German poet, playwright, and theatre director
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This is the third live Q&A for The Christ Empire Couldn't Keep, and this week we did everyone's favorite theologian: Anselm. Here's the setup for those who've carried atonement baggage since youth group. The angry God demanding a victim is not Anselm. That caricature is a later invention, and Joerg asks why contemporary conservative theology needs a version of the tradition that the tradition never actually taught. His answer: because empire reshapes God's image in the image of the powerful, to celebrate the top and keep the bottom in check. And here's the surprise — Anselm's God cannotjust forgive and forget, and that's not cruelty; it's the opposite. The tyrant can forgive and forget because the tyrant answers to nothing. Anselm's God is bound by the order of creation. A God who follows the rule of law. (Imagine.) So the satisfaction theory becomes an argument against the Norman practice of bloody revenge, written by a man who watched William the Conqueror's troops cut off the right hand and right foot of every male inhabitant of a village that gave offense. We also got into the feminist divine-child-abuse critique, whether reason is a gentler instrument of empire or just a more effective one, Brecht on banks, techno-feudalism, and a closing riff on economic democracy that got Joerg going and ran out of clock. Next week: Bartolomé de las Casas. The Christ Empire Couldn't Keep is running now. Sign up at homebrewedclasses.com — you don't have to donate anything. You'll get access to all the lectures, you can send in questions by replying to any class email (that's where every question in this Q&A came from), and you'll be connected to the online community working through the material together. You can WATCH the conversation on YouTube Dr. Joerg Rieger is the Distinguished Professor of Theology and the Cal Turner Chancellor's Chair of Wesleyan Studies at Vanderbilt University and founding director of the Wendland-Cook Program in Religion and Justice. For three decades, he has worked to bring together theology and the struggles for justice and liberation that mark our age. His work addresses relations of theology and public life, reflecting on the misuse of power in religion, politics, and economics. His interest is in movements that bring about change and in the positive contributions of religion and theology. His constructive work in theology draws on a wide range of historical and contemporary traditions, with a concern for manifestations of the divine in the pressures of everyday life. Several of his 24 authored and edited books address the topics of this course, including No Rising Tide: Theology, Economics, and the Future; Unified We Are a Force: How Faith and Labor Can Overcome America's Inequalities (with Rosemarie Henkel-Rieger); and Faith, Class, and Labor: Intersectional Approaches in a Global Context (with Jin Young Choi). www.joergrieger.com Previous Episodes w/ Joerg Who Owns the Creed? Joerg Rieger on the Conservative Gimmick and the Surplus They Missed Empire Goes All the Way Down Why Religion Matters Now Theology in the Capitalocene Divine Justice & our Ultimate Concern the End of Religion & Business as Usual Joerg Rieger: Jesus vs Caesar Different Gods, Different Religions? Wild Goose Theology Happy Hour with Joerg Rieger and Emilie Townes The Economy, Election, Ayn Rand-Ryan-Romney, Occupy, & More Occupy the Church! Rita Nakashima Brock, Joerg Rieger, & Christophe Ringer Economics, Theology, and Discipleship JOIN OUR OPEN ONLINE CLASS: The Empire Christ Couldn't Keep Ever notice how Christian nationalism gets talked about like it's some bizarre new glitch in the faith? It isn't — it's a 2,000-year-old arrangement wearing new clothes, and once you see how the pattern works, you can also spot the Christ who keeps slipping free of it. Join theologian Joerg Rieger and Tripp Fuller for The Christ Empire Couldn't Keep, a free six-week online class tracing the holy alliances, imperial creeds, and stubborn resistance that have shaped Christianity from Paul to the present. You'll get six lectures from Joerg, six live Q&As, weekly readings from his book Christ and Empire, and a community of fellow troublemakers thinking it through together. It's free to join, every session is recorded, and it kicks off Thursday, August 27. Grab your spot at HomebrewedClasses.com. This podcast is a Homebrewed Christianity production. Follow the Homebrewed Christianity, Theology Nerd Throwdown, & The Rise of Bonhoeffer podcasts for more theological goodness for your earbuds. Join over 75,000 other people by joining our Substack - Process This! Get instant access to over 50 classes at www.TheologyClass.com Follow the podcast, drop a review, send feedback/questions or become a member of the HBC Community. Learn more about your ad choices. Visit megaphone.fm/adchoices
20. yüzyıl dünya tiyatrosunun ve devrimci sanatın devi Bertolt Brecht'in ölümünün 70. yıl dönümünü yeni geride bıraktık (14 Ağustos 1956). Bu sözün ağırlığını tartmak istiyorsanız Brecht'in yan sütunda yer alan şiirine bakın: “Okuyan Bir İşçi Soruyor”. Bu şiirdeki pedagojiye dikkat! Herkesin aşina olduğu olayları birdenbire başka bir ışığa yerleştiriyor şiir. Sorgulatıyor insana. O güne kadar aşina olanı yabancılaştırıyor. Ve en önemlisi cevap vermiyor, soruyor: “İşte size bir alay öykü/Bir alay da soru.” Brecht, sadece tiyatrosunda değil şiirinde de muhatabını, okurunu, işçiyi, emekçiyi, aktif ve sorgulayan özne haline getirmeye çalışıyor. Al sana sorular diyor. İş başa düşüyor! Yine işçinin başına!Yazımıza dönersek, başlığı okuyan bazı okurlarımız, “demek Brecht Marksist sanatçılar arasında herkesten daha parlak, daha önemli deniyor” diye düşünebilir. Hayır, meramımız o değil. Brecht tiyatroda bildiğimiz kadarıyla en iyidir ama esas söylediğimiz başka: Brecht'in erdemi, sanat alanının Marx'ı olması. Marx nasıl bilimde ve felsefede devrimci pratiğin bilimsel düşüncesini, kılavuzunu, fenerini yaratmışsa, Brecht de Marksist sanatın yol göstericisi, teorisyeni, diyalektisyeni olmuştur. O, Marksist sanatın özbilincidir.Önemli olan Brecht'in sanatı alımlayan topluluğu aktif ve bilinçli hale getirmeye çalışması, sanatın hayatla ilişkisini kurmasını ve görüntünün ardına geçmesini sağlamasıdır. Nasıl Marx kapitalist üretimin toplumsal biçimlerinin ardındaki derin sırrı ortaya çıkararak bütün sınıfları çağdaş toplumda kapitalist ile işçi arasındaki uzlaşmaz çelişki karşısında tavır almak zorunda bırakmıştır, Brecht de onun bilim alanında yaptığını, onun sadık bir öğrencisi olarak sanat alanında yapmaya baş koymuştur. Ve bunu fazlasıyla başarmıştır.Kimileri artık Brecht'in modasının geçtiğini söylüyor. Sanat modayla yürümez. Hayır, Brecht, Marx'a karşı 1970'li yılların sonunda başlayan büyük taarruzun sonucunda, nasıl sanat alanında onunla var olduysa yine onunla birlikte tarihin karanlığına gömülmek istendiği için açık saldırı altında kalmıştır. Bakın Bir Fransız yazar kendi ülkesinde Brecht'in defterinin dürülmesini nasıl anlatıyor:“[Brecht'in] mutlak usta gibi görüldüğü yılı, hatta ayı bile kesin biçimde saptayabiliriz: Nisan 1979. Le Monde gazetesinde, Michel Cournot oyuncuların ve seyircilerin geri zekâlı çocuk muamelesi görmesinden nefret ettiğini yazıyordu. Birkaç gazete, Ionesco'nun, Arrabal'ın [ve başka ünlülerin] imzaladığı bir manifesto ile oyun yazarı-yönetmen Brecht ile öğrencilerinin Stalinist totalitarizmini mahkûm ediyordu. Aynı yıl Guy Scarpetta Grasset yayınevinde Brecht ya da Ölü Asker başlıklı bir kitap yayınlıyordu.” Scarpetta'dan bir alıntı: “Brecht Kamboçya'da ya da Kolıma'da öldü, her nerede Marksizm kendi cisimleşmesinin canavarlığını gün ışığında ortaya koyduysa.” (Aktaran: Olivier Neveux, Brecht et les mauvais temps modernes, La Fabrique Editions, 2026, s. 16-17).Fransa'da anti-komünist “Yeni Filozoflar” Michel Foucault'nun desteğiyle 1975'te Marx'a ve fikir arkadaşlarına büyük bir taarruz başlatmıştı. Hemen dört yıl sonra sıra demek ki Brecht'e gelmişti. Görüyorsunuz, burjuvazinin ve onun yamacına sığınan zengin modern küçük burjuvazinin ideologları Brecht'i neden devirmeye çalışıyor tam da Marx'ın düşünce yoldaşı olduğu için. Sanat alanını, aynen düşünce alanı gibi, sınıf mücadelesinin dışında düşünmek en büyük hatalardan biridir.Brecht hakkında yazılacak çok şey var. Ama yerimiz yok. Bu konuda okura Devrimci Marksizm dergisinin çok yakında yayınlanacak olan 63. sayısında yayınlanacak yazıları okumasını kuvvetle tavsiye edelim.
