Podcasts about Bertolt Brecht

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).

»Ich halte nichts von Mitleid, das sich nur in Hilfsbereitschaft und nicht auch in Zorn verwandelt.« Schreibt Brecht in seinem unvollendeten Buch der Wendungen, das posthum 1965 erschien. Brecht reflektiert dabei unter Rückgriff auf fernöstliche Anekdoten seine philosophische Methode der Dialektik. Diese «große Methode» dient ihm zur Analyse der Gesellschaft. Die Klassiker des Marxismus tauchen nur wenig chiffriert auf und Brecht versucht die Kämpfe und Niederlagen des Sozialismus zum Ausgangspunkt einer dialektischen Erneuerung der «großen Ordnung» produktiv zu machen. «Denken wird definiert, als etwas, das dem Handeln vorausgeht», schreibt der ehemalige Professor für Philosophie Wolfgang Fritz Haug zur Grundlage des Herangehens von Brecht. Das Buch ist der Versuch, für den Marxismus eine Verhaltenslehre zu entwickeln. Wie sollen Menschen denken und sich verhalten, um zu einer freien Gesellschaft zu gelangen? Welche Art von Tugenden sollen sie dann leben, wenn alles leicht, gerecht, frei zugeht? Zu Gast bei Alex Demirović ist in dieser Folge Wolfgang Fritz Haug. Der 1936 geborene Haug war bis 2001 Professor für Philosophie an der FU Berlin. Neben zahlreichen Klassikern der marxistischen Debatte der letzten Jahrzehnte und der Herausgeberschaft von «Das Argument» lieferte er auch viele Beiträge zur philosophischen Bedeutung von Bertolt Brecht, z.B. «Philosophieren mit Brecht und Gramsci».

La idea del programa, es reflejar la realidad tal cual es, tanto la obscena opulencia y su macabro cinismo, como la pobreza y el hambre eterno, desenmascarando causas y responsables de las penurias que sufre el Pueblo y que los grandes medios de comunicación ocultan muchas veces y tergiversan otras tantas, como también lo hacen con los reclamos y luchas en nuestro país y en el mundo, para cambiar esas realidades.Quienes hacemos este programa, nos referenciaremos en el construir, en el habitar, en las (muchísimas más) que las tres dimensiones -ancho largo y alto- que el hecho construible abarca, implica, entrelaza.Acá aparecerán las necesidades, las problemáticas y los deseos y aspiraciones de nuestro Pueblo en algo tan primario y necesario como el habitar, en todos sus aspectos, desde el lugar donde una familia pueda vivir, estudiar, atender su salud, al espacio público, a la vereda y la calle, a los parques y las plazas.Donde compañeras que viven en los barrios populares nos puedan contar como fue que en la crisis post 2001 pudieron construir con sus compañeras de su organización político social un comedor en medio del barrio, en su propia vivienda, y como crecieron y siguen dando pelea frente al abandono y la crueldad del “Ministerio de Capital Humano”.Estarán en el programa las/os estudiantes y sus docentes que han realizado y avanzan en distintas experiencias buscando replantear su formación, para poner sus conocimientos al servicio de diseñar y construir para las grandes mayorías y no sólo a cada vez más reducidas minorías.Un programa que aporte también desde lo específico a entender por qué lo que sucedió en Bahía Blanca, no es una tragedia inevitable, por qué la infraestructura depende de decisiones políticas y también de diseños que prioricen las necesidades populares.Un programa donde podamos intercambiar sobre el histórico problema de los alquileres, tremendamente agravado en este gobierno y difundir posibles soluciones para miles de inquilinos que cada vez tienen peores condiciones de vida, incluyendo el terrible drama de quienes cada vez más se ven obligados/as a vivir en la calle.Tendrán lugar las/os trabajadoras/es de la construcción, albañilas/es carpinteras/os de obra, los distintos oficios, sus problemáticas laborales en tiempos de total freno a la obra pública y de achique de la actividad privada. Como también las/os profesionales del Diseño, de la arquitectura, de la gráfica, de la industria, de la imagen y el sonido. Con la experiencia adquirida y con la fuerza joven lanzada a la producción.Las/os compañeras/os desocupadas/os trabajadoras/es de las Cooperativas de Trabajo que realizaron ellas/os mismos obras muy necesarias en sus barrios más humildes, aprendiendo plomería, hidráulica, electricidad…Las pequeñas empresas, los corralones y proveedores. Será un lugar de intercambio para debatir sobre la histórica falta de 3millones de soluciones habitacionales para nuestro Pueblo. Donde podamos conversar con distintos actores para dimensionar la incidencia tremenda en la economía nacional del cierre absoluto de la obra pública y la creciente paralización de la privada con aumentos del m2 de construcción en dólares. Queremos que el programa sea un espacio de reflexión dinámica, que no solo muestre la realidad, sino que la cuestione, que sea un aporte más, para cambiarla. Como dijo Bertolt Brecht respecto al arte: “no debe ser un espejo de la realidad, sino un martillo para cambiarla”. Desde este programa convocamos a un lugar de saberes compartidos y apostamos a que se sumen distintas realidades, ideas, propuestas. Cuantos más seamos, mejor podrá reflejar la realidad que vivimos y que queremos cambiar. Eso sí, como dijo alguien por ahí: no todas las ideas serán respetadas.El racismo no es respetable, la xenofobia no es respetable, la misoginia no es respetable, el fascismo no es respetable. No toda idea es respetable y esas ideas, con el micrófono y la pantalla, las combatiremos.

