Podcasts about Bertolt Brecht

Wie Bundespräsident Frank-Walter Steinmeier von den wahren Gefahren und Gefährdern für die Demokratie ablenktEin Kommentar von Tilo Gräser.„Wer die Wahrheit nicht weiß, der ist bloß ein Dummkopf. Aber wer sie weiß und sie eine Lüge nennt, der ist ein Verbrecher!“An diese Erkenntnis von Bertolt Brecht, die er im Stück „Das Leben des Galilei“ niederschrieb, musste ich angesichts der jüngsten Rede von Bundespräsident Frank-Walter Steinmeier am 9. November denken.Nun will ich den derzeitigen Bundespräsidenten nicht einen Lügner nennen, noch will ich ihn als Verbrecher bezeichnen. Ich denke, dass der Jurist mit Doktortitel im Schloss Bellevue durchaus kein unwissender Dummkopf ist. Aber wenn er das, was er am Sonntag sagte, wider besseres Wissen von sich gab, muss ich es zumindest als gefährlich ansehen. Weil er mit dieser Rede etwas tat, was er darin anderen vorwarf: Ausgrenzen, spalten, diffamieren sowie Tatsachen verdrehen und verschweigen. Es erinnert zumindest an eine alte Verbrechermethode, wonach der Räuber ruft „Haltet den Dieb!“Das geht los mit dem Datum, das den Anlass gab und mehrfach in der deutschen Geschichte eine historische Bedeutung erlangte. Er meinte, dieser Tag berühre „unser Selbstverständnis als Deutsche“, weil es um „den Kern unserer Identität“ gehe. Schon, dass er nur auf das Datum in den Jahren 1918, 1938 und 1989 blickte, zeugte von (Selbst)Beschränkung und (absichtsvollem) Weglassen.Niederlage der DemokratieDenn in die historische Reihe gehört ebenso der 9. November 1848: An dem Tag wurde mit der Hinrichtung des linksliberalen Revolutionärs Robert Blum die bürgerlich-demokratische Revolution in Deutschland endgültig zu Grabe getragen. An dem Tag entmachteten in Berlin die preußischen Truppen unter General Friedrich von Wrangel die Bürgerwehr der Stadt, die die parlamentarische Demokratie verteidigen wollte. Die „halbe Revolution“ der Deutschen endete mit dem Sieg „einer ganzen Konterrevolution“ der alten Fürstenmacht, kommentierte Karl Marx damals lakonisch in der Neuen Rheinischen Zeitung die Ereignisse.Warum hat der Sozialdemokrat im Schloss Bellevue das wohl ausgelassen? Ausgelassen hat er auch etwas beim Blick auf den 9. November 1918, „als die Demokratie siegte“, wie er behauptete: An dem Tag wurde gleich zweimal eine deutsche Republik ausgerufen, einmal vom SPD-Politiker Philipp Scheidemann, und dann zwei Stunden später vom ehemaligen SPD-Abgeordneten Karl Liebknecht die „freie sozialistische Republik Deutschland“. Liebknecht wurde im Januar 1919 gemeinsam mit seiner Mitstreiterin Rosa Luxemburg ermordet – im Auftrag jener, die mit Hilfe der SPD und ihrer Scheidemänner keine wirklichen Veränderungen in Deutschland wollten und dafür sorgten, dass im Gewand der Demokratie die alten Machtverhältnisse restauriert und gesichert wurden. Wohin das führte, zeigte sich bereits am 9. November 1923, als Adolf Hitler gemeinsam mit dem Reichswehr-General Erich von Ludendorff in München einen Putschversuch unternahm. Auch diesen Tag ließ Steinmeier aus. Hosted on Acast. See acast.com/privacy for more information.

Bertolt Brecht war ein sehr deutscher Dichter, auch in seinem Fleiß und seiner Obsession. Und er ist international bekannt und gefeiert. Besonders seine Theaterstücke waren prägend.