“Hitler had to abolish democracy to take over Berlin.” — Wendy Lesser “Ich bin ein Berliner” (I Am a Berliner), JFK famously said in West Berlin on June 26, 1963, in the face of Soviet imperial tyranny. Today, Wendy Lesser is offering the same defiance in her new book Berlin Before and After. Only Lesser offers a cautionary mirror for our times of not just post-Soviet Putin but also wannabe-tyrants like Trump. Lesser's loving portrait of Berlin is of a free city. She reminds us that even in Germany's darkest hour, Berlin never actually went Nazi. The city voted left up to and including 1933, so Hitler had to abolish democracy to take it over. Nor, Lesser argues, was Nazism a reaction to Weimar Berlin's Cabaret-style nightlife, any more than Trump is a reaction to wokeness. Economic forces, not cultural ones, she insists, enable dictators. Today's Berlin, as a city that memorializes its own crimes, offers America an urban lesson in acknowledging historical guilt. That's what makes Berlin such a defiant beacon of freedom in our authoritarian age. There are more urbane cities than Berlin, but none quite as dedicated to freedom. Go there and/or read Berlin Before and After. Today we should all be Berliners. Five Takeaways • Our Own 1929 — or 1932? The book began as a love letter to the Berlin Lesser adopted in 2003 — the everywhere writer of Berkeley, New York, and Berlin, against Lampedusa the ultimate somewhere, who never left Sicily and carried Shakespeare through the coffee houses of Palermo. But as she wrote, America's condition worsened: “We were not only in our own 1929, but perhaps in 1930, '31, or even '32 — verging on our own descent into frightening dictatorship.” Hence the subtitle's cautionary mirror — though history, she insists, never exactly repeats itself, and the American analogies came unforced, surfacing every thirty or forty pages without hammering. Being an everywhere, she says, doesn't make you write better — Lampedusa proves that — “but it improves your life,” and it gave her the subjects her native California never could.• Berlin Never Went Nazi. The episode's revelation: the city of Weimar flamboyance never gave the Nazis a majority — Berlin voted left up to and including 1933, and “Hitler had to abolish democracy to take over Berlin.” From which follows her sharpest argument: Nazism was not a backlash against Berlin's sexual and artistic freedoms, “just as I do not see the election of Trump as a reaction to so-called wokeness or trans rights. Cultural manifestations do not cause such government changes. Economic forces do” — wealth gaps, regional deprivation, the east feeling second-class, then and now (the AfD's heartland). The direct equivalences are rhetorical: America's poisoned-blood language on immigrants comes “straight from the Goebbels playbook,” and the rights that flowered in twenties Germany were “instantly squished” in the thirties. As for today: the AfD polls high before Berlin's September city elections, but the firewall holds — and the party is formally flagged by German intelligence as constitutionally dangerous. Andrew's question stands: any vaccines for this thing?• 1929: The Year Everything Premiered. Why that year: Grosz, Sander, and Otto Dix at their peak; Brecht and Piscator both premiering; All Quiet on the Western Front, the underrated Grand Hotel, and Berlin Alexanderplatz in the bookshops — plus Thomas Mann's Mario and the Magician, the novella that predicted fascism; Billy Wilder still a weekly-paper journalist shooting his first film; and Christopher Isherwood arriving on the first visit that became Goodbye to Berlin and, via Broadway, Cabaret. “Only in retrospect do we see these things as major.” The culture flourished beside economic and political chaos — “having a terrible government is not inconsistent with producing good culture. Look at nineteenth-century Russia” — and when the chaos won, the exiles washed up in the German ghetto of Los Angeles: Brecht (on the beach, per this week's Baerwald episode), Döblin, Mann. Many went back — Brecht in 1949, Piscator after — because in Hollywood and New York they “couldn't live on the thin slice of culture,” a homesickness Lesser saw again in Berkeley's own Czesław Miłosz, watching Americans like children playing in a sandbox.• After Means 1989. The title's twist: the After is not the Nazis' arrival but the Wall's fall. The dark half-century — twelve years of Reich, then “with barely a pause to take a breath” the divided city — is deliberately skipped: “the city is going to tell you what happened,” through what its monuments confess, like Bebelplatz's memorial to the burned books of May 1933. Berlin now wears its freedom knowingly: graffiti flourishes precisely because speech was twice policed; May Day's bottle-throwing is tolerated and swept up; Freiheit arrives like the choral finale of Beethoven's Ninth — Andrew's analogy, which she embraced with irony, since “nobody is totally free these days.” The Wall's hothouse island remains separate from Germany half a century on. And the city stays cinematic to the point of unreality — Wings of Desire's angels in the actual Staatsbibliothek (“I thought it was just a set”), Babylon Berlin's set-choosers clearing away the present — with a thriller shelf to match: Deighton's Berlin Game (freshly reread on his death), le Carré's Spy Who Came in from the Cold, Herron, McEwan, Schneider's Wall Jumper.• A Mirror That Might Become Useful. Berlin's deepest lesson is for after the fall: it is the city that acknowledges its bad deeds — monuments and plaques saying this is where we did it — while America “likes to brush it all aside and act like we're always the heroes.” Andrew's pushback landed: Montgomery, Bryan Stevenson's lynching memorial, the African American Museum — “You're right. I'm not being fair.” But the qualification sharpens rather than sinks the thesis: “we do not have a history yet like Holocaust Germany or even Berlin Wall Germany… It's a mirror that might become useful if the worst comes about.” Meanwhile Berlin models the livable city: rent control the voters wanted to push all the way to expropriation, transit worth “ecstasies,” and a constitutional welfare clause promising a dignified existence — economic rights our Bill of Rights never mentions. The book ends aboard the M29 bus, top deck, regular fare, from the Maybachufer's twice-weekly market (running since before 1929) across the old West to Grunewald. “Maybe you're going to be made into a Berlin angel.” “A great fate.” About the Guest Wendy Lesser is the founding editor of The Threepenny Review, the celebrated Berkeley literary quarterly, and the author of a novel and twelve works of nonfiction, including You Say to Brick: The Life of Louis Kahn (winner of the Marfield Prize), Why I Read, and Scandinavian Noir. A fellow of the American Academy of Arts & Sciences, she has held fellowships from the Guggenheim Foundation, the NEH, the Cullman Center — and the American Academy in Berlin, where her love affair with the city deepened. Berlin Before and After: A Cautionary Mirror for Our Times (Harper, September 2026) is her portrait of the city in 1929 and now. She divides her time between B...
In deze aflevering loopt Brecht van Hulten met schrijver Arthur Japin door Londen, de stad die een belangrijke rol speelt in Lord M; de nieuwe roman van Japin. Samen bezoeken Arthur en Brecht locaties die een grote rol spelen in het verhaal. Tussen de wandelingen door hoor je muziek die verbonden is aan het boek. Het Engeland ten tijde van de jonge koningin Victoria. Twee vrouwen en een staatsman – het ware verhaal van ontluikende liefde, spectaculair overspel en onvoorwaardelijke trouw. Wanneer Victoria als achttienjarige koningin van Engeland wordt, vindt zij in haar eerste minister, Lord Melbourne, de vader die zij nooit heeft gehad. Lord M., zoals zij hem noemt, staat haar in alles bij, van staatszaken tot het vinden van de juiste echtgenoot. Gaandeweg wordt zij nieuwsgierig naar Melbournes eigen grote liefde, de beruchte Lady Caroline, zijn vrouw, over wie hij sinds zij is gestorven zwijgt. Stukje bij beetje wordt duidelijk hoe Caroline – door haar temperament, hoge afkomst en androgynie een buitenstaander – hem voor zich won, huwde en publiekelijk te schande maakte door haar onbeantwoorde maar openlijke en ontembare passie voor Lord Byron.