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.

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Depuis 2021, le Manège de Reims a intégré pleinement dans sa programmation des spectacles de Cabaret, désormais revendiqué comme une des disciplines que nous présentons au même titre que la danse, le cirque et la marionnette. C'est un véritable parti pris, pour un genre jusqu'ici peu représenté dans les institutions, et souvent mal défini, même parfois mal considéré. La place du Cabaret grandit donc depuis ces quelques années au sein de notre théâtre, utilisant la sublime salle du cirque historique pour se révéler, et faisant de plus en plus d'adeptes de tous les âges. Dans cette continuité, Bruno Lobé a proposé à un artiste de Cabaret que nous connaissons depuis longtemps, Jérôme Marin, d'être artiste associé pour trois ans. Il est mon invité du jour, et lors de cet entretien vous comprendrez comment lui aussi a mis du temps à regarder en face sa pratique hybride du spectacle comme étant celle d'un cabarettiste.Le directeur du Manège, Bruno Lobé nous raconte sa rencontre avec lui.

Slumpmässiga händelser och till synes oviktiga detaljer kan förändra hela världens riktning. Michael Azar funderar över historiens alla möjliga vägar. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Om Kleopatras näsa hade varit en aning kortare, så hade hela världshistorien fått ett annat utseende.Jag vet inte om Blaise Pascal har rätt i detta antagande, men det finns någonting djupt tankeväckande – för att inte säga skräckinjagande – i den vision som den franske 1600-tals-tänkaren ställer oss inför.Tänk om vår historia, om var och ens individuella existens, ytterst hänger på sådana små detaljer, på sådana till synes meningslösa tillfälligheter. Vi tror att vi kan påverka historien, vi försöker med vetenskapens hjälp tränga in i de lagar som antas reglera våra liv — och så visar det sig att historiens rörelse i den ena eller den andra riktningen vilar på förförelsekraften i en forntida drottnings framskjutande näsa…Händelserna bakom händelserna – för att låna ett uttryck av Bertolt Brecht – visar sig handla mindre om tvingande orsakskedjor än om synnerligen triviala tilldragelser. Såsom den romerske fältherren Marcus Antonius intensiva förälskelse i Kleopatras anletsdrag, en passion som med tiden inte bara leder dem båda i döden, utan också till rivalen Octavianus upprättande av det romerska kejsardömet.Åtminstone är det så man skulle kunna tolka Pascals fåordiga anmärkning.Eller för att ta ett mer samtida exempel: hösten 1920 råkar kung Alexander av Grekland dö av blodförgiftning efter att ha blivit biten av en av sina apor. Med kungens hastiga dödsfall följer inte bara djup inrikespolitisk turbulens utan också en våldsam förskjutning i den regionala maktbalansen. I en kommentar till händelseförloppet menar Winston Churchill att det inte skulle vara en överdrift att påstå att en enda apas bett härigenom kom att vålla hundratusentals människors död.Utifrån samma perspektiv tycks ibland hela historiens vägval hänga på om en viss kula träffar eller inte träffar sitt mål i ett visst historiskt ögonblick – som till exempel den där ödesdigra dagen i juni 1914 då Gavrilo Princip lyckas skjuta ihjäl den österrikiske ärkehertigen Frantz Ferdinand. Eller den 7 april 1926 då den unga iriska kvinnan – Violet Gibson – tvärtom misslyckas med att träffa Mussolinis huvud och i stället bara rispar hans näsa.”Slumpen är världens bästa romanförfattare”, skriver Honoré de Balzac. Det räcker, förklarar han, med att studera slumpens verkningar för att stimulera den litterära kreativiteten. På ett ställe beskriver Balzac sig rentav som de historiska tillfälligheternas ”sekreterare”, som ett språkrör för det sätt på vilket slumpen genomkorsar det franska samhällets historia och seder.Det är märkliga påståenden med tanke på att samme författare samtidigt hävdar att hans främsta mål är att undersöka ”orsaken eller orsakerna”, det vill säga de underliggande lagar som reglerar det franska 1800-talets sociala verklighet.Balzacs villrådighet utgör i själva verket ett symptom på den tvetydighet som verkar hemsöka all historieskrivning. Ända sedan Herodotos och Thukydides banbrytande verk för närmare 2500 år sedan har historiker försökt navigera mellan dessa båda blickpunkter. Mellan slump och lagbundenhet, mellan det tillfälliga och det nödvändiga, mellan det specifika och det allmänna.Det har visat sig vara en mycket svår balansgång.