bonito fazer esse bosque brotar em Lyon", diz Lima."O samba do crioulo doido""Essa peça foi criada em 2004 e recriada em 2020, e até hoje continua em turnê. Ela questiona, a partir do corpo negro — o do coreógrafo Luiz de Abreu — o olhar que a sociedade brasileira historicamente construiu sobre esse corpo", explica o também coreógrafo e bailarino brasileiro Calixto Neto."Apesar de ter sido concebida há mais de duas décadas, em 2020 ela ainda era extremamente atual, especialmente no contexto em que o país estava sob o governo Bolsonaro — um governo de caráter fascista. A obra segue ressoando com força e agora, em 2025, ela permanece relevante", contextualiza."Nosso passado colonial ainda nos assombra, e essa peça é incontornável para compreender as relações entre o corpo negro e a sociedade contemporânea", destaca Neto.A 21ª Bienal da Dança de Lyon acontece de 6 a 28 de setembro no leste da França.

Suzanne Vega has just released her first album of all-new material for nearly a decade. "Flying With Angels" continues her folk-influenced sound and introduces influences of soul as well as a song in tribute to Bob Dylan's "I Want You". She performs in the studio with guitarist Gerry Leonard.Sean Combs aka P Diddy is on trial in New York, charged with sex trafficking, racketeering conspiracy and transportation to engage in prostitution. We look at the first day's proceedingsAnd there's a unique community-led production of Bertolt Brecht's play Mother Courage and her Children, taking place in Horden, County Durham. The cast combines a unique combination of newly trained-up actors drawn from the surrounding area and established South African actors. We speak to drector Mark Dornford-May and first time professional actor, Julie Ainsell.Presenter Samira Ahmed

Welcome back to the 232nd episode of The Cup which is our a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. With the theatres on a come back we offer a mix of both reviews of live shows we've seen and continued reviews of prophet productions! For our 232nd episode we bring you a Duet Review of The Threepenny Opera, written by Bertolt Brecht, Kurt Weill, and Elisabeth Hauptmann, in a contemporary adaptation by Simon Stephens, directed by Anita La Selva, and presented by Unbridled Theatre Collective. Join Mackenzie Horner and Graeme McClelland, as they discuss playful shadows, question mortality, and make far too many references to other musicals. The Threepenny Opera is playing at VideoCabaret's Deanne Taylor Theatre (10 Busy St, Toronto, ON) until May 17th, 2025. Tickets can be purchased from the following link: https://www.ticketscene.ca/list.php?q=the+threepenny+opera This review contains many SPOILERS for The Threepenny Opera. It will begin with a general non-spoiler review until the [18:58] mark, followed by a more in-depth/anything goes/spoiler-rich discussion. If you intend to see the production, we recommend you stop watching after that point, or at least proceed at your own risk. Follow our panelists: Mackenzie Horner (Before the Downbeat: A Musical Podcast) – Instagram/Facebook: BeforetheDownbeatApple Podcasts: https://apple.co/3aYbBeNSpotify: https://spoti.fi/3sAbjAuGraeme McClelland – Instagram: instagraeme999Follow Cup of Hemlock Theatre on Instagram/Facebook/Twitter: @cohtheatreIf you'd like us to review your upcoming show in Toronto, please send press invites/inquiries to coh.theatre.MM@gmail.com

Chicago's Trap Door Theatre presentation of “Galileo,” stays close to the heart of Bertolt Brecht's script but is a revised challenging and thought-provoking interpretation. Fragments of the original dialogue featuring translation by Charles Laughton are there but the production has been reshaped and reimagined by director Max Truax into a postmodern avant-garde effort.This theater review by Reno Lovison includes information about the play, the performance, where to eat nearby and some information about the neighborhood.

In Locust Radio episode #30, Tish Turl interviews fellow Locust comrade, Adam Turl, on their new book, Gothic Capitalism: Art Evicted from Heaven and Earth (Revol Press, May 2, 2025). You can order the book from Revol Press, Amazon, or find it at other booksellers.Artists, ideas, books, writers, artworks and other stuff discussed in this episode: Adam Turl, Gothic Capitalism: Art Evicted from Heaven and Earth (Revol Press 2025); Ernst Fischer, The Necessity of Art (Verso, 2020); Boris Groys, “The Weak Universalism,” e-flux (2010); Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction” (1936); Walter Benjamin, “Theses on History” (1940); John Berger, Ways of Seeing (1972); Mark Fisher, Capitalist Realism: Is There No Alternative (2009); Mark Fisher, Flatline Constructs: Gothic Materialism and Cybernetic Theory-Fiction (2018); Donna Harraway, “A Cyborg Manifesto” (1985); Karl Marx and Friedrich Engels, The Communist Manifesto (1848); Rena Rädle & Vladan Jeremić; Joseph Beuys; John Heartfield; Anupam Roy; Richard Hamilton; R. Faze; Born Again Labor Museum; Amiri Baraka; Omnia Sol; Sister Wife Sex Strike; Dada; Judy Jordan; Bertolt Brecht; Claire Bishop; The Sublime; “Third Places;” Fluxus; Abstract Expressionism; The Sopranos; The Wire; Surrealism; Charlie Jane Anders; Emily St. John Mandel; Pier Paolo Pasolini, La Ricotta (1963) and The Hawks and the Sparrows (1966); Boots Riley; Federal Arts Project; Luis Buñuel, The Exterminating Angel (1962); The Artists Union; Voltaire, Candide (1759); Gabriel García Márquez, One Hundred Years of Solitude (1967); Public Enemy, Fear of a Black Planet (1989); Beethoven, Symphony #9 (1822-1824); Sam Esmail, Leave the World Behind (2023); David Cronenberg, Videodrome (1983); Richard Seymour, Disaster Nationalism (2024)Produced by Tish Turl, Adam Turl, Omnia Sol and Alexander Billet. Theme by Omnia Sol, Drew Franzblau and Adam Turl. Hosts include Tish Turl, Laura Fair-Schulz and Adam Turl.