Alberto Castrillo-Ferrer nos presenta una auténtica Obra Magna: El círculo de tiza caucasiano, de Bertolt Brecht. Aunque su forma es la de un cuento, encierra múltiples lecturas, profundas reflexiones y enseñanzas que siguen resonando hoy. Esta obra, una de las favoritas del propio Castrillo-Ferrer, nos invita a pensar en la justicia y la igualdad como valores universales que deben ser defendidos en cualquier época y lugar. Brecht nos recuerda que la lucha por ellos no es ajena a nadie: nos incumbe a todos.Escuchar audio

In den Straßen und den Cafés von Prag waren sie überall zu sehen - deutsche Emigranten, die ab 1933 in die Hauptstadt der Tschechoslowakei geflohen waren, um hier Schutz vor Verfolgung durch die Nationalsozialisten zu finden. Bertolt Brecht und Helene Weigel, Gabriele Tergit und Alfred Kerr, Ernst und Bloch und Hans Sahl, John Heartfield und Wieland Herzfelde - das waren nur einige von geschätzt 20.000 Menschen, die als Juden, Homosexuelle, Sozialdemokraten oder Kommunisten vor den Nazis ins Nachbarland flohen - in der trügerischen Hoffnung, der braune Spuk sei nach wenigen Monaten wieder vorbei. Wie schafften es die Flüchtenden über die Grenze? Wie schlugen sie sich in Prag durch? Welche Verbindungen zu den deutschsprachigen Pragern entstanden? Und wohin flohen sie weiter, als die Tschechoslowakei zerschlagen wurde? Diesen Fragen geht der Journalist Peter Lange - früherer ARD-Hörfunkkorrespondent in Prag - nach in seinem Buch „Vertraute Fremde - Exil in Prag 1933-1939“. Ein Gespräch über ein Stück deutsch-tschechischer Geschichte mit erschreckender Aktualität…

From MPR News, Art Hounds are members of the Minnesota arts community who look beyond their own work to highlight what's exciting in local art. Their recommendations are lightly edited from the audio heard in the player above. Want to be an Art Hound? Submit here.Brecht meets the gangster underworld in Frank Theatre's Halloween openingPeter Rachleff is a retired labor historian from Macalester College, and he recommends Frank Theatre's staging of Bertolt Brecht's “The Resistible Rise of Arturo Ui,” a satirical play about authoritarianism and corruption. The play's title character, Arturo Ui, is an imagined cross between Adolf Hitler — whose rise Brecht fled Germany to escape — and Al Capone, and it's set in the 1930s gangster underworld of Chicago.Frank Theatre is known for mounting plays that challenge the status quo and spark conversation. The play opens on Halloween and runs through Nov. 23 at the Ivy Building for the Arts in Minneapolis.Rachleff, who has seen Frank's previous productions of the show in past years, calls the play "very relevant to the moment in which we are living."Peter says: We are living in a moment where not only is authoritarianism a concern, but so is corruption; and so whether it's pardoning this cryptocurrency guy or demanding that the Department of Justice reimburse the president $230 million, we seem to be experiencing the kind of synthesis that Bertolt Brecht imagined when he wrote “The Resistible Rise of Arturo Ui.”I think that Brecht's aesthetics of tearing down the fourth wall between the audience and the performers on stage is an aesthetic that Frank Theatre has engaged and deployed consistently and in challenging ways over the last 36 years. I've lived here about 45 years, and I'm very fortunate not only that we have a fabulous theater community, but that Wendy Knox and Frank Theatre are in the middle of it.— Peter Rachleff‘Phantom' returns to the screen — with a 60-piece live orchestraTristan Crawford is a writer, director and animator in Minneapolis, and his plans for Halloween evening involve a new musical take on a famous phantom. Before Andrew Lloyd Webber wrote music for the haunted Paris Opera House, Gaston Leroux's gothic horror novel was imagined as a silent film.On Halloween night, the 1925 film “The Phantom of the Opera” will screen at Ted Mann Concert Hall on the University of Minnesota campus in Minneapolis, accompanied by an original score by Twin Cities composer Philip Shorey. He will conduct the 60-piece Curse of the Vampire Orchestra as the film plays.Tristan says: It's like the combination of going to the movies, but then also going to your favorite concert. They have flashing lights, they have fog, they have the screen playing the film. But then you also get to see the orchestra just play right in front of you. Philip always dresses to the 10s, too. And you're just sucked into this amazing experience. I don't know what else you would want to be doing this Halloween.— Tristan CrawfordA musical ‘Terminator' brings joy and absurdity to MorrisSyd Bauer of Morris loves the joy and fun going into the production of “Terminator: The Musical” on the University of Minnesota-Morris campus, starting tonight.Shows run Thursday and Nov. 1 (skipping Halloween), and Nov. 6–8 at 7:30 p.m., with a 2 p.m. matinee on Nov. 8 at the George C. Fosgate Black Box Theatre.Syd says: I'm excited about “Terminator: The Musical” for lots of reasons, but for the main reason being that the folks putting it on are thrilled to be experiencing joy and silliness through their art. I've gotten to talk to a lot of the folks doing tech for the show, and they're pumped about the comedy within it. They're pumped about the silliness in the props. One of them is a bike helmet with a little toy helicopter attached to the top for the chase scenes. They're excited about what it means to be thinking about AI and technology as we're coming up on 2029, the year that the Terminator is from, to go back to the 80s.— Syd Bauer