Å ena sidan behöver historikern utveckla ett sinne för det tillfälliga och det unika i ett historiskt skeende. Men driver man slumpens makt för långt riskerar man att i historien inte se mer än en ”berättelse, berättad av en dåre, full av bråk och vrede och utan betydelse”, för att låna en formulering av Shakespeare.Å andra sidan måste den historiska blicken bortse från tillvarons nycker och tärningskast för att blottlägga de djupgående mönster, maktkamper och lagbundenheter som verkar i det fördolda. Men driver man denna linje alltför långt riskerar man istället att reducera allt som händer till ett utslag av en enda styrande princip. Det må sedan vara den gudomliga försynen, den dialektiska materialismen eller den liberala demokratins omutliga framåtskridande.Så fort man renodlar ett av perspektiven slår det andra tillbaka. Till och med Karl Marx som i sina mest optimistiska stunder tror sig ha blottlagt de principer som styr historien måste i sina konkreta analyser erkänna de små tillfälligheternas betydelse. Några decennier efter Balzacs död förklarar Marx att de omvälvande händelserna under Pariskommunen bör förstås utifrån det kapitalistiska produktionssättets oförlösta motsättningar – men tillägger sedan ändå att den faktiska utvecklingen även påverkas av tusen andra ting, såsom karaktären på de specifika gestalter som leder revolten.Historien, säger Marx, skulle ha ”en mycket besynnerlig karaktär om det inte fanns plats för slump i den”.För att återigen ta en kulas tursamma eller otursamma bana som exempel: Frankrikes och Europas postrevolutionära historia hade troligen sett väldigt annorlunda ut om Napoleon redan år 1796 hade fallit offer för någon av alla de kulor som ven omkring honom under slaget vid Arcola. Ja, visst. Historien skulle säkerligen snabbt ha tvingat fram en annan ledare för Frankrike, men det är långt ifrån säkert att denne skulle ha agerat efter samma mönster och mål som den makthungrige revolutionsgeneralen från Korsika.En mer jordnära analogi kanske kan illustrera saken. Den som vill analysera en bestämd historisk fotbollsmatch gör bäst i att både ha ett öga för de traditioner, principer och regler som gäller inom fotbollen i vidaste mening – och ett vaksamt sinne för den unika karaktären på just de spelare som under den givna dagen står mot varandra. Matchen mellan Sverige och England den 14 november 2012 skulle med stor sannolikhet inte ha fått samma resultat om det inte vore för general Ibrahimovics fyra legendariska mål…Med stor sannolikhet, säger jag. Till historieskrivningens problem hör förvisso att det inte finns någon given metod för att jämföra det som faktiskt har hänt, eller inte hänt, med det som skulle kunna ha hänt. Redan Aristoteles gjorde oss uppmärksamma på detta problem och föreslog därför ett slags arbetsfördelning mellan historikern – som har att begränsa sig till händelser som faktiskt har hänt – och diktaren som i stället bör försöka teckna ”allt det som skulle kunna” hända i människornas värld.Medan den ene sålunda kan säga något om den faktiska storleken på Kleopatras näsa, kan den senare också resonera om de sätt på vilket en näsas form kan väcka de mest våldsamma kärlekspassioner till liv och därigenom – för att återigen citera Pascal – ”bringa härskare, arméer och hela världen ur jämvikt”.Eller rentav skriva en berättelse om hur historien skulle ha artat sig om kung Alexander inte blivit biten av sin apa, om Franz Ferdinand inte gått i graven 1914 – eller om kulan som avlossades mot Donald Trump den 13 juli 2024 hade träffat några centimeter närmare hans näsa.