This week the duo discusses a movie that Josh… well, doesn't like; Jennifer Kent's The Babadook (2014). From wiki: “The Babadook is a 2014 Australian psychological horror film written and directed by Jennifer Kent in her feature directorial debut, based on her 2005 short film Monster. Starring Essie Davis, Noah Wiseman, Daniel Henshall, Hayley McElhinney, Barbara West, and Ben Winspear, the film follows a widowed single mother who with her son must confront a mysterious humanoid monster in their home.”Also discussed: correction corner for The White Reindeer, Race with the Devil, the rerelease of The Big Heat with Drusilla's artwork, Murder My Sweet,  Bertolt Brecht and communist screenwriters, “elevated horror” and more.  NEXT WEEK: The Silence of the Lambs (1991) Bloodhaus:https://www.bloodhauspod.com/https://twitter.com/BloodhausPodhttps://www.instagram.com/bloodhauspod/ Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/ Joshua Conkelhttps://www.joshuaconkel.com/https://bsky.app/profile/joshuaconkel.bsky.socialhttps://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/  

Brecht van Hulten in gesprek met regisseur Liesbeth Coltof. Coltof regisseert bij het Nationale Theater de voorstelling Moeder Courage van Bertolt Brecht. Een vrouw, bekend als Moeder Courage, zet tijdens de oorlog álles op het spel om samen met haar kinderen te overleven. Als handelaar trekt ze onvermoeibaar door een rauwe, chaotische wereld, waarin onverwacht soms ruimte ontstaat voor humor en zelfs liefde. In deze nieuwe, muzikale bewerking van Moeder Courage, brengt regisseur Liesbeth Coltof de klassieker van Brecht rechtstreeks naar de 21e eeuw.

Si l'industrialisation commence en Europe, elle se diffuse très vite dans le Nouveau Monde. Nous sommes à Chicago, en 1886, une ville en pleine expansion industrielle, notamment autour de ses abattoirs. C'est dans ce contexte que naissent les grandes luttes sociales qui donneront naissance à la journée internationale des travailleurs, le 1er mai. Des écrivains comme Upton Sinclair ou des auteurs comme Bertolt Brecht ont immortalisé cette époque, tandis qu'Henry Ford s'en inspire pour développer le travail à la chaîne. Une plongée dans l'Amérique industrielle, marquée par un autre "Black Friday" - bien loin des soldes d'aujourd'hui. Avec Martin Cennevitz, enseignant d'histoire à Tours en France qui a publié Haymarket, récit des origines du 1er mai (Editions LUX).

Der Boxsport erfreute sich in den Jahren der Weimarer Republik einer rasant wachsenden Beliebtheit. Wo berühmte Faustkämpfer wie Hans Breitensträter, Franz Diener oder zumal Max Schmeling antraten, platzten die Hallen aus allen Nähten, und selbst prominente Intellektuelle wie Bertolt Brecht zeigten sich gerne am Ring. War es der Sport, der sie anzog, oder ging es beim Boxen eher um die Show oder das Geschäft? Dieser Verdacht ist wahrscheinlich so alt wie das Boxen selbst, und auch der Hamburger Anzeiger schlägt am 12. März 1925 mit einem Artikel kräftig in diese Kerbe. Von der unersättlichen Geldgier der Promoter und deshalb anberaumten Kämpfen zwischen Boxern und Fallobst erzählt uns Rosa Leu.

durée : 00:16:02 - Le Disque classique du jour du mercredi 05 février 2025 - Signés Bertolt Brecht et Kurt Weill, "Les 7 péchés capitaux" nous emmènent dans une Amérique capitaliste des années 30, pour une critique féroce et joyeuse : une nouvelle version de luxe avec le London Symphony Orchestra dirigé par Simon Rattle et de grandes voix, notamment Magdalena Kožená

durée : 00:16:02 - Le Disque classique du jour du mercredi 05 février 2025 - Signés Bertolt Brecht et Kurt Weill, "Les 7 péchés capitaux" nous emmènent dans une Amérique capitaliste des années 30, pour une critique féroce et joyeuse : une nouvelle version de luxe avec le London Symphony Orchestra dirigé par Simon Rattle et de grandes voix, notamment Magdalena Kožená

In der neu gegründeten Stadt Mahagonny kann man uneingeschränkt spielen und trinken: Man darf alles, solange man nur bezahlt.Doch der Untergang lässt nicht lange auf sich warten. Bertolt Brecht und Kurt Weill schufen mit ihrer avantgardistischen Oper eine Parabel auf den Untergang des Kapitalismus. Am Wochenende feierte sie in einer Neuinszenierung von Jochen Biganzoli in Augsburg Premiere.