“That's how I would picture fascists: this never-satisfied, dissonant climb to nothing… to ruin.” — David Baerwald Earlier this month, the historian James M. Scott came on the show to talk about those three deadly days in August 1945 when the Americans dropped two nuclear bombs on Japan. Today we return to that war in the skies above Japan. Only with a fictional twist. Behind this fiction, however, is the kind of family saga that few novelists have either the nerve or imagination to invent. It concerns three generations of the Baerwalds. In the Thirties, a German Jewish organic chemist called Ernst Baerwald worked for (of all people) I.G. Farben, the company that manufactured the gas used at Auschwitz. A sophisticated Japanophile, Baerwald was Farben's man in Tokyo, where he hobnobbed with a member of the royal family. American intelligence turned Ernst Baerwald into a spy, using his intimate knowledge of Japan in their firebombing of Tokyo. In exchange, Baerwald fled to the United States with his wife and son Hans, who became a leading authority on 20th century Japanese politics. Hans' son, David Baerwald, meanwhile, became a platinum-selling musician who has worked with Joni Mitchell, Bob Dylan, Rickie Lee Jones, Sheryl Crow, and Bruce Springsteen. Growing up in California, David knew little about Ernst. But seven years ago, while clearing out the family home after the Los Angeles fires, he discovered his grandfather's diaries, photographs, and letters. He found a 1943 speech to the American Intelligence School proving that Ernst, a German Jew who loved Japan, knew the details of the Tokyo firebombing in which 140,000 people died, two years before it happened. “I have no qualifications as a historian,” David Baerwald confesses. So what followed was The Fire Agent, a 624-page novel loosely imagined around his grandfather's enigmatic life. But what David brought to this epic was a lyricist's skill in the kind of musical composition that enabled him to keep characters in play like sections of an orchestra. No wonder then that The Fire Agent is one of the most acclaimed literary debuts of the year. And no wonder that, in our age of looming fascism, The Fire Agent reads as more than just history. Five Takeaways • Papers Found in a Fire. The novel began, appropriately, in flames: during a Los Angeles fire at an old family home, Baerwald discovered his grandfather's papers — among them a 1943 speech delivered at the American Intelligence School in San Francisco, proving that Ernst Baerwald was deeply involved in, or at least privy to, the planning of the Tokyo firebombing two years before the bombs fell in March 1945. The shock was moral as much as archival: everything David knew of his grandfather was how much he loved Japan and hated what happened to it. The contradiction became an obsession, the obsession became an investigation — of one family, and of the joining of industry and fascism in three countries — and the investigation became a novel, because “I have no qualifications as a historian” and a novel allows some jokes to carry the tragedy's weight.• The Man Who Knew Where the Gas Was. Ernst Baerwald, the family's “dye seller,” was nothing so modest: dyestuffs being slang for organic chemistry, he was Asia director of the chemical cartel that supplied IG Farben — the conglomerate that built a work camp at Auschwitz — a violinist mentor to Prince Takamatsu, and a German Jew too valuable to fire until far too late. He helped build Tokyo's natural gas distribution system after the Kanto earthquake, which meant he knew every depot, fuel store, and pumping station in the city he loved — knowledge that made this dual enemy alien mysteriously trusted by American intelligence. His OSS box is nearly empty; the OSS Society's verdict was “he was a commie.” Behind him stands the Philanthropin — the Frankfurt school of the Jewish Enlightenment his father Hermann ran — which raised Ernst antifascist before fascism existed: “before he was a German, before he was an American, before he was a lover of Japan, he was a hater of tyranny.”• “So We Firebombed the Civilians.” The moral reckoning at the book's heart: 140,000 killed in Tokyo, sixty-five more cities burned — while the industrial strip from Tokyo to Yokohama was deliberately spared, because America wanted it intact to rebuild the Japanese economy after the war. Baerwald calls the firebombing “an atrocity of unspeakable terms” and, following Gar Alperovitz, questions the necessity of the atomic bombs — a message to the Soviets more than a strategy against Japan. His father, scheduled for the invasion that never came, felt lifelong relief at Hiroshima — one of many things father and son never discussed. “Why do fathers and sons have problems? A lot of reasons.” The writing became a posthumous reconciliation: “I understand more of my father than I ever did when he was alive. I've forgiven him a lot.” The next book is about him — the UCLA Japan scholar who lost his security clearance to McCarthyism for being insufficiently anti-communist about China.• From Boomtown to The Fire Agent. What a songwriter brings to a 624-page epic: reliability — a working lyricist learns he can “write a page on demand” — and orchestration, since composing instrumental music means keeping track of characters the way you track an orchestra, knowing what each instrument cannot play. Baerwald's formation was the émigré Los Angeles of a breakfast joint on the Pacific Coast Highway where his surf crew gathered mornings — the same tables once shared by Duke Kahanamoku, Bertolt Brecht, and Stravinsky, in the Santa Monica neighborhood of Thomas Mann, on the street where James Dean later lived. Brecht was always his favorite lyricist, a secret he kept: in Los Angeles, admit you want to write songs like Brecht and “they lock you up in a padded room.” The German Jewish musical tradition that fled to his hometown now flows, a generation on, back into prose.• The Music of Fascism. The novel's present-tense purpose: fascist movements “have a very limited vocabulary,” and sometimes it's easier to hear how stupid it is from the mouths of foreigners. The mechanisms — how such movements are funded, how they function, what they do with total power — were identical in Germany, Japan, and Italy, and the contemporary echoes are “impossible to avoid. They're identical.” All three countries ended as rubble. In Japan, where prime minister Takaichi stands in the lineage of Kishi Nobusuke and Nanking denial persists, the conservatives will object; Baerwald hopes to spark debates. And asked what neo-fascism sounds like, he composed it: Kundera's kitsch — the child in the field, the tear on the cheek, “sanitized absurdities because the truth is so bloody awful” — rendered as a music-box melody gradually tortured by Ligeti dissonance, resolving into the Shepard tone: an audio illusion of endless ascent that never arrives. “That's how I would picture fascists: this never-satisfied, dissonant climb to nothing… to ruin.” About the Guest David Baerwald is an award-winning singer-songwriter, composer, and recording artist, best known fo...
durée : 00:42:47 - Les émissions culturelles de France Culture - par : Aliette Hovine - Le 14 août 1956 disparaissait Bertolt Brecht, reconnu comme l'un des plus grands dramaturges du XXᵉ siècle. Olivier Neveux, auteur de l'essai "Brecht et les mauvais Temps Nouveaux", revient sur la carrière et les héritages de cette légende du théâtre. - équipe : Françoise Le Floch, Anne-Toscane Viudes, Théa Corler, Alice Puydebois, Louan Chailleux - invités : Olivier Neveux Professeur d'histoire et d'esthétique du théâtre à l'Ecole Normale Supérieure de Lyon. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
Reinhardt, Anja www.deutschlandfunk.de, Kultur heute
durée : 01:38:27 - Les Nuits de France Culture - par : Albane Penaranda - En 1968, Philippe Soupault consacre son émission "Tels qu'en eux-mêmes" au dramaturge allemand Bertolt Brecht. Pour évoquer son parcours nous écoutons Gaston Jung et la comédienne Germaine Montero qui interprète pour l'occasion plusieurs chansons de "L'Opéra de quatre sous" et de "Mère Courage". - équipe : Mathias Le Gargasson, Antoine Dhulster, Rafik Zénine, Vincent Abouchar, Emily Vallat, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
Eichmann und Heidegger, Brecht und BenjaminHannah Arendts „Vorträge und Aufsätze 1963-1977“ sind großenteils noch immer instruktivHördauer 18 MinutenHannah Arendt zählt zu den bedeutendsten PhilosophInnen, die das 20. Jahrhundert hervorgebracht hat. Bekannter allerdings wurde die jüdische Autorin durch ihre politischen Publikationen und Stellungnahmen, für die sie einerseits von ihren GlaubensgenossInnen, andererseits von Seiten der kommunistischen Linken zwar Widerspruch erntete. Von jüdischer Seite wurde sie wegen ihrer Berichterstattung über den Eichmann-Prozess und der in diesem Zusammenhang bekanntgewordenen, insbesondere auf den Angeklagten gemünzten Sentenz von der „Banalität des Bösen“ kritisiert. Arendt war 1963 als Prozessbeobachterin nach Jerusalem gereist und veröffentlichte regelmäßig Prozessberichte in der Zeitschrift The New Yorker. Noch im gleichen Jahr erschienen diese in Buchform unter dem Titel Eichmann in Jerusalem: A Report on the Banality of Evil. …“Weitere Rezensionen und Informationen zum BuchEine Rezension von Rolf LöchelDen Text der Rezension finden Sie hierKommen Sie doch einmal in unsere Live-Aufzeichnungen in München Realisation: Uwe Kullnick
Katie checks in with scenic designer (Cymbeline, The Wolves, The Chinese Lady, Push Party, Royale, Wolf Play and The Ally as assistant/associate, and my production of The Lucky Ones), Yi-Hsuan (Ant) Ma.
Brechtovo ustvarjanje in horizont komunizma je naslov izbora teatroloških študij o Bertoltu Brechtu, ki je pred desetimi leti izšel pri Knjižnici Mestnega gledališča Ljubljanskega. Avtor študij – te so nastajale od šestdesetih do devetdesetih let – je hrvaški akademik in svetovno priznani brechtolog dr. Darko Suvin. V uvodu k izdaji je poudaril, da Brecht ni bil le dramatik in avtor pomembnih teoretskih spisov o gledališču, temveč tudi eden največjih pesnikov svojega obdobja. »Vse, kar je napisal,« pravi, »je imelo jasno poetsko obzorje in je podajalo nepričakovano ustvarjalno videnje bogate, toda begajoče in naposled krvave resničnosti človeških odnosov v njegovi in moji dobi, ki ga je tudi teoretsko povzel kot potujitveni učinek ali postopek, s katerim nas umetniško delo pripravi do tega, da pogledamo na svet okoli sebe s svežimi očmi, trezno in natančno.« 14. avgusta bo minilo 70 let od Brechtove smrti in ob tej priložnosti vas spet vabimo k poslušanju oddaje, ki jo je pred desetletjem pripravila Petra Tanko. Njena gosta sta bila teatrolog dr. Darko Suvin in avtor spremne besede k izdaji prof. dr. Aldo Milohnić. Redaktorica ponovitve Maja Žvokelj.
Der Weg zurück ins Leben-Podcast - von und mit Christina Bolte. Ich habe mal wieder eine Buchrezension für euch. Und zwar von einem Buch, das mich auf eine bestimmte Art und Weise ganz tief berührt hat. Es geht um das Buch: *"Abgefahren: Vom Mut aufzubrechen und anzufangen - Geschichten aus dem Café-Bus" von Michel Malcin und Helene Volkensfeld Das Buch handelt von Michel, der seinen langjährigen Beruf als Pastor nach einem Burnout aufgibt und sich mit der Frage beschäftigt ... Er beschreibt, wie er dazu kommt, einen riesigen alten Doppeldecker zu kaufen und zu einem Cafébus umzubauen. Und natürlich schreibt er auch von den zahlreichen Begegnungen, die in diesem Bus stattfinden. Und das ist der Grund, weswegen ich jetzt ein bisschen wieder Sehnsucht habe nach so tiefen Gesprächen, die ganz oft einfach auf dem Jakobsweg entstehen, oder wenn auf andere Art die Möglichkeit und die Räume da sind. Deswegen gibt es hier für mich eine ganz klare Leseempfehlung für das Buch hier. Das Buch *"Abgefahren: Vom Mut aufzubrechen und anzufangen - Geschichten aus dem Café-Bus" ist erschienen im Gütersloher Verlagshaus. Es hat eine schöne Aufmachung, mit vielen Fotos, Skizzen und Illustrationen. Es ist für mich auch ein ganz klarer Appell an euch: Brecht auf, macht euch auf den Weg und macht das, was eure Augen zum Leuchten bringt. Infos zu den geplanten Lesereise-Terminen findet ihr auf der Webseite.