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

• Musik-Hörspiel • Junge Menschen mit und ohne Migrationshintergrund teilen ihre Erfahrungen: Ausgehend von Bertolt Brechts unvollendetem Drama „Fatzer” entstanden Gespräche und Hip-Hop Tracks über Krieg, Flucht und den Wunsch nach Zusammenhalt. Von Anderer Kunstverein e.V. www.deutschlandfunkkultur.de, Freispiel

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. 

Nach der lauten Zeit des Wahlkampfs und der Wahl zur Bürgerschaft selbst sowie mit der nahenden Reichstagswahl am Horizont gönnt uns der Hamburger Anzeiger vom 28. Oktober 1924 eine Pause zum Durchatmen, indem sie einen leisen Text über das Schweigen abdruckt. Der Artikel sinniert, alltägliche Situationen beobachtend, über den Wert des Schweigens. Der Autor dieser Zeilen Jo Lherman allerdings tat sich sonst nicht durch leise Töne hervor. Über die Jugend des 1898 in Wien als Walter Ullmann geboren Theatermachers, - regisseurs, -gründers, sowie Betrügers, Hochstaplers und Diebes ist nahezu nichts bekannt. Seine Behauptung, mit Bertolt Brecht die Schulbank gedrückt zu haben, kann als falsch betrachtet werden. Zum einen ist sein Leben in den 20er Jahren gekennzeichnet durch die Verfolgung seitens der Justiz wegen zahlreicher Vergehen, Betrügereien, Diebstähle und das Führen einen Doktortitels, den er nicht besaß, zum anderen durch eine unermüdliche Theaterarbeit, in der er Schauspielgruppen und Theater gründete, junge Autoren spielte und auch selber dabei Regie führte. Diese beiden Stränge seines Lebens überschnitten sich dann, wenn sich herausstellte, dass sie Stücke ohne Wissen des Autors gespielt wurden, oder die Schecks, mit denen die Produktion finanziert wurde, nicht gedeckt waren. Es sei noch erwähnt, dass er 1946 als angeblich kubanischer Staatsbürger mit dem Namen Dr. Gaston Oulmán als Radioberichterstatter beim ersten Nürnberger Prozess tätig war. 1949 starb diese schillernde Persönlichkeit, über die viele Gerüchte und Legenden kursieren, aber wenig gesichert bekannt ist, in Paris. Aber zurück zum Schweigen. Frank Riede schweigt zum Glück nicht und denkt für uns laut über das Schweigen nach.