In dieser Folge tauchen wir in das Leben und Werk von Bertolt Brecht ein – Dramatiker, Theatermacher und Denker, dessen Einfluss bis heute spürbar ist. Wir sprechen über seine revolutionären Ideen, die das Theater verändert haben, seine bekanntesten Werke wie Die Dreigroschenoper und Mutter Courage sowie die politischen Überzeugungen, die sein Schaffen geprägt haben. Wer war Berthold Brecht als Mensch, und warum ist sein Lebenswerk auch heute noch so relevant? 

durée : 00:03:23 - Le Regard culturel - par : Lucile Commeaux - La metteuse en scène Julie Duclos donne une version concentrée de la pièce de Bertolt Brecht sur la montée du fascisme en Allemagne, dans un spectacle dont la sobriété sert la gravité.

"Dance Talk” ® with Joanne Carey and special guest film maker, Gabrielle Lansner In this episode of "Dance Talk” ® host Joanne Carey interviews choreographer and film maker, Gabrielle Lansner, who shares her unique journey from dance to filmmaking. Gabrielle discusses her early dance training, the influence of acting on her choreography, and her transition to creating dance films. She reflects on her creative process, the themes of loss in her work, and how the COVID-19 pandemic inspired her to explore new avenues in filmmaking. The conversation highlights the interconnectedness of dance, theater, and film, emphasizing the importance of storytelling through movement. In this conversation, Gabrielle Lansner discusses her creative journey during the COVID-19 pandemic, focusing on her film 'I Am Not Okay.' She shares insights into the challenges and processes of filmmaking, the themes of her work, and the emotional impact it aims to convey. Lansner also reflects on the recognition her film has received and her aspirations for educational outreach, emphasizing the importance of storytelling in the arts. Gabrielle Lansner is an award winning filmmaker, choreographer, and producer whose work is influenced by her background in choreography and performing.  Her films have screened at dozens of festivals worldwide and garnered multiple awards. For over 30 years, Lansner has explored artistic disciplines moving from pure dance works, to dance/theater, to film. She has always been interested in story and character: creating emotionally complex and layered works that delve into the heart and psyche. Since 1997, she has been the Artistic Director of gabrielle lansner & company, a critically acclaimed dance/theater company based in New York City. The works have been produced at The Peter Jay Sharp Theater, HERE, River to River Festival, P.S 122, The Joyce Soho, to name a few and have toured the US and Canada. The company has received support from The Dance Films Association, The Alvin & Louise Myerberg Foundation, The Harkness Foundation, The Puffin Foundation, Altria, Lower Manhattan Cultural Council and The Field. The company's varied explorations include delving into the lives of Holocaust victims in the literary works of Bertolt Brecht and Cynthia Ozick, exploring adolescent yearning in Carson McCullers' “The Member of the Wedding”, examining the nature of forgiveness in a work inspired by the South African Truth & Reconciliation Commission, and celebrating the life of pop icon Tina Turner in their original musical RIVER DEEP. TURNING HEADS, FROCKS IN FLIGHT, a site-specific dance performed at Battery Park City, was produced by Sitelines 2009/LMCC as part of the River to River Festival Her latest short film, I AM NOT OK is an experimental dance film inspired by the words of Tiffiney Davis, the Executive Director of the Red Hook Art Project, in Red Hook, Brooklyn. The film has screened extensively at film festivals around the world and won Best Experimental Film at the Reel Sisters of the Diaspora FF in NYC and Best Cinedance at the Minneapolis St. Paul Int'l FF in MN.  Lansner has also choreographed episodes of Law & Order: SVU, and Law & Order: Criminal Intent. She is a member of SAG, New York Women in Film and TV,  the Lincoln Center Directors Lab, is a former  Board Member  of the Dance Films Association/DFA, NYC  and was instrumental in developing PS 122 in NYC as a rehearsal and performance space. To learn more https://www.gabriellelansner.com/index  “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts.  ⁠⁠⁠⁠ ⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠ Follow Joanne on Instagram @westfieldschoolofdance YOUTUBE:  ⁠https://www.youtube.com/channel/UC4NldYaDOdGWsVd2378IyBw⁠ Tune in. Follow. Like us. And Share.   Please leave us review about our podcast!   “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Eighteenth century prison break artist and folk hero Jack Sheppard is among history's most frequently adapted rogues: his exploits have inspired Daniel Defoe, John Gay, Bertolt Brecht, and most recently, Jordy Rosenberg, whose first novel, Confessions of the Fox (2018), rewrites Sheppard as a trans man and Sheppard's partner Bess as a South Asian lascar and part of the resistance movement in the Fens. Rosenberg embeds the manuscript tracing their love story within a satirical frame narrative of a professor whose discovery of it gets him caught up in an absurd and increasingly alarming tussle with neoliberal academic bureaucracy and corporate malfeasance. Jordy is joined here by Annie McClanahan, a scholar of contemporary literature and culture who describes herself as an unruly interloper in the 18th century.  