In his study of how a new and messy set of codes about playfulness took shape in the postwar US, Peter D. McDonald illuminates how playfulness became essential for understanding cultural, technical, and economic production. From Fluxus to the Easy-Bake Oven to Tetris to SimCity, The Impossible Reversal: A History of How We Play charts the transformation of our understanding of what it means to play. Here, McDonald is joined in conversation with Tiffany Funk and Chaz Evans. Peter D. McDonald is associate professor of design, informal, and creative education in the Department of Curriculum and Instruction at the University of Wisconsin–Madison and author of The Impossible Reversal: A History of How We Play.Tiffany Funk is an artist, critical theorist, and researcher who teaches in the School of Art and Art History at the University of Illinois at Chicago. Funk is editor-in-chief of Video Game Art Reader and author of HPSCHD: Inside John Cage and Lejaren A. Hiller Jr.'s Radical Multimedia Collaboration.Chaz Evans is assistant professor of media arts in the School of Visual Art and Design at the University of South Carolina and author of a forthcoming book in MIT Press's Platform Studies series.REFERENCES:Hannah Higgins / Fluxus Experience Barbara StaffordRube GoldbergGeorge BrechtYoko OnoSeth Giddings / Toy TheoryFredric JamesonBenjamin Patterson / A Game: Three Capacities and One InhibitionShigeko Kubota / Video ChessBrian Sutton-SmithMarjory Allen and the playground movementMouse TrapSimCityPRAISE FOR THE BOOK:"Offers a new model for thinking about imaginative intellectual engagement with the material world."—Amy F. Ogata"Essential reading for scholars of play and games alike—and perhaps even the seed of a new and exciting field of play studies."—Aaron TrammellThe Impossible Reversal: A History of How We Play by Peter D. McDonald is available from University of Minnesota Press. Thank you for listening.
Brecht van Hulten praat met tekenaar Tobi Dahmen over zijn graphic novel Columbusstraat. “Papa, hoe was het eigenlijk voor je in de oorlog? Hoe heeft dit kunnen gebeuren?” De Duitse stripmaker Tobi Dahmen, die al jaren in Utrecht woont, ontsluit in graphic novel Columbusstraat een aangrijpend familieverleden in oorlogstijd. Op basis van historische documenten en persoonlijke getuigenissen van zijn familie schetst hij een oorlogsgeschiedenis die veel verder reikt dan het persoonlijke. Tachtig jaar na het eind van de Tweede Wereldoorlog werpt hij een indrukwekkende blik op de impact van het nationaalsocialisme die indringende vragen oproept over politieke en persoonlijke verantwoordelijkheid. Met veel gevoel en nauwgezet onderzoek creëert Dahmen een werk met emotionele diepgang en historische relevantie. Het boek was een enorm succes in Duitsland en kreeg veel lof. De Rolling Stone noemde het "De beste en belangrijkste graphic novel van het jaar."
Episode 111: The Resistible Rise of Arturo Ui by Bertolt Brecht Host: Douglas Schatz Guests: Stephen Sharkey and Tom Kuhn Welcome to The Play Podcast where we explore the greatest new and classic plays. Each episode we choose a single play to talk about in depth with our expert guest. We'll discuss the play's origins, its themes, characters, structure and impact. For us the play is the thing. Bertolt Brecht's 'gangster spectacle', The Resistible Rise of Arturo Ui is both an exuberant and funny piece of theatre, and a chillingly topical political satire. Set in the 1930s Chicago of Al Capone, Brecht presents a parody of the rise of Hitler through the character of the gangster Arturo Ui. The play is a universal cry for vigilance against the rise of unscrupulous, populist leaders who threaten democratic societies and global peace. As we recorded this episode a new production of the play by the Royal Shakespeare Company was playing in Stratford-upon-Avon, starring Mark Gatiss as the title character. I am delighted to be joined by both the show's translator, playwright Stephen Sharkey, and by Brecht scholar, Professor Tom Kuhn, to guide us through Brecht's political parody.
Brendel, Gerd www.deutschlandfunk.de, Kultur heute
Brecht van Hulten in gesprek met Annette Portegies. Deze maand verscheen het FIEP, een schitterend overzicht van het leven en werk van een van Nederlands bekendste kunstenaars namelijk Fiep Westendorp door Annette Portegies en Gioia Smid. Fiep Westendorp werd beroemd als de vrouw die Jip en Janneke hun uiterlijk gaf. Ze tekende ook Pluk van de Petteflet, Otje, Floddertje, Pim en Pom en tal van andere onsterfelijke kinderhelden. Generatie na generatie groeide op met haar werk, maar zelf bleef ze graag op de achtergrond. Daardoor is het minder bekend dat ze ook muurschilderingen, tijdschriftillustraties en boekomslagen voor volwassenen maakte, en dat ze reclamecampagnes ontwierp voor diverse bedrijven. Aan de hand van haar omvangrijke oeuvre schetsen Annette Portegies en Gioia Smid in FIEP de wereld van Fiep Westendorp, waarin ze haar talent ontdekte, de kunstacademie volgde, geïnspireerd raakte en met vallen en opstaan haar ambitie najoeg. Annette Portegies studeerde Nederlandse taal- en letterkunde en is uitgever. In 2019 verscheen haar biografie Weerspiegeld in een waterglas: Maurice Gilliams 1900-1982.
Check #VZD12InBeeld op Instagram en Facebook!In VZD 12 - onze langste aflevering tot nu toe - gaan we een iets andere toer op dan gewoonlijk: we focussen op recente paleontologische ontdekkingen die niets met dino's te maken hebben. Of toch bijna niets. Passeren de revue: de vroegste levensvormen, Lystrosaurus-embryo's, reusachtige Laat-Krijt-octopussen, mosasauriërs, Laat-Krijt-vogels, walvisvoorouders en ... Iguanodon.Opgenomen op 4 juni 2026.Hoofdstukken:00:00:00 - Intro00:01:22 - Bram vraagt: Wat is Burgess Shale?00:06:01 - Opabinia, Anomalocaris & Hallucigenia00:15:33 - De Cambrische Explosie ... achterhaald00:23:40 - Het leven ontstond in de diepzee00:26:01 - Charnia00:36:57 - Marco vraagt: Een Lystrosaurus-embryo?00:44:35 - Mesosaurus-embryo00:50:26 - Nanaimoteuthis, de Laat-Krijt-"Kraken"00:59:16 - Mosasauriërs en Tylosaurus rex01:07:39 - Brecht vraagt: Laat-Krijt-uilen en -roofvogels?01:16:26 - Asteriornis, een Laat-Krijt-"kip"01:19:34 - Kalakocetus, Pakicetus en de eerste walvissen01:29:29 - Bart vraagt: Foute heupbotten van Iguanodon?01:39:24 - OutroBronnen:● Gaorong Li et al. 2026: Vroege levensvormen uit het Chinese Precambrium https://www.science.org/doi/10.1126/science.adu2291● Scott Evans et al. 2026: Leven ontstond in diepzee https://www.science.org/doi/10.1126/sciadv.aed9916● Rachel Wood et al. 2019: Cambrische "explosie" weerlegd https://doi.org/10.1038/s41559-019-0821-6● Kenshu Shimada et al. 2025: Nieuwe inzichten over Otodus megalodon https://doi.org/10.26879/1502● Julien Benoit, Vincent Fernandez & Jennifer Botha 2026: Lystrosaurus-embryo https://doi.org/10.1371/journal.pone.0345016● Graciela Piñeiro et al. 2012: Oudste gekende embryo https://doi.org/10.1080/08912963.2012.662230● Shin Ikegami et al. 2026: Gigantische Laat-Krijt-octopus https://doi.org/10.1126/science.aea6285● Amelia Zietlow, Michael Polcyn & Ronald Tykoski 2026: Tylosaurus rex https://hdl.handle.net/2246/7549● Daniel Field et al. 2020: Asteriornis https://doi.org/10.1038/s41586-020-2096-0● Mohd Waqas et al. 2026: Kalakocetus https://doi.org/10.1038/s41559-026-03055-9Extra links:● "4.5 Billion Years in 1 Hour" op YouTube-kanaal Kurzgesagt https://youtu.be/S7TUe5w6RHo● Podcast Vogelvertelsels https://open.spotify.com/show/68p449QlfmDZCrU0GQ7vH0● Evolutionaire split tussen uilen en roofvogels op OneZoom https://www.onezoom.org/life/@ACCIPITRIFORMES=4947835?pop=on_893100&otthome=%40Strigiformes%3D1028829#x1118,y621,w1.8244● Foto's van Iguanodon benissartensis in het museum van het Instituut voor Natuurwetenschappen in Brussel https://profjoecain.net/bernissart-iguanodons-royal-belgian-institute-natural-sciences-brussels-profjoecain/#Cambrium #BurgessShale #Opabinia #Anomalocaris #Hallucigenia #LifeInTheUndergrowth #Ediacarium #Precambrium #VroegsteLeven #Kurzgesagt #InANutshell #Paleoart #JoschuaKnüppe #OtodusMegalodon #Reuzenhaai #Sharovipteryx #Longisquama #VroegTrias #Eierleggend #Levendbarend #Lystrosaurus #Mesosaurus #Embryo #TheRiseAndFallOfTheDinosaurs #StephenBrusatte #Nanaimoteuthis #Kraken #Cymbospondylus #Ichthyosauriërs #TylosaurusRex #Mosasauriërs #Inktvissen #Octopussen #Havikachtigen #Uilen #LaatKrijt #OneZoom #Beast #RocksVsClocks #MoleculaireKlok #Kalakocetus #Pakicetus #Walvisvoorouders #IguanodonVragen of suggesties → vogelszijndinos@gmail.comHomepage: https://vogelszijndinos.weebly.comFacebook: https://www.facebook.com/VogelszijndinosInstagram: https://www.instagram.com/vogelszijndinosHomepage Koen: https://www.koenstein.commHomepage Alexander: https://alexanderdecommere.weebly.comCredits:Gastheer — Filmmaker en dino-nerd Alexander DecommereGast — Paleontoloog dr. Koen SteinProductie en postproductie — Alexander DecommereMuziek — Kostas Panagiotou, van Pantheïst: https://pantheist.co.ukVZD-logo — Anke De PotterVogels zijn dino's © Alexander Decommere & Koen Stein
Brecht van Hulten praat met schrijver Jannah Loontjens over haar roman Gala en Zev. Scheveningen, jaren tachtig. Zev groeit op in een buurt waar armoede en geweld het leven bepalen. Gala komt met haar moeder in diezelfde buurt te wonen en wordt verliefd op de jonge drugsverkoper Zev. Als Gala voor haar studie naar Amsterdam verhuist, verliezen ze elkaar uit het oog. Na twintig jaar zoekt Zev haar weer op. Hij is een grote speler in de onderwereld geworden. Hij is rijk en alles lijkt goed te gaan. Totdat zijn beste vriend wordt vermoord en hijzelf wordt opgepakt. De gebeurtenissen confronteren Gala met haar jeugd: kan ze Zevs daden begrijpen, zonder hem te veroordelen?
durée : 00:09:59 - Les émissions culturelles de France Culture - par : Marie Labory - Le théâtre peut-il encore prétendre agir sur le réel ? L'œuvre de Brecht, parfois réduite à quelques concepts, retrouve grâce aux nouvelles générations toute sa force critique, il s'agit alors d'inventer des formes capables de déjouer l'adhésion et de rendre visibles les rapports de domination. - équipe : Laurence Malonda, Boris Pineau, Aïssatou N'Doye, Jules Barbier, Zohra Vignais, Lise Ripoche, Mathi Adjinsoff - invités : Olivier Neveux Professeur d'histoire et d'esthétique du théâtre à l'Ecole Normale Supérieure de Lyon. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
durée : 00:57:59 - Les émissions culturelles de France Culture - par : Marie Richeux - En 1941, alors en exil, Bertolt Brecht compose "La Résistible Ascension d'Arturo Ui", parabole sur l'arrivée au pouvoir des nazis. Le texte paraît dans une nouvelle traduction, précédé d'un essai signé de l'historien Johann Chapoutot. - équipe : Jeanne Aléos, Mathilde Wagman, Marianne Chassort, Alexandre Alajbegovic, Cyril Marchan, Vivien Demeyère, Julie Gastal - invités : Johann Chapoutot Historien français Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France
Brecht van Hulten praat met August Dirks kapitein van narrenschip Azart, en met regisseur Annike Kaljouw die samen met Masha Novikova een documentaire maakte over het schip: Azart, come make art. Vanaf volgende week is deze film in de bioscoop te zien. Het Amsterdamse narrenschip Azart, The Ship of Fools, voer 33 jaar over de wereld als varend kunstwerk om vrolijkheid, theater en muziek te brengen. Levenskunstenaar kapitein August Dirks wilde de V.O.C.-route overdoen, maar dan wel op een andere manier: "Niet om te stelen en te kelen, maar om te spelen en te delen." Door tegenslag onderweg, zet het schip koers naar een laatste spectaculaire ligplaats. De film vertelt de kleurrijke en vrolijke geschiedenis van het schip Azart, met in de hoofdrol kapitein August die al die tijd op het avonturenschip woonde en werkte. Inmiddels is het schip gestrand -letterlijk- op een Zuid-Amerikaans strandje, waar het wonderlijke verhaal nog altijd verder gaat, onder leiding van een groep lokale kunstenaars. Het Amsterdamse Azartplein is genoemd naar deze zottenschuit.
Odcinek #251 w którym z Maciejem Płazą trochę w Radomiu, trochę w Krakowie rozmawiamy o jego powieści "Kasperl i Margit".Zaczynamy od W jak wielkiej powieści realistycznej, zastanawiamy się dlaczego takich powieści w Polsce pisze się niewiele. Przyglądamy się Małgorzacie Krzyńskiej i Kacprowi z Chwaliszewa, głównym bohaterom książki i dyskutujemy o tym co ich różni, a co połączy. Są tu J jak języki różne, N jak narracje osobne, D jak drogi społeczne i życiowe odrębne. Pod lupę bierzemy Berlin i Poznań, dwa miasta, które są osobnymi bohaterami powieści. Idziemy śladem postaci historycznych, od których roi się w książce. Jest Max Reinhardt, są Modrzejewska, Brecht, Mann, Murnau, są wielcy twórcy teatru lalkowego.Zajmuje nas w rozmowie powieść jako R jak rama, świat jako teatr i bohaterowie jako uczestnicy W jak widowiska. W końcu pytam Macieja Płazę o W jak wolność pisania i dochodzimy do wniosku, że "Kasperl i Margit" to właśnie przejaw pisarskiej wolności.
Und noch viel mehr über Brecht am Dönerspieß, den V-Effekt bei Britney Spears und wieso Stil auch nur eine Masse ist.Musik: Someone Else's Memories by Revolution Void licensed under a Creative Commons Attribution License.
Brecht van Hulten in gesprek met theatermaker Gerold Guthman. Guthman komt praten over de nieuwe voorstelling van theatergroep Vis à Vis, getiteld Carrousel. Carrousel is de eerste grote Vis à Vis regie in handen van Gerold Guthman. Als acteur is hij al 28 jaar één van de vaste gezichten van het gezelschap. Guthman koesterde al lange tijd de wens om een voorstelling te maken geïnspireerd op zijn eigen familie en de thema's die tussen verschillende generaties spelen. Tijdens zijn research ontdekte hij een onderbelicht stuk geschiedenis over hoe Surinaamse mensen op de Wereldtentoonstelling in 1883 als bezienswaardigheid werden tentoongesteld. In Carrousel verweeft hij een familieverhaal over erfopvolging met dit vrijwel vergeten hoofdstuk uit de Nederlandse geschiedenis. Theatergezelschap Vis à Vis speelt sinds 2007 openluchtvoorstellingen bij het Almeerderstrand. Luchtige comedy, verbluffend spektakel en vernuftige verhaallijnen leiden het publiek met een knipoog langs de afgrond van zware dilemma's.
Mats Almegård har nyligen släppt boken "Brandenburger Tor, Brecht & Berghain – det bästa med Berlin". Vi pratar mycket om den och får ta del av minnen, tankar och historier från den tyska huvudstaden, men även konkreta tips och rekommendationer. Självklart pratar vi även om radioprogrammet han gör tillsammans med Andreas Tilliander – Elektroniskt i P2. Plus en del annat. Mats Almegård på Instagram: https://www.instagram.com/matsalmegard/ Mer om boken: https://www.kaunitz-olsson.com/products/9789189924482 Dansmusikpoddens Patreon, FB-grupp etc: https://linktr.ee/dansmusikpodden
La dramaturga ha estrenado 'Le nozze di Figaro' de Mozart en el Liceu, mientras prepara 'L'òpera de tres rals', de Brecht y Weill, en el Festival Grec. Dos óperas que tienen vasos comunicantes
Keim, Stefan www.deutschlandfunkkultur.de, Fazit
In another busy week Sarah and Alex sit down to discuss whether Peter Schaffer's Equus is really the Adolescence of its day - and how relevant Brecht's warnings about totalitarianism and war still feel. Plus a new report on theatre pricing prompts some new thinking Hosted on Acast. See acast.com/privacy for more information.
Le metteur en scène Ludovic Lagarde met en scène le texte du dramaturge Martin Crimp Des hommes endormis. Une pièce à voir à l'Athénée jusqu'au 24 mai. Amour, boulot, pouvoir, désir : deux couples tâtonnent, tentent de faire le point, pour se dire… ou ne pas se dire des choses, le temps d'une nuit, une nuit propice à la parole et à la divagation. Le texte de Crimp est fait de conversations, un peu hachées, un peu fragmentaires, où l'exploration du thème de la violence n'est jamais loin. La pièce démarre à deux heures du matin : Paul, qui crée de la danse, et Julia, critique d'art contemporain. Ce couple de quinquagénaires sans enfants mais qui a réussi socialement s'interroge sur son avenir quand surviennent Joséphine – assistante de Julia – et Tilman, jeune couple, futurs parents, invités par Julia. Invités : Ludovic Lagarde, metteur en scène. Il a mis en scène de nombreux auteurs du répertoire – Shakespeare, Tchékhov, Brecht –, mais aussi des auteurs plus contemporains tels que Samuel Beckett, Harold Pinter, Sarah Kane ou encore Olivier Cadiot avec lequel il a beaucoup collaboré. Il met en scène Des hommes endormis. Laurent Poitrenaux, comédien. Il travaille avec Ludovic Lagarde depuis près de 40 ans. Il joue le rôle de Paul dans la pièce. Le texte Des hommes endormis a été écrit par Martin Crimp, un auteur britannnique contemporain né en 1956. Dans ses textes, il aborde, avec un humour grinçant, la question de la violence. Il est l'un des auteurs de théâtre vivants parmi les plus importants. La pièce Des hommes endormis a été créé en 2018 pour la troupe du Deutsche Schauspielhaus à Hambourg. Le texte a été traduit en français par Alice Zeniter, qui a consacré sa thèse à l'auteur britannique et publié aux éditions de l'Arche. À voir au Théâtre de l'Athénée-Louis Jouvet jusqu'au 24 mai. Programmation musicale : L'artiste Ofé et son titre Je sais que tu m'aimes.
Le metteur en scène Ludovic Lagarde met en scène le texte du dramaturge Martin Crimp Des hommes endormis. Une pièce à voir à l'Athénée jusqu'au 24 mai. Amour, boulot, pouvoir, désir : deux couples tâtonnent, tentent de faire le point, pour se dire… ou ne pas se dire des choses, le temps d'une nuit, une nuit propice à la parole et à la divagation. Le texte de Crimp est fait de conversations, un peu hachées, un peu fragmentaires, où l'exploration du thème de la violence n'est jamais loin. La pièce démarre à deux heures du matin : Paul, qui crée de la danse, et Julia, critique d'art contemporain. Ce couple de quinquagénaires sans enfants mais qui a réussi socialement s'interroge sur son avenir quand surviennent Joséphine – assistante de Julia – et Tilman, jeune couple, futurs parents, invités par Julia. Invités : Ludovic Lagarde, metteur en scène. Il a mis en scène de nombreux auteurs du répertoire – Shakespeare, Tchékhov, Brecht –, mais aussi des auteurs plus contemporains tels que Samuel Beckett, Harold Pinter, Sarah Kane ou encore Olivier Cadiot avec lequel il a beaucoup collaboré. Il met en scène Des hommes endormis. Laurent Poitrenaux, comédien. Il travaille avec Ludovic Lagarde depuis près de 40 ans. Il joue le rôle de Paul dans la pièce. Le texte Des hommes endormis a été écrit par Martin Crimp, un auteur britannnique contemporain né en 1956. Dans ses textes, il aborde, avec un humour grinçant, la question de la violence. Il est l'un des auteurs de théâtre vivants parmi les plus importants. La pièce Des hommes endormis a été créé en 2018 pour la troupe du Deutsche Schauspielhaus à Hambourg. Le texte a été traduit en français par Alice Zeniter, qui a consacré sa thèse à l'auteur britannique et publié aux éditions de l'Arche. À voir au Théâtre de l'Athénée-Louis Jouvet jusqu'au 24 mai. Programmation musicale : L'artiste Ofé et son titre Je sais que tu m'aimes.
Le metteur en scène Jean Bellorini met en scène le roman du lauréat du Prix Goncourt 2018 « L'ordre du jour » d'Éric Vuillard. Dans les moindres détails, Éric Vuillard raconte dans son récit L'ordre du jour le rendez-vous entre Hitler et les industriels allemands, le 20 février 1933, mais aussi le diner entre Chamberlain alors Premier ministre britannique et Ribbentrop, ambassadeur d'Allemagne en Angleterre ou encore les préparatifs à l'invasion de l'Autriche par l'Allemagne en mars 1938… Ce roman couronné par le Prix Goncourt en 2017 est aujourd'hui adapté par Jean Bellorini à la Comédie française. Du roman à la scène Ce n'est pas la première fois que Jean Bellorini adapte un roman au théâtre, puisqu'il avait déjà mis en scène Les frères Karamazov de Dostoïevski, À la recherche du temps perdu de Proust ou encore les Misérables de Hugo. « C'est ce qu'il y a de plus théâtral selon moi, le théâtre récit. C'est très important de se retrouver autour d'une oeuvre ». Rendre hommage au théâtre Pour incarner les vingt-quatre pardessus noirs inquiétants, ces industriels allemands qui pénètrent dans la résidence officielle du président, Jean Bellorini fait appel à quatre comédiens de la Comédie-Française, affublés de masques rappelant ceux des carnavals du nord de la France. À leurs pieds, vingt-quatre paires de chaussures noires, savamment disposées en carré, complètent ce tableau. Derrière les masques, les figures de pouvoir paraissent d'autant plus fortes… et d'autant plus inquiétantes. Quant au dîner entre Chamberlain et Ribbentrop, il se métamorphose en cabaret clownesque. Ce dispositif confère aux personnages une dimension grotesque et distanciée, en forme de clin d'œil à Brecht. Il s'agit de « rendre plus intelligent par l'émotion et le rire ». Invité : Jean Bellorini. Né le 18 juin 1981 à Paris, Jean Bellorini est un metteur en scène de théâtre français. Ses mises en scène ont été récompensées par plusieurs prix, notamment le Molière du metteur en scène d'un spectacle du théâtre public en 2014. Il est nommé directeur du Théâtre Gérard-Philipe de Saint-Denis en novembre 2013. Il dirige ensuite le Théâtre national populaire (TNP) de Villeurbanne à partir de 2020. Il dirigera le Théâtre de Carouge en Suisse dès janvier 2027. Il a mis en scène de nombreux auteurs, classiques comme contemporains : Tchekhov, Victor Hugo, Shakespeare, Novarina. Programmation musicale : L'artiste le Rat Luciano avec le titre Au nom de...
Le metteur en scène Jean Bellorini met en scène le roman du lauréat du Prix Goncourt 2018 « L'ordre du jour » d'Éric Vuillard. Dans les moindres détails, Éric Vuillard raconte dans son récit L'ordre du jour le rendez-vous entre Hitler et les industriels allemands, le 20 février 1933, mais aussi le diner entre Chamberlain alors Premier ministre britannique et Ribbentrop, ambassadeur d'Allemagne en Angleterre ou encore les préparatifs à l'invasion de l'Autriche par l'Allemagne en mars 1938… Ce roman couronné par le Prix Goncourt en 2017 est aujourd'hui adapté par Jean Bellorini à la Comédie française. Du roman à la scène Ce n'est pas la première fois que Jean Bellorini adapte un roman au théâtre, puisqu'il avait déjà mis en scène Les frères Karamazov de Dostoïevski, À la recherche du temps perdu de Proust ou encore les Misérables de Hugo. « C'est ce qu'il y a de plus théâtral selon moi, le théâtre récit. C'est très important de se retrouver autour d'une oeuvre ». Rendre hommage au théâtre Pour incarner les vingt-quatre pardessus noirs inquiétants, ces industriels allemands qui pénètrent dans la résidence officielle du président, Jean Bellorini fait appel à quatre comédiens de la Comédie-Française, affublés de masques rappelant ceux des carnavals du nord de la France. À leurs pieds, vingt-quatre paires de chaussures noires, savamment disposées en carré, complètent ce tableau. Derrière les masques, les figures de pouvoir paraissent d'autant plus fortes… et d'autant plus inquiétantes. Quant au dîner entre Chamberlain et Ribbentrop, il se métamorphose en cabaret clownesque. Ce dispositif confère aux personnages une dimension grotesque et distanciée, en forme de clin d'œil à Brecht. Il s'agit de « rendre plus intelligent par l'émotion et le rire ». Invité : Jean Bellorini. Né le 18 juin 1981 à Paris, Jean Bellorini est un metteur en scène de théâtre français. Ses mises en scène ont été récompensées par plusieurs prix, notamment le Molière du metteur en scène d'un spectacle du théâtre public en 2014. Il est nommé directeur du Théâtre Gérard-Philipe de Saint-Denis en novembre 2013. Il dirige ensuite le Théâtre national populaire (TNP) de Villeurbanne à partir de 2020. Il dirigera le Théâtre de Carouge en Suisse dès janvier 2027. Il a mis en scène de nombreux auteurs, classiques comme contemporains : Tchekhov, Victor Hugo, Shakespeare, Novarina. Programmation musicale : L'artiste le Rat Luciano avec le titre Au nom de...
Sanary-sur-mer – ein kleines Örtchen an der Côte d'Azur, 50 Kilometer östlich von Marseille.1933 hatte Sanary etwa 3000 Einwohner (heute sind es 16.000), ab 1933 wurde Sanary zur Hauptstadt der deutschsprachigen Literatur: Thomas Mann und Familie, Brecht, Lion Feuchtwanger, Joseph Roth, Franz Werfel und seine Frau Alma-Mahler Werfel, Stefan Zweig.All die und einige mehr (Juden, Kommunisten, Gefährdete) waren vor den Nationalsozialisten nach Sanary geflüchtet und lebten dort Tage, Wochen, Monate, Jahre.Was wie Verheißung von Sommer und Leichtigkeit klingt, wurde für sie zum Fluchtort, ihrer literarischen Arbeit und ihrer Sprache beraubt.Seit einigen Jahren erinnert eine Gedenktafel in Sanary mit 68 Namen an jene Exilanten, einen Rundgang zu den ehemaligen Wohnsitzen der exilierten Künstler gibt es auch. Knut Benzner war in Sanary-sur-mer und hat mit Menschen, denen Erinnerungskultur nicht nur ein Wort ist, gesprochen.Videotipp aus der ARD Mediathek: Marseille - Meer und Mistralhttps://www.ardmediathek.de/video/erlebnisreisen/marseille-meer-und-mistral/wdr/Y3JpZDovL3dkci5kZS9CZWl0cmFnLXNvcGhvcmEtZWEyYTFkZGQtNjgyZC00YTU5LThjM2YtMTlkMWNhYjk4NDQz
Mark Gatiss takes on the role he's always wanted to play, the lead in Brecht's Hitler satire The Resistible Rise of Arturo Ui. As the Government considers charging tourists to visit England's national museums, we discuss these proposals with TV executive and arts advocate Sir Peter Bazalgette, who's been an advisor to the DCMS, and Alison Cole - Director, The Cultural Policy Unit think tank. As she releases her new collection of short stories and memoir pieces, The Great Good Places, Dame Margaret Drabble speaks to us about her extraordinary life and career. Legendary playback singer Asha Bhosle has died. Her voice was heard in countless Bollywood films, often lip-synced by the most famous actresses of the day And she inspired UK band Cornershop's song Brimful of Asha. Joining us to discuss her life and glittering career is BBC presenter Nikki Bedi. Presenter: Samira Ahmed Producer: Harry Graham
Giuseppe Episcopo"La sorellina"Raymond ChandlerTraduzione di Gianni PannofinoEdizioni Adelphiwww.adelphi.it«Tra gli investigatori con o senza distintivo, forse solo Maigret può competere con Marlowe quanto a popolarità: del resto Simenon è uno dei pochissimi che, come Chandler, ha infranto ogni barriera tra letteratura mainstream e di genere» («il manifesto»).È una ragazza «minuta, ordinata, dall'aria perbene, con capelli castani pudicamente lisci e occhiali dalla montatura a giorno» quella che si presenta nell'ufficio di Philip Marlowe in una calda mattina di primavera. E se lui accetta di aiutare la giovane, giunta dal Kansas in cerca del fratello scomparso, non è certo per i miseri venti dollari che si vede allungare sulla scrivania, ma per noia, o forse per curiosità – perché è chiaro, almeno per un investigatore privato scaltro come lui, che dietro «il classico aspetto da bibliotecaria» si nasconde in realtà «un'affascinante, piccola bugiarda». Nel mondo freddo e fosco di Marlowe, d'altronde, di rado le cose sono come appaiono, e meno che mai sotto le sfolgoranti luci di Hollywood, dove lo condurrà questa indagine, fra maliose starlet, imperturbabili agenti di spettacolo, gangster costretti a occultare la loro identità e cadaveri con punteruoli da ghiaccio conficcati nella nuca. La patina di glamour che avvolge la città, infatti, maschera ricatti, menzogne, vacuità morale e corruzione – quel torbido paesaggio umano che Marlowe è solito fronteggiare con le sue armi predilette: una caustica ironia e un cinico disincanto. E che Chandler, con la prosa a un tempo poetica e spietata che è la sua cifra, riesce ancora una volta a restituire magistralmente, gettando sull'America del dopoguerra e sulla più rutilante (e illusoria) incarnazione del suo sogno uno sguardo lucido, malinconico e sferzante.Raymond Chandler (Chicago, 1888 - La Jolla, 1959) dopo gli studi in Inghilterra torna in America e si stabilisce in California. Inizia a lavorare nel campo petrolifero, ma nel 1933 collabora con la rivista gialla “Black Mask” che aveva lanciato il genere poliziesco d'azione. Nel 1939 pubblica il suo primo romanzo, Il grande sonno, che ha per protagonista l'investigatore privato Philip Marlowe. Nel 1943 firma un contratto con la Paramount e comincia a lavorare per il cinema come sceneggiatore. Intanto la salute, minata dall'alcol, si deteriora e un anno dopo la morte della moglie, avvenuta nel 1954, Chandler tenta il suicidio. Iniziano i soggiorni in cliniche private per disintossicarsi. Muore prima di aver terminato l'ottavo romanzo di Philip Marlowe, The Poodle Spring Story. Giuseppe Episcopo è ricercatore in Critica letteraria e Letterature comparate presso il Dipartimento di Lingue, Letterature Culture Straniere dell'Università Roma Tre. Dal 2009 al 2022 è stato prima Teaching Fellow alla University of Edinburgh e poi Associate Lecturer alla University of St. Andrews.Ha tradotto in italiano Peter Brooks, Fredric Jameson e Franco Moretti. Ha scritto in volume e rivista su John Adams, Simon Armitage, Brecht, Balzac, Robert Coover, D'Arrigo, Philip K. Dick, Gadda, Primo Levi, Pynchon, Tolstoj, J.R. Wilcock, sulla intermedialità, la radio e il radiodramma.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/
Vijftig jaar geleden eindigde een belangrijke fase in de Nederlandse politieke geschiedenis en begon een volgende. Maar op dat moment zag niemand dat aankomen. Jaap Jansen en PG Kroeger schetsen wat er gebeurde, wat niet gebeurde en hoe ingrijpend de effecten waren voor de Haagse politiek en de Nederlandse samenleving. *** Deze aflevering is mede mogelijk gemaakt met donaties van luisteraars die we hiervoor hartelijk danken. Word ook vriend van de show! Heb je belangstelling om in onze podcast te adverteren of ons te sponsoren? Zend ons een mailtje en wij zoeken contact. *** In 1976 zat het kabinet-Den Uyl al drie jaar. Het had al vele turbulenties overleefd. Het leek een wild avontuur van een progressief kabinet met controversiële plannen. In werkelijkheid was het eerder de zoveelste rooms-rode coalitie, zoals welbekend in de naoorlogse decennia van Willem Drees, wederopbouw en Koude Oorlog. Het vernieuwende zat vooral in de sfeer, het jeugdig elan van ministers die jonger waren dan Rob Jetten nu. Niet langer hoefden ze te worden aangesproken als ‘excellentie', maar gewoon bij de voornaam. En ze droegen op werk soms zelfs een trui. Ook premier Joop den Uyl was allerminst een groot vernieuwer. Wel was hij een gedegen econoom die sterk geïnspireerd werd door beleid van Amerikaanse presidenten als Roosevelt en Johnson. Een klassiek gereformeerde man, vurig prediker en kenner van poëzie, Brecht en Kafka. Hij steunde ten volle het pragmatische en weinig ideologische financieel-economische beleid van zijn twee jonge ministers Wim Duisenberg (PvdA) en Ruud Lubbers (KVP) en schrok niet terug voor fikse botsingen met de vakbonden. Niet minder stevig was zijn boodschap aan de werkgevers. In het hol van de leeuw – bij de christelijke werkgevers - zette hij zijn linkse overtuigingen uiteen over 'beteugeling van het kapitalisme’, winstdeling met werknemers, democratisering van bedrijven en ‘vergemeenschappelijking van de productie’. Niettemin liepen in 1976 de spanningen op. De verkiezingen van 1977 wierpen hun schaduw vooruit. De linkerflank van Den Uyls eigen PvdA was argwanend of de premier wel zuiver in de leer was en wel echt geloofde in polarisatie als strategie. Helemaal ongelijk hadden ze niet: hij was eerder geneigd zijn kabinet 'inzet van de verkiezingen' te maken in plaats van te streven naar linkse dominantie. De PvdA begon progressieve partner D66 steeds meer te zien als overbodig – de Democraten hadden in peilingen steeds minder zetels - en zette in op het politiek 'kraken' van de confessionele partijen. Hun bondgenoot daarbij was – misschien onbedoeld - Hans Wiegel van de VVD, die van de liberale burgerherenpartij een meer volkse partij op de rechtervleugel maakte. Den Uyl beloofde zijn partijkader op weg naar de verkiezingen met vier ‘hervormingswetten’ de sociaaleconomische verhoudingen fundamenteel aan te pakken en met die successen naar de kiezer te gaan. In de regeringsverklaring had hij immers ‘spreiding van kennis, macht en inkomen’ beloofd. Coalitiepartner KVP zag de bui al hangen. Fractievoorzitter Frans Andriessen speelde een ragfijn spel waarin hij die vier weten juist niet als 'links pakket' behandelde, maar elk los van de ander door zijn ministers Dries van Agt en Lubbers juridisch uitvoerig liet uiteen pluizen en economisch op hun inhoud kritiseren. Lubbers mocht de aanval openen en Den Uyl daarmee overrompelen en Van Agt mocht vertragen en details ter discussie stellen. Maar toen de zomer kwam trapte Van Agt op de rem. Andriessen moest 'dimmen' met zijn dreiging van een coalitiebreuk via Lubbers. Niet alleen was het CDA als nieuwe bundeling van KVP met ARP en CHU allerminst klaar voor een verkiezingsstrijd en was Van Agt zelf dat nog minder met zijn droom van een nieuwe baan in het Gouvernement te Maastricht. En net als bij Drees 20 jaar eerder dreigde een explosie in het Oranjehuis. Lockheed was het codewoord dat rondzong. Den Uyl evenaarde Drees als crisismanager. Andriessen moest het kabinet laten aanblijven. CDA-voorzitter Piet Steenkamp kreeg zijn nieuwe partij tijdig op orde. En vond een lijsttrekker die eigenlijk niemand had verwacht, Dries van Agt. Met Prinsjesdag begon de verkiezingscampagne met Den Uyl – inmiddels als 'ome Joop' een soort vader des vaderlands – zélf als inzet van de electorale strijd. Ineens was het politieke landschap helemaal opnieuw getekend. Ter linkerzijde concentreerden de kiezers zich rond de premier en 'dat tweede kabinet-Den Uyl, dat komt er toch!’ Ter rechterzijde concentreerden de kiezers zich rond de VVD, nu een bredere partij. In het burgerlijke midden verblufte Van Agt met een stevig CDA dat allerminst gekraakt was door progressieve polarisatie. De politieke impact hiervan heeft decennialang ons land beheerst. De verhoudingen waren onverwacht overzichtelijk. Drie grote, coherente 'families' domineerden en sloten met elkaar afwisselend coalities. Lubbers, Wim Kok en Jan Peter Balkenende leidden meerdere kabinetten en hun pragmatische aanpak deed de polarisatie vergeten. Zo konden vanaf de jaren ’90 zelfs PvdA en VVD goed met elkaar regeren. Het opmerkelijk stabiele landschap van die brede coalities kwam ten val met de instorting van Balkenende IV met CDA, PvdA en ChristenUnie in 2010. Een nieuwe fase brak aan en ook Jetten en de zijnen passen in dat tijdsgewricht. Na 2010 waren liberalen met Rutte de leidende stroming en kregen de klassieke volkspartijen CDA en PvdA zware klappen. De kabinetten sindsdien waren eigenlijk altijd 'gedoogcoalities' en populisten marcheerden op, terwijl er nooit meer zo’n grote ‘rooms-rood’-achtige coalitie aantrad. *** Verder kijken De illusie aan de macht - 1412 dagen kabinet Den Uyl deel 1 (1998) De illusie aan de macht - 1412 dagen kabinet Den Uyl deel 2 (1998) *** Verder luisteren 351 - Politiek als hartstocht: drie jonge bewindslieden uit het kabinet-Den Uyl 325 - De mythe van Joop den Uyl 87 - Het tragische laatste jaar van kabinetten 195 - PvdA en CDA: ooit dominante machtspartijen, nu grote verliezers 123 – Hoe de PvdA in de greep kwam van het neoliberalisme 401 - Adieu Dries! 164 - Dries van Agt, eigenzinnig politicus, paradijsvogel, wereldburger 461 - Ruud Lubbers zag het een slag anders 161 - Hans van Mierlo, een politieke popster 385 - Jan de Koning en het verschil tussen een greppel en de laatste gracht 300 - Ethische politiek: het bijzondere Nederland met zijn 'moreel hoogstaande opvattingen' *** Tijdlijn 00:00:00 – Deel 1 00:48:36 - Deel 2 01:27:04 – Deel 3 01:48:31 – EindeSee omnystudio.com/listener for privacy information.