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.

Marina de Tavira es una actriz mexicana de teatro, cine y televisión. Se ha desarrollado principalmente en los escenarios del teatro mexicano, trabajando con los directores más prestigiosos. Ha protagonizado textos de autores como Bertolt Brecht, Harold Pinter, David Mamet, Ximena Escalante, David Hevia, y más.Entre sus últimos trabajos en televisión se encuentran “Ingobernable” para Netflix y “Falco” para Amazon. Ha sido nominada por distintas asociaciones de periodistas teatrales en México y a las Diosas de Plata por su trabajo en el cine.Formó Incidente Teatro junto con Enrique Singer, desde donde han producido “Tragaluz”, “El Río”, “Traición”, “Crímenes del Corazón”, “La Mujer Justa”, “La Anarquista” y “Obsesión”.En cine ha trabajado con directores como Issa López, Rodrigo Plá, Carlos Carrera, Mariana Chenillo, Hari Sama y Alfonso Cuarón. Marina fue nominada al Óscar en 2019 como Mejor Actriz de Reparto por su interpretación del papel de “Sofía” en la multipremiada “Roma”. Por este mismo papel, Marina se hizo acreedora a un Ariel en la categoría de Mejor Coactuación Femenina en la edición 2019 de los galardones más importantes en el cine mexicano.En 2024, protagonizó “El Aroma del Pasto Recién Cortado” de Celina Murga, película producida por el afamado director Martin Scorsese. Además, forma parte del elenco de la puesta en escena de “Un Tranvía Llamado Deseo”.Síguenos en redes:http://instagram.com/cableatierrapodhttp://facebook.com/cableatierrapodcasthttp://instagram.com/tanialicious Hosted on Acast. See acast.com/privacy for more information.

"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)

Hacer click aquí para enviar sus comentarios a este cuento.Juan David Betancurelnarradororal@gmail.comTenemos hoy un cuento basada un una historia de el dramaturgo alemán Bertolt brecht Habia una vez en un reino un rey que estaba muy interesado en que sus súbditos fueran buenos escritores. Para ello creo una publicación para que todos los que quisieran escribir pudieran hacerlo libremente.  La creación de la imprenta fue un hecho glorioso para el reino. Muchos de los habitantes tenían muchas cosas que decir y contar y no tenían como hacerlo ya que no había ningún medio para que sus ideas se publicaran y se conocieran.  Los habitantes inicialmente comenzaron a escribir unas cuantas cuartillas y las enviaban a ser publicadas. Se sentían muy orgullosos de ver sus escritos publicados y leídos por otros.  Pero un efecto comenzó a notarse en aquel pueblo . Todos hablaban de lo escrito, todos mencionaban las ultimas publicaciones, todos querían imitar a quienes escribían. Y comenzó una proliferación indiscriminada de gente que escribía. el numero de artículos comenzó a crecer y a crecer superando enormemente las expectativas iniciales.  Pronto la publicación paso de ser mensual a quincenal y luego a ser semanal y finalmente ya era diaria. Y el tamaño de la publicación había crecido de unas cuantas hojas a cientos de hojas.  Se debía limitar de alguna manera la proliferación de artículos y escritores. Así que decidieron establecer un examen muy riguroso. Convocaron a todos los creadores de contenido a recorrer un mercado que servia de antesala a un enorme salón. Allí reunidos se les daba una hoja de papel y se les pedia que describieran detalladamente lo que habían observado cuando pasaban por el mercado callejero. Luego cuando ya habían terminado se les daba otra hoja y se les pedia que incluyeran más y más detalles, y luego se les daba otra hoja y así se continuaba hasta que se llegaba a cierto numero grande de hojas. Aquellos que no eran capaces de llenar alguna hoja se le prohibia escribir para ser publicado y solamente al final del proceso unos cuantos habrían de completar todas las hojas con todas las observaciones que habían notado en su paso por el mercado.  De todos los cientos de escritores que se habían presentado al examen solamente unas cuantas decenas de ellos habían terminado el proceso, y se sintieron complacidos de que podrían seguir escribiendo en la publicación.  Pero otra prueba se les presento. 