Like Jordy's novel, their conversation limns the 18th and 21st centuries, taking up 18th century historical concerns and the messy early history of the novel alongside other textual and vernacular forms, but also inviting us to rethink resistance and utopian possibility today through the lens of this earlier moment. Jordy and Annie leapfrog across centuries, reading the 17th century ballad “The Powtes Complaint” in relation to extractivism and environmental justice, theorizing the “riotous, anarchic, queer language of the dispossessed” that characterizes Confessions of the Fox as a kind of historically informed cognitive estrangement for the present, and considering the work theory does (and does not) do in literary works and in academic institutions. Mentioned in this Episode Peter Linebaugh, The London Hanged John Bender, Imagining the Penitentiary Dean Spade Samuel Delany's Return to Nevèrÿon series (Tales of Nevèrÿon, Neveryóna, Flight from Nevèrÿon, Return to Nevèrÿon) Samuel Richardson's Pamela Sal Nicolazzo Greta LaFleur “The Powtes Complaint,” first printed in William Dugdale's The history of imbanking and drayning of divers fenns and marshes, both in forein parts and in this kingdom, and of the improvements thereby extracted from records, manuscripts, and other authentick testimonies (1662) Fred Moten Saidiya Hartman Jordy Rosenberg, “Gender Trouble on Mother's Day” and “The Daddy Dialectic” Amy De'Ath, “Hidden Abodes and Inner Bonds,” in After Marx, edited by Colleen Lye and Christopher Nealon Aziz Yafi, “Digging Tunnels with Pens” Jasbir Puar Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Eighteenth century prison break artist and folk hero Jack Sheppard is among history's most frequently adapted rogues: his exploits have inspired Daniel Defoe, John Gay, Bertolt Brecht, and most recently, Jordy Rosenberg, whose first novel, Confessions of the Fox (2018), rewrites Sheppard as a trans man and Sheppard's partner Bess as a South Asian lascar and part of the resistance movement in the Fens. Rosenberg embeds the manuscript tracing their love story within a satirical frame narrative of a professor whose discovery of it gets him caught up in an absurd and increasingly alarming tussle with neoliberal academic bureaucracy and corporate malfeasance. Jordy is joined here by Annie McClanahan, a scholar of contemporary literature and culture who describes herself as an unruly interloper in the 18th century.  Like Jordy's novel, their conversation limns the 18th and 21st centuries, taking up 18th century historical concerns and the messy early history of the novel alongside other textual and vernacular forms, but also inviting us to rethink resistance and utopian possibility today through the lens of this earlier moment. Jordy and Annie leapfrog across centuries, reading the 17th century ballad “The Powtes Complaint” in relation to extractivism and environmental justice, theorizing the “riotous, anarchic, queer language of the dispossessed” that characterizes Confessions of the Fox as a kind of historically informed cognitive estrangement for the present, and considering the work theory does (and does not) do in literary works and in academic institutions. Mentioned in this Episode Peter Linebaugh, The London Hanged John Bender, Imagining the Penitentiary Dean Spade Samuel Delany's Return to Nevèrÿon series (Tales of Nevèrÿon, Neveryóna, Flight from Nevèrÿon, Return to Nevèrÿon) Samuel Richardson's Pamela Sal Nicolazzo Greta LaFleur “The Powtes Complaint,” first printed in William Dugdale's The history of imbanking and drayning of divers fenns and marshes, both in forein parts and in this kingdom, and of the improvements thereby extracted from records, manuscripts, and other authentick testimonies (1662) Fred Moten Saidiya Hartman Jordy Rosenberg, “Gender Trouble on Mother's Day” and “The Daddy Dialectic” Amy De'Ath, “Hidden Abodes and Inner Bonds,” in After Marx, edited by Colleen Lye and Christopher Nealon Aziz Yafi, “Digging Tunnels with Pens” Jasbir Puar Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

À l'occasion du Festival d'Automne, carte blanche à la metteuse en scène Lina Majdalanie avec notamment la création «Quatre murs et un toit». En 1947, a lieu aux États-Unis le procès du dramaturge allemand Bertolt Brecht devant le Comité des activités anti-américaines (HUAC) chargé de lutter contre l'activisme communiste. Dans ces circonstances, Brecht avait rédigé une déclaration qu'il lui fut interdit de lire. Les minutes du procès, ainsi que cette déclaration, constituent l'un des axes de ce spectacle foisonnant.Invitée : Lina Majdalanie, actrice, autrice et metteuse en scène libanaise résidant à Berlin.Son spectacle «Quatre murs et un toit» au 104 jusqu'au 8 décembre 2024. 

À l'occasion du Festival d'Automne, carte blanche à la metteuse en scène Lina Majdalanie avec notamment la création «Quatre murs et un toit». En 1947, a lieu aux États-Unis le procès du dramaturge allemand Bertolt Brecht devant le Comité des activités anti-américaines (HUAC) chargé de lutter contre l'activisme communiste. Dans ces circonstances, Brecht avait rédigé une déclaration qu'il lui fut interdit de lire. Les minutes du procès, ainsi que cette déclaration, constituent l'un des axes de ce spectacle foisonnant.Invitée : Lina Majdalanie, actrice, autrice et metteuse en scène libanaise résidant à Berlin.Son spectacle «Quatre murs et un toit» au 104 jusqu'au 8 décembre 2024. 

Auf der Bühne kritisiert er den Kapitalismus, in seiner Freizeit begeistert Bertolt Brecht sich für alte Autos. 1949, kurz nach der Gründung der DDR, erfüllt Brecht sich seinen Herzenswunsch: einen rot-schwarzen Steyr.

Bertolt Brecht hat den Kapitalismus verachtet - aber schnelle Sportwagen geliebt. Und deshalb sogar einen Werbeslogan für die Marke "Steyr" geschrieben... Von Jürgen Werth.

We meet Mary Ramsden to discuss her new solo exhibition Desire Line, opening this week at Pilar Corrias, London.Captivated by the sheer range of ideas and images that a passage of paint can convey, from a tuft of grass to a soaring patch of sky, Ramsden revels in the boundless versatility of her medium. The artist brings a range of references to this new body of work, including English landscape painting, the subtle palette and chromatic intelligence of Les Nabis painters Pierre Bonnard and Édouard Vuillard, and a keen engagement with poetry and literature. Ramsden's title, Desire Line, refers to a phenomenon whereby a path emerges through spontaneous and habitual use, whether in a park, pasture or wilderness.Based in North Yorkshire, many of Ramsden's recent paintings reflect the textures of the local landscape as well as the qualities of northern light. The artist considers paint earthy, modest and infinitely adaptable, with the capacity to conjure atmospheres, images and metaphors, all within a single set of brushstrokes. Dark oxygen (all works 2024) evokes a moonlit landscape, with patches of cool lilacs and silvery blues and greens. Touches of rust and warm colours mark the edges, while the whole painting seems to be embraced by a quivering penumbra. If Dark oxygen has a wintry chill, a sense of abundant, generative life characterises the surface of My desire is not a thinking. In a haze of peachy orange, as if bathed in the light of a sunrise, sections of paint emerge on the canvas like patches of lichen or moss, sedately moving with their own inner force or rhythm. Both paintings express a distilled and unearthly beauty, reminiscent of a mythical landscape conjured by Gustave Moreau, though fractured and emptied of narrative. At the same time, these are meditations on paint itself; each canvas a multivalent space for Ramsden to revel in the ambiguity and potential of her surfaces.Fascinated by how Bertolt Brecht would have his characters change costumes to foreground the drama's illusory nature, Ramsden likewise conceives of different passages of paint as characters that might, with a simple shift of emphasis or the viewer's perspective, become something new. The same section of a painting might evoke a stony field or a pool of dappled light, a cracked patch of ice or a window at night. Another touchstone for the artist is Robert Motherwell, who, like Ramsden, adapted many of his titles from poetry, and considered abstraction a kind of universal language capable of communicating both powerful emotions and complex thoughts.The exhibition will be accompanied by a booklet with an essay by novelist and essayist Daisy Hildyard and a poem by Danielle Wilde.Desire Line runs until 11th January 2025 and is now open at Pilar Corrias, on Savile Row, London. Free entry.Follow @MaryJRamsdenVisit: https://www.pilarcorrias.com/exhibitions/466-mary-ramsden-desire-line/ Hosted on Acast. See acast.com/privacy for more information.

In this episode of Locust Radio, Adam Turl interviews R. Faze, author of the My Body series published in Locust Review. This is part of an ongoing series of interviews with Locust members and collaborators on contemporary artistic strategies. R. Faze's My Body series in Locust Review: R. Faze, “I Live an Hour from My Body,” Locust Review 4  (2021) R. Faze, “My Body Got a New Job,” Locust Review 5 (2021) R. Faze, “My Body Planned Something,” Locust Review 6 (2021) R. Faze, “My Body, Interrogated,” Locust Review 7 (2022) R. Faze, “My Body's Long Term Plan,” Locust Review 8 (2022) R. Faze, “My By Body's Revenge Plan,” Locust Review 9 (2022) R. Faze, “My Body Found a Portal to Another Dimension,” Locust Review 10 (2023) R. Faze, “My Body's Claims, Verified,” Locust Review 11 (2024) Some other writers, artists, texts and artworks discussed: Mikhail Bahktin, Rabelais and His World (1984); Bertolt Brecht; Raymond Chandler;  Jefferson Cowie, Stayin' Alive: The 1970s and the Last Days of the Working-Class (2010); Rene Descartes; W.E.B. Du Bois, The Souls of Black Folk (1903); Mark Fisher, Capitalist Realism: Is There No Alternative? (2009); Karl Marx, The Philosophic and Economic Manuscripts (1844); Scott McCloud, Understanding Comics (1993); Pablo Picasso and Cubism; Edgar Allan Poe, “William Wilson” (1839); Francois Rabalais, Gargantua and Pantagruel (1564); Don Siegal, Invasion of the Body Snatchers (1956); Sister Wife Sex Strike, “From the River to the Sea (2024); Robert Louis Stevenson, The Strange Case of Dr. Jekyll and Mr. Hyde (1886) Locust Radio hosts include Tish Turl, Laura Fair-Schulz, and Adam Turl. Locust Radio is produced by Alexander Billet, Adam Turl, and Omnia Sol. Opening music and sound elements by Omnia Sol and Adam Turl. 

Elegant. That was the adjective used by Team Vintage Sand's own Michael Edmund to describe why the films of Joseph Losey are so important to him, and why he has been such a huge fan of Losey's for nearly all of his film-going life. Losey's was a name that seemed to keep popping up in a wide variety of contexts over the course of the podcast, so, after many delays, we are proud to present Episode 54—Director's Cut: Joseph Losey. Losey's is a unique career in the sense that it really was two distinct careers. After growing up in a life of privilege in Wisconsin (where he was a high school classmate of another pretty good director, Nicholas Ray) and an education at Harvard and Dartmouth, Losey made his way to Hollywood and directed a couple of interesting, low-budget films. Among these were the stilted but prescient "The Boy with Green Hair" (1948), and the rather senseless remake of Lang's "M" (1951), the latter replete with awful soundtrack music and LA sunshine. One possible reason that Losey might have gotten involved with this misguided effort might have been to give actors (Luther Adler, Martin Gabel) and other creatives (screenwriter Waldo Salt), who had been or were about to be blacklisted, a shot at getting some work. Losey himself, an unapologetic member of the Communist Party and an important creative associate of Bertolt Brecht, knew that when Brecht was called before HUAC, it was only a matter of time before he would meet the same fate. So before he could be summoned, he fled to London, and never again worked in the United States for the remaining three decades of his life. He began his English period with some low budget films, some of which, like 1954's "The Sleeping Tiger", still hold some interest. It was during this period, however, that he met two men who were going to help him create the reputation that he still carries to this day, that of a director of great style whose films, not surprisingly given his own life experience, were always political without ever dealing directly with politics: the actor Dirk Bogarde, and the legendary playwright Harold Pinter. Their first work together, 1963's "The Servant", is generally regarded as Losey's masterpiece. It is an absolute evisceration of a rotting class system that has yet to realize its time has passed and that the empire on which it was founded has disintegrated. The complex, ever-changing relationship between upper class twit Tony (the wonderful James Fox) and Barrett, the manservant Tony hires (Bogarde), is cold, chilling and surprising right to the very end. Losey continued his obsession with social class in the World War I drama "King and Country" (1964), a film with a setup similar to "Paths of Glory" that in some ways is an even more powerful anti-war statement than Kubrick's film. Losey teamed up again, somewhat less successfully, with Pinter and Bogarde for 1967's "Accident", and with Pinter for one more masterpiece, 1971's "The Go-Between", a gorgeous period piece featuring pitch-perfect performances by Alan Bates, Margaret Leighton, newcomer Dominic Guard as the titular young man, and especially by the never-more-luminous Julie Christie. There are no easy answers when it comes to Losey, but two things come to mind. As John notes in the episode, had Losey not fled persecution and stayed in America, he probably would have been nothing more than a more-talented-than-average studio hack. Exile turned out to be the best thing that could have happened to him, and it may be a direct result of his outsider status that Losey was able to cast an even sharper eye on the follies and perils of the dying English class system more effectively even than the great native British directors of the 1960's. Whatever your thoughts on his work, in the end, it is that aforementioned elegance and intelligence that make Losey's best films worth watching today.

"Me gustaría tanto que te acordaras de los dias felices en que fuimos amigos, cuando la vida era más bella y el sol más brillante...” escribió Jacques Prévert. "Les Feuilles Mortes” la más universal canción de otoño con música de Jozsef Kozma, judío fugitivo del III Reich, pero la canción de los dias que se acortan y el eterno retorno ,"September Song” de Kurt Weill, coautor junto a Bertolt Brecht de "Mack The Knife", más judíos víctimas del "nazional socialismo". La letra de la tercera de las universales otoñales "Chanson d´Automne”, santo y seña del desembarco de Normandia, Verlaine, musicada por Trenet, pero hay más bajo la piel de los amores idos. Gladiolos, dalias, crisantemos, siemprevivas pero también hiedras trapadoras, flores de fango, plantaciones enteras de bulos. Ayer como hoy. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