In this shortcast edition of the Podcast for Social Research, BISR's Isi Litke and Jude Webre discuss Fritz Lang's Hangmen Also Die! (1947). Loosely based on the assassination of Reinhard Heydrich, and conceived by Lang and Bertolt Brecht mere weeks after his death, the film follows members of the Czech resistance as they attempt to shield Heydrich's killer from Nazi authorities in occupied Prague. Conversation ranges from Lang and Brecht's fraught collaboration to Hanns Eisler's unconventional score, the film's attempts to sell a war-averse American public on the antifascist cause, the nature of Popular Front cultural objects, and the film's connection to the Hollywood blacklist. To what extent does Hangmen Also Die! succeed as propaganda, as procedural, and/or as epic theater? How does the film embody the tensions intrinsic to Popular Front coalitions? And what might the film teach us about antifascist politics and propaganda in our current moment? The Podcast for Social Research is produced by Ryan Lentini. Learn more about upcoming courses on our website. Follow Brooklyn Institute for Social Research on Twitter / Facebook / Instagram / Bluesky.  

Studentesse e studenti di letteratura tedesca di Roma Tre, guidati dal loro docente, raccontano Madre Coraggio e i suoi figli di Bertolt Brecht, un dramma didattico sulla guerra e su una mamma incorreggibile, pronta a tutto pur di sopravvivere e proteggere i suoi figli — o forse solo il suo carretto. Regia: Francesco Fiorentino Drammaturgia: Francesco Fiorentino, Linda Azara, Riccardo Bianchini, Elena Briuglia, Sofia Brivitello, Livia Carpinelli, Chiara Catoni, Alysia Ciccolella, Marcella Cossu, Valeria Guercini, Silvio Di Russo, Carlotta Mancini, Leonardo Pergola, Raffaele Perruzza, Giulia Pescitelli, Giulia Raison, Camilla Zicchieri, Ilaria Cretaro, Erika Argese.

Das Stuttgarter Theater TriBühne bringt mit Hilfe von KI einen Avatar von Bertolt Brecht auf die Bühne. Der tote Dichter scherzt über seine digitale Wiedergeburt, aber bleibt am Ende doch etwas blass.

PAULA QUINTAS é directora do festival 6 coreógrafas e codirectora do Festival Corpo(a) terra e traballa coa pedagoxía da danza en Danza Alfaia, cunha liña de investigación contemporánea contorna ao corpo e lineas alternativas de aprendizaxe en Santiago de Compostela. Ademais é especialista en Técnica Laban impartindo talleres en diferentes conservatorios. 🔊"A Danza precisamente non ten palabras e ás veces, como podemos chegar a comprender o que ese bailarín ou bailarina nos quere transmitir en escena. Eu quero pensar que hai unha evolución de públicos, de demanda... E sobre todo unha escoita para compartir". 🔊"Para facer unha nova creación de público, hai que traballar pola base da sociedade". 🔊"Este ciclo se chama "Entre formas e palabras", para verbalizar, para compartir con todo tipo de público. Non hai que ter ningun tipo de experiencia previa". Este vindeiro sábado día 5 de outubro terá lugar a quinta edición do festival de danza e artes do movemento 6 Coreógrafas coa seguinte programación. 18.30h Intempestiva (CÍA ELAHOOD) 18.50h Mesura (Raquel Ferradás) 19.10h Minguantes (La Guajira) 19.45h Dance Join (Marta Alonso) Os espectáculos están previstos na Alameda municipal. No caso de choiva, os tres primeiros desenvolveranse na aula de danza do Novo Mercado e o último no Teatro Principal. SECCIÓN OBRADOIROS 10.00h-11.00h / 7-12 anos: Obradoiro de waacking Danza Club a cargo de Elahood (Alameda municipal ou sala Mome no caso de choiva) 11.00h-12.00h / 12-18 anos: Obradoiro de waacking Danza Club a cargo de Elahood (Alameda municipal ou sala Mome no caso de choiva) 13.00h-14.00h / a partir de 18 anos: Obradoiro Discoteca de señoras sesión vermú impartido por Marta Tejada (Praza Novo Mercado ou aula do Novo Mercado en caso de choiva) 👉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/ 📢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/ 🎙️ "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

David Cheezem shares his thoughts on Bertolt Brecht’s 1939 play Mother Courage and Her Children. The play explores the corrosive nature of war, the cyclical futility of conflict, the tension between wartime and peacetime morality, and how individuals become complicit in violence and exploitation for economic gain. 

V oddaji se osredotočimo na določeno temo in jo obdelamo iz mnogih različnih zornih kotov, ali pa damo prostor relevantnim posameznikom in si privoščimo edinstven pogled na izbrano temo skozi njihove oči. Kulturni fokus je tudi analitičen pogovor z ustvarjalci z različnih področij. Zanima ga umetnik v celoti, pri tem pa izhaja iz njegove aktualne umetniške prakse.Bertolt Brecht, ki se je odpovedal svojemu buržoaznemu sloju in se odločil, da bo s svojo vizijo dramatike, pesništva in gledališča podprl boje množic delavskega razreda, je zelo zaznamoval gledališko prakso in teorijo. Vsaka predstava tako lahko postane mikrokozmos prek katerega laže doumemo makrokozmične probleme velikega platna aktualnega sveta. Temačnosti, duhovne pohabljenosti in izprijenosti ali absurdnosti v sodobnih konceptih družb, ki jih je Brecht očitno zaznal v porajanju nemškega nacizma, v stalinistični izdaji komunistične revolucije ali v ameriški obliki ortodoksnega kapitalizma, velikokrat prikaže s kančkom posmehljivosti in ironije. Razumel je radikalna protislovja, zato je menil, da mora biti človek tako radikalen, kot je radikalna dejanskost.Zato, da bi prekinil z naivno iluzionistično in vzgojno prevaro, kar je sodilo v meščansko tradicijo gledališča, ki ne omogoča kreativnih uporov, se je poslužil t.i. odtujitvenega učinka.Režiser in dramaturg Matjaž Berger, ki se v gledališki praksi in teoriji veliko posveča prav Brechtu, meni, da je radikalni reformator gledališča tudi eden največjih mojstrov komunikacije s časom, za katerega je zelo pomemben kriterij razrednega boja, dialektika gospoda in hlapca, medtem ko ga npr. Jakob Ribič, tudi izjemen poznavalec Brechta, večkrat označuje kot pravega homo theatralisa, gledališkega človeka, ki je bil hkrati režiser, dramatik, reformator, tudi pesnik in pisatelj. Vseeno pa dodaja, da moramo upoštevati kolektivno udejstvovanje kroga, ki mu je Brecht pripadal, sploh pa dekonstruirati mit o njem, in se odreči ideološkim kategorijam, s katerimi bi ga lahko povezali ... Fotografija: Borut Peterlin (iz predstave v APT: Življenje in časi Bertolta Brechta)   