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.

„Was ist ein Einbruch in eine Bank gegen die Gründung einer Bank“, ließ Bertolt Brecht einen seiner Protagonisten in der „Dreigroschenoper“ sagen und wollte damit schon vor über 90 Jahren suggerieren, wie viel Geld man mit Banking machen kann. In dieser Samstagsfolge zeigt unser Gast, dass es doch nicht ganz so einfach ist. Er hat vor mehr als elf Jahren mit N26 eine digitale Bank gegründet und wollte mit 100 Mio. Kunden zum AirBnB des Privatkundenbanking werden. Inzwischen sind die Pläne etwas kleiner geworden, in diesem Jahr will er mit gut vier Millionen ertragsrelevanten Kunden zumindest profitabel werden. Hierzulande bekam seine Bank von der Finanzaufsicht BaFin eine Wachstumsbeschränkung auferlegt. Die ist seit Sommer aufgehoben und nun will er wieder angreifen. Nicht nur die Sparkassen, sondern auch Neobroker wie Trade Republic oder Scalable. Denn er ist überzeugt davon, dass die Kunden langfristig nur eine Finanzen-App haben wollen, mit der sie ihre gesamten Geld- und Anlagegeschäfte machen. Er erklärt, wie man Betrüger erkennt, er verrät, dass Banking noch einfacher wird und er verspricht, dass man bei ihm immer einen Menschen im Kundenservice bekommt. Ein Gespräch mit N26-Gründer Valentin Stalf. Wir freuen uns an Feedback über aaa@welt.de. Ab sofort gibt es noch mehr "Alles auf Aktien" bei WELTplus und Apple Podcasts – inklusive aller Artikel der Hosts und AAA-Newsletter. Hier bei WELT: https://www.welt.de/podcasts/alles-auf-aktien/plus247399208/Boersen-Podcast-AAA-Bonus-Folgen-Jede-Woche-noch-mehr-Antworten-auf-Eure-Boersen-Fragen.html. Disclaimer: Die im Podcast besprochenen Aktien und Fonds stellen keine spezifischen Kauf- oder Anlage-Empfehlungen dar. Die Moderatoren und der Verlag haften nicht für etwaige Verluste, die aufgrund der Umsetzung der Gedanken oder Ideen entstehen. Hörtipps: Für alle, die noch mehr wissen wollen: Holger Zschäpitz können Sie jede Woche im Finanz- und Wirtschaftspodcast "Deffner&Zschäpitz" hören. Außerdem bei WELT: Im werktäglichen Podcast „Das bringt der Tag“ geben wir Ihnen im Gespräch mit WELT-Experten die wichtigsten Hintergrundinformationen zu einem politischen Top-Thema des Tages. +++ Werbung +++ Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte! https://linktr.ee/alles_auf_aktien Impressum: https://www.welt.de/services/article7893735/Impressum.html Datenschutz: https://www.welt.de/services/article157550705/Datenschutzerklaerung-WELT-DIGITAL.html