Sterling K. Brown (Paradise, The People v. O.J. Simpson, This Is Us) is an Emmy and Golden Globe Award-winning actor. Sterling joins the Armchair Expert to discuss learning from his father not to allow what he does for a living to dictate who he is, the benefits of having a good stubbornness, and how speaking in tongues as a child was good acting training. Sterling and Dax talk about meeting his wife as a student at Stanford, his lucky break as a reader for a Brecht play, and developing empathy for Chris Darden while playing him in The People v. O.J. Simpson. Sterling explains his mantra that you can't be a fan and in the game at the same time, the fun of doing his second project with Dan Fogelman, and why he wouldn't change anything that brought him to this point. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Katie checks in with director (Tender Napalm, No Good Things Dwell in the Flesh, currently: Blackout Songs; The Lehman Trilogy, Glengarry Glen Ross, Sea Wall/ A Life as associate), Rory McGregor.
durée : 00:28:45 - Les Midis de Culture - par : Marie Labory - Écrite en 1945, "Le Cercle de craie caucasien" est l'une des pièces emblématiques du répertoire de Brecht. Un conte populaire, baigné de tendresse humaine, qui lui valut un immense succès lors de sa présentation au public parisien il y a aujourd'hui plus de 70 ans. - réalisation : Laurence Malonda - invités : Emmanuel Demarcy-Mota Metteur en scène, Directeur du Théâtre de la Ville-Paris, du Festival d'Automne à Paris
what an honor to interview my friend and singer of one of my favorite bands, Kurt from D.R.I.
durée : 00:09:46 - Les Nuits de France Culture - par : Albane Penaranda - Dans cet entretien de Max Frisch au micro de Marie-Hélène Baconnet en janvier 1976, l'écrivain évoque sa relation avec Bertolt Brecht à qui il porte une immense admiration, mais à qui il s'oppose sur la question du communisme. - réalisation : Virginie Mourthé - invités : Max Frisch
Brody Brecht joins Banter Sessions to discuss his journey as one of the most electric arms in amateur baseball. Known for elite velocity and eye-popping raw stuff, Brecht dives into his development as a pitcher, the mental side of being a baseball player, and refining command. We touch base on being a father and a husband.
Episode 200For today's guest episode it is a welcome return to the podcast for Stephen Unwin. I spoke to Stephen earlier in this Shakespeare and Jonson season to discuss his book ‘Poor Naked Wretches' which examines the way Shakespeare portrayed working people and their significance in the plays. For his next published work Stephen has produced a work that examines Berthold Brecht's lifelong obsession with Shakespeare and which makes the case for reading the two playwrights together. This is part of the Arden Performance Companion series so is slanted towards practical suggestions about how performance of Shakespeare can be achieved through Brechtian techniques.Link to Stephen's website: www.stephenunwin.ukLink to online retailers for ‘Shakespeare and Brecht':Bloomsbury UK: https://www.bloomsbury.com/uk/shakespeare-and-brecht-9781350419612/Bloomsbury US: https://www.bloomsbury.com/us/shakespeare-and-brecht-9781350419636/Amazon UK: https://www.amazon.co.uk/Shakespeare-Brecht-Practical-Performance-Companions/dp/1350419613/ref=asc_df_1350419613Amazon US: https://www.amazon.com/Shakespeare-Brecht-Practical-Performance-Companions/dp/1350419613/ref=sr_1_1Support the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.
Mac the Knife, terror of the London criminal underworld, is a character paradoxically best known to many as the subject of the upbeat, bubbly eponymous 1955, 1959, and 1960 hit single. However, his fictional roots go much deeper, to a nearly 300-year old opera called The Beggar's Opera. From here, Mac's trail led to 1928's The Threepenny Opera, by Bertolt Brecht and Kurt Weill, that is the subject of today's episode. Join Pat and guest Maria Coulter for a conversation about this opera, which is as atypical as it was popular. A classically trained soprano, Maria is able to provide special insights, having performed the role of Lucy Brown in 2022.
Show DescriptionWhy do we turkey when there's so many (better) options for meals, how many hobbies do we really need and why can't we do all of them, Clues by Sam difficulties and doing the puzzle game circuit, does Dave like D&D or does Dave like systems, the ongoing web monetization attempts, and Brecht on range group. Listen on WebsiteLinks Alton Brown Cooks Food | Episode 1: The Big Bird Big Green Egg Tobi Workwear Clues By Sam Stars – Daily Puzzle | Inkwell Games Fields – Daily Puzzle | Inkwell Games Tiled Words 646: Hard Code & Soft Skills – ShopTalk Lasers & Feelings by John Harper Greetings, Scoundrel | Blades in the Dark RPG Monster of the Week – Evil Hat Mothership RPG – Tuesday Knight Games Pathfinder Roleplaying Game | Paizo Baldur's Gate 3 on Steam 633: Thomas Steiner on AI in Chrome and the Web – ShopTalk Web Monetization is Still Inching Along – Frontend Masters Blog Open Letter Interledger Foundation Web Monetization – Chrome Web Store GateHub Grid Paper utilitybend Blog SponsorstldrawHave you ever wanted to build an app that works kinda like Miro or Figma, that has a zoomable infinite canvas, that's multiplayer, and really good, but you also want to build it in React with normal React components on the canvas? Good news! tldraw is the world's first, best, and only SDK for building infinite canvas apps in React. tldraw takes care of all the canvas complexities — things like the camera, selection logic, and undo redo — so that you can focus on building the features that matter to your users. It's easy to use with plenty of examples and starter kits, including a kit where you can use AI to create things on the canvas. Get started for free at tldraw.dev/shoptalk, or run npm create tldraw to spin up a starter kit.
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
Over thirty years ago, D.R.I. vocalist Kurt Brecht authored and published a handful of books which have long since gone out of print. Until now! This month, Blackhouse Records has republished four titles from the legendary crossover king. Brecht talks the band, the books, and more!Music by:GasketD.R.I.Whipping BoyIntro music by:Hot ZonePatreon: https://www.patreon.com/GettingitoutpodcastEmail: dan@gettingitout.netWebsite: http://gettingitout.net/Instagram: @getting_it_out_podcastFacebook: www.facebook.com/gettingitoutpodcastX: @GettingItOutPodSupport this show http://supporter.acast.com/getting-it-out. Hosted on Acast. See acast.com/privacy for more information.
Loucos no poder não são acidente, são consequência da nossa omissão. Eles crescem quando o medo cala, quando a covardia se veste de prudência. Brecht já alertava: “o ventre ainda é fértil de onde saiu a besta”. Cada silêncio nosso é alimento para o tirano. Este Cafézinho é um chamado: basta de plateia. É hora de interromper a farsa e retomar o palco. .... MUNDO CAFÉ BRASIL: https://mundocafebrasil.com Curso Merdades e Ventiras - Como se proteger da mídia que faz sua cabeça? https://merdadeseventiras.com.br/curso/ Conheça o Podcast Café com Leite: https://portalcafebrasil.com.br/todos/cafe-com-leite/ Instagram: https://www.instagram.com/lucianopires/ Para conhecer minhas palestras: https://lucianopires.com.br Vem dar uma olhada na nossa loja: https://lucianopires.com.br/loja Edição e animação: Daniel Pires ....................................................................................................................................................................
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!
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