Das FSK hatte einen Besuch der Arkadiy Kots Band. Das Nachmittagsmagazin im Gespräch mit den Kolleg*innen der Sendung Tamizdat und der Band in einer Person. Antifaschismus und Repression in Russland. Konzert am Freitag in der Roten Flora mit folgender Ankündigung: Am 19. September tritt in der Roten Flora die russländische antifaschistische Band „Arkadiy Kots“ auf, die zwischen Moskau und dem Atlantik unterwegs ist. Die Gruppe hat sich an Anti-Putin-Protesten, Gewerkschaftsstreiks, Konzerten zur Unterstützung politischer Gefangener sowie an Protesten zum Schutz des Stadtbildes und der Umwelt in verschiedenen Regionen des Landes beteiligt. Sie sind die Autoren russischer Versionen von Liedern von Woody Guthrie, Bertolt Brecht, Boris Vian und Lluís Llach. Die Soziologie des Protests, Antifa-Kunst und politische Poesie in Folk-Punk-Bearbeitung. 19 сентября в Роте Флора выступает Аркадий Коц — российский антифашистский ансамбль, перемещающийся в пространстве от Москвы до Атлантики и обратно. Участники антипутинских протестов, профсоюзных забастовок, концертов в поддержку политзаключенных, градозащитных и экологических протестов в разных регионах страны. Авторы русских версий Вуди Гатри, Бертольта Брехта, Бориса Виана, Луиса Льяка. Социология протеста, антифа-арт и политическая поэзия в фолк-панк обработке.

In der 24. Ausgabe der Speakeasy-Bar sprechen wir zunächst über den Vorschlag von Bodo Ramelow, dass Deutschland eine neue Nationalhymne brauche. Wir sehen das anders, wenngleich die Kinderhymne von Bertolt Brecht ihren Reiz hat. Ole erzählt außerdem von seinen Erfahrungen bei Lanz & Co. Weitere Fragen, die uns beschäftigen, drehen sich um das Thema Populismus. Gibt es den nur von rechts oder links? Kann man auch von einem Populismus der Mitte sprechen, wenn fortwährend von „wir“ die Rede ist? Danach beantworten wir Fragen zum Thema Aufklärung über ökonomische Verhältnisse: Sind Linke in Talkshows ein bisschen feige? Kann es eine linke Bild-Zeitung geben? Sind vulgäre linke Streamer aus den USA eine gute Antwort auf verlogene liberale Diskurse? Dabei geht es auch um Finanzierungsfragen: Was, wenn Linke für Krypto-Börsen Werbung machen würden? Dies und mehr gibt es in der neuen Speakeasy-Bar von „Wohlstand für Alle“ mit Ole Nymoen und Wolfgang M. Schmitt!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/id1476402723Patreon: https://www.patreon.com/oleundwolfgangSteady: https://steadyhq.com/de/oleundwolfgang/about

1️⃣ Fallo desfavorable en el juicio de lesa humanidad “Rosa Novillo Corvalán”.2️⃣ Entrevista telefónica con Lorena Gómez, coordinadora de la CCC en el Barrio 31, sobre la situación actual de lxs cartoneros: represión del gobierno de Jorge Macri y la Policía de la Ciudad, quita de carros en 2024 y panorama laboral en el barrio.3️⃣ La banalización del “Nunca Más” por parte de la derecha y el mileismo.4️⃣ Homenaje a Bertolt Brecht, a 69 años de su fallecimiento.5️⃣ Estado de otros juicios por delitos de lesa humanidad.

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!

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

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/  

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.

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

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.

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)