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

In this episode of Locust Radio we are flipping the script a bit. Instead of Tish, Laura and Adam interviewing someone, Tish and Adam are interviewed by Locust's own Alexander Billet. They discuss, among other things, the Born Again Labor Museum, Adam and Tish's ongoing sited conceptual art and installation project in southern Illinois. An edited and abridged transcript of the interview is available on Alexander Billet's substack. A note: The interview was recorded the weekend before President Joe Biden quit the presidential race and endorsed Vice-President Kamala Harris. Artworks, artists, concepts, histories, and texts discussed in this episode: Jean Baudrillard, America (1989); Walter Benjamin, “Theses on History” (1940); John Berger, Ways of Seeing (documentary and book) (1972); Joseph Beuys; Claire Bishop, Disordered Attention: How We Look at Art and Performance Today (2024); Nicolas Bourriaud, Relational Art (1998); Bertolt Brehct, “A Short Organum for the Theater” (1949); Bertolt Brecht, War Primer (1955); “Carbondale Starbucks Employees Vote to Unionize” (2022); Anna Casey, “Museum examines workers rights through art” (2022); Class and Social Struggle in southern Illinois; Andrew Cooper; Kallie Cox, “Born Again Labor Museum Offers Free Communist Manifestos” (2022); Ben Davis, Art in the After-Culture: Capitalist Crisis and Cultural Strategy (2022); Mike Davis and Hal Rothman, The Grit Beneath the Glitter: Tales from the Real Las Vegas (2002); Marcel Duchamp; R. Faze, “I Live an Hour from My Body” (2021); Mark Fisher, Capitalist Realism: Is There No Alternative? (2008); Eirc Gellman and Jarod Roll, The Gospel of the Working-Class: Labor's Southern Prophets in New Deal America (2011); Francisco Goya, Disasters of War (1810-1820); Boris Groys, “The Weak Universalism” (2010); Jenny Holzer; Barbara Kruger; Michael Löwy, Fire Alarm: Reading Walter Benjamin's ‘On the Concept of History' (2005); Frances Madeson, “At the Born Again Labor Museum, Art is a Weapon for the Working Class” (2022); Karl Marx, The German Ideology (1846); Karl Marx and Freidrick Engels, The Communist Manifesto (1848); Pablo PIcasso, Guernica (1937); Russian Cosmism; Penelope Spheeris, The Decline of Western Civilization (1981); Stop Cop City; Leon Trotsky, Their Morals and Ours (1938); Adam Turl, “Against the Weak Avant-Garde” (2016); Adam Turl, “The Art Space as Epic Theater” (2015); Adam Turl, “Outsider Art is a Lie” (2019) and Adam Turl, “We're All Outsiders Now” (2019); Tish Turl, “Class Revenge Fanfiction” (2022); Tish Turl, “Toilet Key Anthology” (2020); Tish Turl and Adam Turl, Born Again Labor Museum; Tish Turl and Adam Turl, Born Again Labor Tracts; The Wanderers/Peredvizkniki  In other news, the call for submissions for Locust Review 12 is available on our website, check it out.  Locust Radio is produced by Omnia Sol, Alexander Billet and Adam Turl. Its hosts include Adam Turl, Laura Fair-Schulz, and Tish Turl.

[SORRY ABOUT HALEY'S AUDIO, IT'S RIVERSIDE'S FAULT, I PROMISE] A deep-ish dive on Bertolt Brecht's 1918 play Baal & its various adaptations, including the 1970 film starring Rainer Werner Fassbinder & the 1982 film starring David Bowie, with our takes on online theologists and their misguided efforts in the battle against all evil. SHARE THE SHOW WITH ALL YOUR POET FRIENDS & RATE 5 STARS ~ 8pl8s IG: https://www.instagram.com/8pl8s/

durée : 01:39:59 - Les Nuits de France Culture - par : Philippe Garbit - Par Philippe Soupault et Jacques Fayet - Avec Gaston Jung - Interprétation Sylvie Artel, Germaine Montero - Composition Pierre Devevey - Réalisation Guy Delaunay