In episode 26 of Locust Radio, Adam Turl is joined by Omnia Sol – a comic, video, and sound artist in Chicago. This episode is part of a series of interviews of current and former Locust Collective members and contributors. This series is being conducted as research for a future book by Adam Turl on the conceptual and aesthetic strategies of the collective in the context of a cybernetic Anthropocene. The featured closing music / sound art, “Overview” and “Wilhelmina,” are from Omnia Sol's forthcoming vs. Megalon. Check out their bandcamp. Locust Radio hosts include Adam Turl, Laura Fair-Schulz, and Tish Turl. Producers include Alexander Billet, Omnia Sol, and Adam Turl. Related texts and topics: Arte Povera; Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction” (1936); Michael Betancourt, Glitch Art in Theory and Practice (2017); William Blake; Claire Bishop, Disordered Attention: How We Look at Art and Performance Today (2024); Stan Brakhage ; Bertolt Brecht - see also Brecht, “A Short Organum for the Theater” (1948);  Cybernetic Culture Research Unit; Mark Fisher, “Acid Communism (Unfinished Introduction)”; Ben Davis, Art in the After-Culture: Capitalist Crisis and Cultural Strategy (2022); Scott Dikkers, Jim's Journal (comic by the co-founder of the Onion); Dollar Art House; Mark Fisher, Capitalist Realism: Is There No Alternative? (2009); Mark Fisher, Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures (2014); Mark Fisher, K-Punk: The Collected and Unpublished Writings of Mark Fisher (2019); Flicker Films; Fully Automated Luxury (Gay) Space Communism; Glitch Art; Jean-Luc Godard; Grand Upright Music, Ltd. vs. Warner Brothers Records (Biz Markie) (1991); William Hogarth; Tamara Kneese, Death Glitch: How Techno-Solutionism Fails Us in This Life and Beyond (2023); Holly Lewis, “Toward AI Realism,” Spectre (2024); Karl Marx, The Communist Manifesto (1848); Nam June Paik and TV Buddha; Harvey Pekar (comic artist); Gregory Sholette, Dark Matter: Art and Politics in the Age of Enterprise Culture (2010); Grafton Tanner, Babbling Corpse: Vaporwave and the Commodification of Ghosts (2016); TOSAS (The Omnia Sol Art Show); Nat Turner; Wildstyle and Style Wars (1983 film); YOVOZAL, “My Thoughts about AI and art,” YouTube video (2024)

Our ninth Great Political Fiction is Bertolt Brecht's classic anti-war play, written in 1939 at the start of one terrible European war but set in the time of another: the Thirty Years' War of the 17th century. How did Brecht think a three-hundred-year gap could help us to understand our own capacity for violence and cruelty? Why did he make Mother Courage such an unlovable character? Why do we feel for her plight anyway? And what can we do about it?Tomorrow: Ayn Rand's Atlas ShruggedFind out more about Past Present Future on our new website www.ppfideas.com where you can also join PPF+ to get bonus episodes and ad-free listening. Hosted on Acast. See acast.com/privacy for more information.

Episode 12 of Fragile Juggernaut turns the lens on the situation and activity of white-collar, professional, and creative workers in the 1930s and 1940s. Together with guests Nikil Saval (state senator from Pennsylvania and author of Cubed: A Secret History of the Workplace) and Shannan Clark (historian at Montclair State University and author of The Making of the American Creative Class: New York's Culture Workers and Twentieth-Century Consumer Capitalism), Alex and Gabe dig in on a few key sectors: office workers, journalists, academics and scientists, and workers in the culture industries—art, film, radio, theater, and publishing. How did the labor movement and the left conceptualize these kinds of workers and what role they might play? What was the relationship between their organization and struggle, on one hand, and the content and function of their work, on the other?Sonically, this episode is a bit of a concept album, interspersed with excerpts from Marc Blitzstein's 1937 musical play The Cradle Will Rock (actually a higher-quality 1964 recording). Inspired stylistically by the plays of Bertolt Brecht and institutionally sponsored by the WPA (until it panicked and backed out), The Cradle Will Rock is set in Steeltown, USA: a sex worker is thrown in jail after refusing a cop free service. There, she meets academics, artists, and journalists who have been arrested in a police mix-up at a steelworkers' rally, which they were monitoring as members of the anti-union Liberty Committee of steel baron Mr. Mister. While these anti-union professionals and creatives wait for Mr. Mister to come clear things up and bail them out, they explain how he recruited them to the Liberty Committee. Also with them in jail is steelworkers' leader Larry Forman, who warns them that the cozy “cradle” where they sit will soon fall.A correction: Gabe says in the episode that the Disney strike was in 1940. In fact, it was in May 1941.Featured music (besides The Cradle Will Rock): “Teacher's Blues” by Pete Seeger.Archival audio credits: “I Want to Be a Secretary,” Coronet Instructional Films (1941); Dan Mahoney Oral History, San Francisco State Labor Archives and Research Center; Oppenheimer (2023); “WPA Helping Theaters All Black Production of Macbeth”; Isom Moseley oral history, Federal Writers Project (1941); Dumbo (1941).Fragile Juggernaut is a Haymarket Originals podcast exploring the history, politics, and strategic lessons of the Congress of Industrial Organizations and the rank and file insurgency that produced it. Support Fragile Juggernaut on Patreon and receive our exclusive bimonthly newsletter, full of additional insights, reading recommendations, and archival materials we've amassed along the way.Buy Ours to Master and to Own, currently 40% off: https://www.haymarketbooks.org/books/366-ours-to-master-and-to-own

Melvyn Bragg and guests discuss one of the greatest European playwrights of the twentieth century. The aim of Bertolt Brecht (1898-1956) was to make the familiar ‘strange': with plays such as Mother Courage and The Caucasian Chalk Circle he wanted his audience not to sit back but to engage, observe and discover the contradictions in life, and act on what they learnt. He developed this approach in turbulent times, from Weimar Germany to the rise of the Nazis, to exile in Scandinavia and America and then post-war life in East Berlin, and he has since inspired dramatists around the world.WithLaura Bradley Professor of German and Theatre at the University of EdinburghDavid Barnett Professor of Theatre at the University of YorkAnd Tom Kuhn Professor of Twentieth Century German Literature, Emeritus Fellow of St Hugh's College, University of OxfordProducer: Simon Tillotson In Our Time is a BBC Studios Audio productionReading list: David Barnett, Brecht in Practice: Theatre, Theory and Performance (Bloomsbury, 2014)David Barnett, A History of the Berliner Ensemble (Cambridge University Press, 2015)Laura Bradley and Karen Leeder (eds.), Brecht and the GDR: Politics, Culture, Posterity (Camden House, 2015)Laura Bradley, ‘Training the Audience: Brecht and the Art of Spectatorship' (The Modern Language Review, 111, 2016)Bertolt Brecht (ed. Marc Silberman, Tom Kuhn and Steve Giles), Brecht on Theatre (Bloomsbury, 2014)Bertolt Brecht (ed. Tom Kuhn, Steve Giles and Marc Silberman), Brecht on Performance (Bloomsbury, 2014)Bertolt Brecht (trans. Tom Kuhn and David Constantine), The Collected Poems of Bertolt Brecht (Norton Liveright, 2018) which includes the poem ‘Spring 1938' read by Tom Kuhn in this programmeStephen Brockmann (ed.), Bertolt Brecht in Context (Cambridge University Press, 2021)Meg Mumford, Bertolt Brecht (Routledge, 2009)Stephen Parker, Bertolt Brecht: A Literary Life (Bloomsbury, 2014)Ronald Speirs, Brecht's Poetry of Political Exile (Cambridge University Press, 2000)David Zoob, Brecht: A Practical Handbook (Nick Hern Books, 2018)

Melvyn Bragg and guests discuss one of the greatest European playwrights of the twentieth century. The aim of Bertolt Brecht (1898-1956) was to make the familiar ‘strange': with plays such as Mother Courage and The Caucasian Chalk Circle he wanted his audience not to sit back but to engage, observe and discover the contradictions in life, and act on what they learnt. He developed this approach in turbulent times, from Weimar Germany to the rise of the Nazis, to exile in Scandinavia and America and then post-war life in East Berlin, and he has since inspired dramatists around the world.WithLaura Bradley Professor of German and Theatre at the University of EdinburghDavid Barnett Professor of Theatre at the University of YorkAnd Tom Kuhn Professor of Twentieth Century German Literature, Emeritus Fellow of St Hugh's College, University of OxfordProducer: Simon Tillotson In Our Time is a BBC Studios Audio productionReading list: David Barnett, Brecht in Practice: Theatre, Theory and Performance (Bloomsbury, 2014)David Barnett, A History of the Berliner Ensemble (Cambridge University Press, 2015)Laura Bradley and Karen Leeder (eds.), Brecht and the GDR: Politics, Culture, Posterity (Camden House, 2015)Laura Bradley, ‘Training the Audience: Brecht and the Art of Spectatorship' (The Modern Language Review, 111, 2016)Bertolt Brecht (ed. Marc Silberman, Tom Kuhn and Steve Giles), Brecht on Theatre (Bloomsbury, 2014)Bertolt Brecht (ed. Tom Kuhn, Steve Giles and Marc Silberman), Brecht on Performance (Bloomsbury, 2014)Bertolt Brecht (trans. Tom Kuhn and David Constantine), The Collected Poems of Bertolt Brecht (Norton Liveright, 2018) which includes the poem ‘Spring 1938' read by Tom Kuhn in this programmeStephen Brockmann (ed.), Bertolt Brecht in Context (Cambridge University Press, 2021)Meg Mumford, Bertolt Brecht (Routledge, 2009)Stephen Parker, Bertolt Brecht: A Literary Life (Bloomsbury, 2014)Ronald Speirs, Brecht's Poetry of Political Exile (Cambridge University Press, 2000)David Zoob, Brecht: A Practical Handbook (Nick Hern Books, 2018)