In this episode of our podcast, DLS co-founder Katy Derbyshire brings us the story of  Therese Giehse, a German actor, pacifist and exile known for founding an anti-Nazi cabaret (which, really, we could all get behind these days). Therese had artistic and other adventures with her lover Erika Mann (daughter of Thomas Mann), was photographed by Annemarie Schwarzenbach, and embodied several of Bertolt Brecht's best-known characters on stage. She also acted in movies with Vivien Leigh and previous DLS star Romy Schneider.   Born in Munich in 1898, she went against her liberal Jewish family's expectations to train as an actor, cast as older characters even as a young woman. The Pfeffermühle cabaret started up in 1933, swiftly moving to Zürich to escape the Nazis. With Erika and Klaus Mann, Giehse toured the political show around Europe, never mentioning any names but using parables and storytelling to rip the piss out of Hitler and his henchmen.    Therese returned to Zürich in 1937, where she joined the outstanding cast at the Schauspielhaus theatre, many of them also emigrants like her. During the war, she performed in the premiere staging of Brecht's anti-war play Mother Courage, defining the title role in what some directors have called the greatest play of the 20th century.    She went on working with Brecht and other key playwrights and directors after 1945, in Munich, Zürich and East Berlin. Therese Giehse maintained her pacifist stance throughout her life, criticizing the Vietnam War at public events. She died in 1975 and is buried with her sister in Zürich.   For more on Therese Giehse, please visit our episode notes at  https://deadladiesshow.com/2024/07/19/podcast-73-therese-giehse   Our theme music is “Little Lily Swing” by Tri-Tachyon https://freemusicarchive.org/music/Tri-Tachyon/the-kleptotonic-ep/little-lily-swing   Check out our Patreon here: www.patreon.com/deadladiesshowpodcast   Thanks for listening! We'll be back with a new episode next month.   **** The Dead Ladies Show is a series of entertaining and inspiring talks about women who achieved amazing things against all odds, presented live in Berlin and beyond. This podcast is based on that series. Because women's history is everyone's history.   The Dead Ladies Show was founded by Florian Duijsens and Katy Derbyshire. The podcast is created, produced, edited, and presented by Susan Stone.    

Bertolt Brecht's classic anti-war play was 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?Next time: Ayn Rand's Atlas ShruggedComing next week on PPF: The Ideas Behind UK General ElectionsSign up now to PPF+ to get 2 bonus episodes every month and ad-free listening www.ppfideas.com Hosted on Acast. See acast.com/privacy for more information.

H. G. Wells' The Time Machine (1895) isn't just a book about time travel. It's also full of late-19th century fear and paranoia about what evolution and progress might do to human beings in the long run. Why will the class struggle turn into savagery and human sacrifice? Who will end up on top? And how will the world ultimately end?Next time: Bertolt Brecht's Mother Courage and Her ChildrenComing soon on PPF: The Ideas Behind UK General ElectionsTo receive our fortnightly newsletter just follow the link here https://linktr.ee/ppfideasSign up now to PPF+ to get 2 bonus episodes every month and ad-free listening www.ppfideas.com Hosted on Acast. See acast.com/privacy for more information.

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)

Endet jede Show mit einem tödlichen Sturz? Das glaubt der vierjährige György, aus dem einmal George Tabori werden soll - frenetischer Drehbuchschreiber, Stückeautor, begnadeter Schriftsteller und der Theaterkönig von Wien und Berlin. Von Jürgen Werth.

Bertolt Brecht (February 10, 1898 – August 14, 1956) was an influential playwright and poet. His poetry is collected in Poems 1913-1956 (1997) and Poetry and Prose: Bertolt Brecht (2003). He wrote a wide variety of poetry, including occasional poems, poems he set to music and performed, songs and poems for his plays, personal poems recording anecdotes and thoughts, and political poems. Poet Michael Hofmann commented, “In the course of a mobile, active and engaged life, the poems were the intelligent, compressed, adaptable and self-contained form for both his private and his public address.”-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe