Podcasts about brecht

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.

Brecht van Hulten praat met illustrator Marit Törnqvist. In Museum Kranenburgh is een tentoonstelling met haar werk te zien onder de titel Verborgen verhalen. Aan de hand van meer dan 100 originele tekeningen van haar hand, veelal begeleid door tekstfragmenten uit haar boeken, nodigt Marit Törnqvist in Verborgen Verhalen kinderen en volwassenen uit naar werelden waarin zij alledaagse gebeurtenissen, grote levensvragen, engagement en oneindige fantasie moeiteloos met elkaar verbindt. In Marits atelier in de villa van Museum Kranenburgh toont Törnqvist tekeningen uit haar oeuvre die voor haar een bijzondere betekenis hebben. Bij de tentoonstelling is een uitgebreid educatief programma ontwikkeld met leespromotie onder jonge kinderen als belangrijkste component. Marit Törnqvist – Verborgen verhalen is tot en met 10 mei 2026 te zien. Verborgen verhalen Törnqvist verhuisde als klein meisje uit Zweden naar Nederland. Op school voelde ze zich een buitenbeentje, maar tekenen, verhaaltjes schrijven en knutselen hielpen haar de realiteit zo nu en dan te ontvluchten. Haar werk als illustrator en schrijver biedt Törnqvist nog steeds de mogelijkheid om persoonlijke ervaringen te verwerken in haar boeken. Dit doet ze op een haast verborgen manier, zoals in de verhalen Wat niemand had verwacht (2009), Het gelukkige eiland (2017)en Schildpad en ik (2022), die zij zowel schreef als illustreerde. Ontmoetingen en engagement Ook Törnqvists leven vol reizen en ontmoetingen met kinderen die soms amper kind konden zijn, heeft zijn sporen nagelaten in haar werk. Niet alleen in haar illustraties en verhalen, maar ook in haar activiteiten als leespromotor. Op vele plekken ter wereld voorzag zij klem geraakte kinderen van boeken. Zo was zij de drijvende kracht achter diverse projecten, waarbij tienduizenden kinderen op de vlucht verwelkomd worden met een boek in hun eigen taal. Marit Törnqvist Marit Törnqvist (SE, 1964) studeerde illustratie aan de Gerrit Rietveld Academie in Amsterdam met onder andere Thé Tjong-Khing als leermeester. Direct na haar studie debuteerde Törnqvist als illustrator met een prentenboek voor Astrid Lindgren, waarna samenwerking met een reeks andere schrijvers volgde. De bekendste samenwerking is die met Hans en Monique Hagen in de kinderdichtbundel Jij bent de liefste (2000). Voor haar tekeningen in het sprookje Pikkuhenki (2005, met tekst van Toon Tellegen) won ze de Gouden Penseel voor beste kinderboekenillustraties. In 2021 ontving zij de IBBY i-Read Outstanding Reading Promotor Award, een internationale prijs voor haar inspanningen op het gebied van leespromotie. In 2024 won Törnqvist de Johannes Vermeerprijs, de staatsprijs voor de kunsten. In 2025 lanceerde ze de stichting Een boek voor jou. De stichting is opgericht om kinderen die als vluchteling naar ons land komen te verwelkomen met een bloemlezing uit de Nederlandse kinderliteratuur, vertaald naar de zes meest gesproken talen in azc's.

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.

Il dossier della settimana di Alphaville dedicata a Bertolt Brecht si propone di indagare il legame tra produzione artistica e responsabilità civile, cercando di capire come la lezione dell'autore tedesco continui a riflettersi nelle pratiche letterarie e sceniche contemporanee. Interverranno tre figure che affrontano il tema da prospettive complementari. Vanni Bianconi, poeta e traduttore, porterà l'esperienza della scrittura che si confronta con la cronaca e la testimonianza dei conflitti attuali. Bianconi è stato infatti uno dei protagonisti dell'avventura della Global Sumud Flotilla, che ha raccontato nel recente libro Wahoo! Un'odissea al contrario. Guido Mazzoni, docente e teorico della letteratura, offrirà una riflessione sui mutamenti storici del concetto di impegno e sulla posizione dell'intellettuale nella modernità. Maddalena Giovannelli, studiosa di teatro e critica, analizzerà la ricezione dell'opera brechtiana e le modalità con cui l'azione scenica può ancora stimolare il senso critico dello spettatore. Insieme, gli ospiti valuteranno se sia ancora possibile, attraverso la poesia e il teatro, fornire una rappresentazione della realtà che ne sveli le strutture profonde, restando fedeli all'esigenza di una letteratura che sia, prima di tutto, strumento di conoscenza.

Brecht van Hulten praat met theatermaker Lotte Dunselman en theaterauteur Jibbe Willems over de voorstelling Perfect girl, die zij maakten voor het gezelschap Mevrouw Ogterop, waar Lotte artistiek leider van is. Perfect girl gaat over de afstand tussen de binnenwereld van mensen en het beeld dat zij van zichzelf neerzetten. In hoeverre weten wij hoe we overkomen op anderen? En als dat niet samenvalt met wie we ‘van binnen' zijn, hoe kunnen we dan oprecht en eerlijk zijn? We ontmoeten Anna in de intimiteit van een sessie met haar coach. Ze blijkt (van zichzelf) duizend ballen hoog te moeten houden om te voldoen aan haar ideaalbeeld. Anna heeft altijd het beeld opgeroepen en bevestigd van iemand met een perfect, op alle fronten geslaagd leven. In haar poging om haar échte verhaal te vertellen, wordt ze belemmerd door angst voor wat de buitenwereld daarvan vindt. Maar die buitenwereld zit – zoals bij iedereen – ook maar in haar hoofd. De therapiesessie ontpopt zich in een psychologische thriller met verrassende plotwendingen.

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.

Brecht van Hulten in gesprek met filmmaker Eddy Terstall. Deze week is zijn nieuwe film Land van Johan te zien in de Nederlandse bioscopen. In Land van Johan volgen we Onno en Gijs, twee vrienden die in de roerige hippietijd vallen voor de dromerige Sonja. Hun driehoeksverhouding speelt zich af tegen de achtergrond van studentenprotesten, flowerpower en de gloriedagen van Ajax. Eddy Terstall maakt in zijn films zedenschetsen van de wereld om hem heen. “Stiekeme propaganda voor de liberale samenleving”, noemde Terstall da ooit. Soms vermomd als een buddy movie, zoals bij Simon, maar vaak ook in de vorm van low budget romantische komedies. Hufters en hofdames, de Boekverfilming, en Deal. Met Rent-a-friend maakte hij een parodie op de consumptiemaatschappij en met Vox Populi parodieerde hij de Haagse politieke cultuur.

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

Antonella Romeo"La ragazza con la fisarmonica"Esther BéjaranoDall'orchestra di Auschwitz alla musica RapEdizioni Seb27www.seb27.itA cura di Antonella Romeo. Prefazione di Bruno Maida. Allegato DVD "Esther che suonava la fisarmonica nell'orchestra di Auschwitz", regia di Elena Valsania (Felìz)lunedì 26 Gennaio 2026 - 21:00Mondovì, Cinema-Teatro BarettiLa ragazza con la fisarmonicaDall'orchestra di Auschwitz alla musica RapCon la proiezione del film documentario: Esther che suonava la fisarmonica nell'orchestra di AuschwitzIntervengono:Antonella Romeo (curatrice del volume) dialoga con Elena Valsania (regista del film documentario allegato al volume)Interviene alla fisarmonica Manuela Almonte.mercoledì 28 Gennaio 2026 - 17:00Moncalieri, Biblioteca Civica “Antonio ArduinoLa ragazza con la fisarmonicaDall'orchestra di Auschwitz alla musica RapCon la proiezione di un estratto dal film documentario: Esther che suonava la fisarmonica nell'orchestra di AuschwitzIntervengono: Giuseppe Bonfratello (Centro di documentazione “Antonio Labriola”), Antonella Parigi (assessora alla Cultura Città di Moncalieri), Marco Prina (presidente Anpi Moncalieri), Antonella Romeo (curatrice del volume), Elena Valsania (regista del film documentario allegato al volume)Esther è un'artista, una donna del Novecento, libera nel suo protagonismo femminile praticato più che rivendicato. Lei che ha perso o abbandonato più patrie, ha ricominciato più vite sempre fondate sulla musica, sull'antifascismo e sull'amore verso la famiglia e gli amici disposti a condividere con lei le battaglie politiche contro l'intolleranza, la discriminazione, l'esclusione. Questi valori e queste presenze scandiscono il suo racconto: l'infanzia nella Saarland; la deportazione ad Auschwitz e a Ravensbrück, l'emigrazione in Palestina dopo la Liberazione; le nuove discriminazioni subite personalmente in Israele e quelle sofferte dalla popolazione araba, con la quale sperava si volesse costruire insieme il nuovo stato; il ritorno in Germania nel 1960, nella terra che era stata quella dei nazisti che l'avevano perseguitata e che le avevano ucciso i genitori e la sorella; la ripresa della sua attività artistica, quella musica che l'aveva salvata da Auschwitz, intrecciata all'impegno politico. Dalle memorie alle parole di una lunga intervista in cui Esther, consapevole che testimoniare è soprattutto progettare il futuro, ci ricorda che in un mondo pur in continua trasformazione i valori dell'antifascismo e della tolleranza rimangono profondamente attuali e moderni.Esther Loewy Béjarano, nata nel 1924 in Germania, in una famiglia di musicisti di origine ebraica. Deportata ad Auschwitz è messa a suonare nell'orchestra femminile del Lager. Trasferita al campo di Ravensbrück viene impiegata nella manovalanza coatta alla Siemens. Dopo la Liberazione emigra in Palestina. In Israele lavora come cantante e insegnante di musica.  Nel 1960, in dissenso con la politica israeliana, decide di tornare in Germania con il marito Nissim e con i figli Edna e Joram. Ad Amburgo insieme ad altri ex perseguitati fonda l'Auschwitz Komitee Deutschland. Tuttora attiva come cantante con il gruppo Coincidence, creato dalla figlia Edna nel 1988, e più recentemente anche con il gruppo rap Microphone Mafia e il jazz accordionist Gianni Coscia. Il suo repertorio spazia da Brecht a Theodorakis, dai testi contemporanei di denuncia sociale ai canti yiddish tradizionali e della Resistenza.  Così Esther porta presso i più giovani la sua testimonianza di artista e di sopravvissuta, cantando per la pace, la libertà e l'eguaglianza.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/

Brecht van Hulten praat met schrijver Marjolijn van Heemstra over haar roman Nachtgids. Mellie werkt al twaalf jaar succesvol als verandercoach, maar wordt overvallen door een leegte. Ook haar relatie loopt vast. Onverwachts vindt ze troost en betekenis in de donkere stilte van de nacht. Ze start een beweging waarmee ze opkomt voor de nachtelijke duisternis die onder druk staat in een steeds lichtere wereld. Ze organiseert nachtwandelingen, schakelt straatverlichting uit en bouwt aan een glimwormenreservaat. De beweging groeit, ze krijgen de gemeente aan hun zijde en journalisten lopen weg met het verhaal. Totdat ze tijdens een door hen georganiseerde nachtwandeling door het bos stuiten op een bewusteloze vrouw. De vraag rijst of Mellie, als vurig pleitbezorger van nachtelijke duisternis, hier indirect verantwoordelijk voor is. Want maakt de duisternis de nacht niet onveiliger? En is de zingeving van de een, niet een gevaar voor de ander? Terwijl Mellie zich verweert tegen massahysterie en diepgewortelde mythes over duisternis, begint ook bij haar de twijfel te knagen.

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.

Brecht van Hulten in gesprek met Carlijn Kingma, kunstenaar, onderzoeker en cartograaf. Deze maanden heeft Carlijn Kingma een expositie in Brutus Art Space in Rotterdam, getiteld Fear of Falling. De wooncrisis geldt als hét maatschappelijke en politieke probleem van deze tijd. In een grote, extreem gedetailleerde tekening met als titel De machinerie van de volkshuisvesting brengt Carlijn Kingma in beeld wie de spelers zijn, welke mechanismen er op de achtergrond werken en aan welke knoppen gedraaid kan worden. Dit nieuwe werk vormt het hart van de tentoonstelling Fear of Falling. Na een opleiding als klassiek architect aan de Universiteit van Delft ontwikkelde Carlijn Kingma zich tot onderzoeker, kunstenaar en onorthodox cartograaf. In grote tekeningen legt zij de onzichtbare krachten en structuren vast die onze maatschappij vormgeven. Dat leverde haar in 2017 de New Babylon Award op en een jaar later de Architecture Drawing Prize. Kingma heeft geëxposeerd in onder meer Kunstmuseum Den Haag, Het Depot van Museum Boijmans Van Beuningen, Rijksmuseum Twenthe en het Nederlandse paviljoen op de Biënnale van Venetië.

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.

Brecht van Hulten praat met schrijver en antropoloog Roanne van Voorst over haar roman Het zuchten van bomen. Een jonge beukenboom groeit aan de rand van een bos, vlak achter het huis van een bosbouwer, zijn vrouw – een biologe – en hun opgroeiende dochter. Met geduld observeert de boom het dagelijks leven van het gezin en de steeds veranderende wereld om hem heen. Maar op de achtergrond van deze menselijke geschiedenis speelt nog een groter verhaal: dat tussen de mens en de natuur. Het bos dreigt gekapt te gaan worden en de vader probeert er alles aan te doen dat te voorkomen.

Brecht van Hulten praat met violist Janine Jansen. Ze is artistiek leider van het Internationaal Kamermuziek Festival, dat 27 december van start gaat in Utrecht en ook wordt uitgezonden op NPO Klassiek. Janine Jansen koos voor deze uitzending zelf muziek uit die verbonden is aan haar afgelopen jaar, de geschiedenis van het Internationaal Kamermuziekfestival en de editie van 2025.

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.

251210PC Ich will keine Schokolade!Mensch Mahler am 10.12.2025Die Preise für Schokolade steigen und steigen. Grund sind laut der Konzerne die gestiegenen Kakaopreise. Sie sind gestiegen, machen aber lediglich 9% der Gesamtkosten aus. Klar ist: Das Weihnachtsgeschäft garantiert den Absatz – zu fast jedem Preis.Ich habe Glück. Ich brauche keine Schokolade. 5 Minuten im Mund und 5 Jahre auf der Hüfte.Gestern habe ich eine Umfrage gehört. Ich glaube, ich so ziemlich alleine damit. Advent und Weihnachten ohne Kakao und Schokolade? Für viele schlicht undenkbar. Das europäische Lieferkettengesetz wird erheblich aufgeweicht und verschoben: Das EU-Parlament hat Lockerungen zugestimmt, die die Regeln auf größere Unternehmen (ab 5000 Mitarbeitende), die Berichtspflichten für kleinere Firmen verschieben und die Haftung einschränken, wodurch die ursprünglich geplanten strengeren Vorgaben für Menschenrechte und Umwelt in Lieferketten abgeschwächt werden, was vor allem auf Druck der Wirtschaft und einiger Mitgliedsstaaten geschah. Wie oft muss ich eigentlich noch den Brecht zitieren: Erst kommt das Fressen und dann die Moral. Kaum hat man ein wenig etwas erreicht, dann wird das Ganze wieder auf links gedreht. Ich würde mir wünschen, dass wir Schokolade und Kakao in großem Stil beykottieren. Es gibt ja auch noch Spekulatius! Schönen Advent und frohe Weihnachten! Hosted on Acast. See acast.com/privacy for more information.

Brecht van Hulten in gesprek met theatermaker Elvis de Launay. De Launay maakt indruk met haar debuutvoorstelling zee-tuin-jarman. Daarin vertelt ze over haar dode vader Jan Rot, maar vooral over de Engelse kunstenaar Derek Jarman (1942-1994), voor wie ze op het toneel een begrafenis organiseert. Hij helpt haar het gemis van haar vader te verwerken. In zee-tuin-jarman bevraagt, betreurt en bezingt De Launay in een Mis (voor wie mist) begin en einde, geboorte en dood, hoop en teloorgang. Ze brengt een tuin van taal tot bloei met aangespoelde woorden uit The Waste Land, The Tempest, Paradise Lost, het leven en werk van Jarman en eigen pen.

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.

Brecht van Hulten praat met choreograaf en artistiek directeur van het Scapino Ballet Nanine Linning over de voorstelling Anima Obscura. Anima Obscura is een multimediale voorstelling over het verlangen naar onsterfelijkheid. In haar eerste productie voor Scapino neemt artistiek directeur Nanine Linning ons mee op een emotionele reis, van de geheimzinnige praktijken van alchemisten tot de hedendaagse experimenten van biohackers. De dansers zijn hoofdrolspelers in de zoektocht naar het ene elixer voor het eeuwige leven. Anima Obscura is een voorstelling voor een groot ensemble dansers waarin choreografie, video-animatie, hologrammen, kostuumontwerp en muziek samensmelten tot een meeslepende theaterervaring. In de voorstelling klinkt het Ein Deutsches Requiem van Johannes Brahms, versneden met een hedendaagse versie door componist Yannis Kyriakides. Harpist Remy van Kesteren of Milana Zaric speelt live en is onderdeel van de choreografie. 

Annemie Struyf zit niet stil. Ze verhuisde in haar leven al meer dan twintig keer en reist tot op vandaag de wereld rond voor de meest uiteenlopende documentaires. Draagmoeders, Ladies First ,Eviva Espana, Via Annemie ... Voor het VRT1-programma ‘In Hemelsnaam' keerde ze terug naar de zuster van het slotklooster in Brecht en schreef er meteen ook een boek over. Zoveel gezien en zoveel geproefd. En frieten... staan niet op haar verlanglijstje. Honger gekregen na het luisteren en zin in FOODBAG? Met de code FRIETCAST krijg je bij de eerste 3 bestellingen 20 euro korting! Via Foodbag.beAbonneer je op Frietcast op Spotify:  https://open.spotify.com/show/4AxRpCjJJYjx5UBstbKfvM?utm_medium=share&utm_source=linktreeof via Apple Podcasts https://podcasts.apple.com/be/podcast/frietcast/id1649044752Volg Frietcast via Instagram: https://www.instagram.com/frietcast/Kijk via YouTube: https://www.youtube.com/channel/UCrhk4Dhv8lzpFxxnjyPI1lg Volg Petra De Pauw op Instagram: https://www.instagram.com/petra_de_pauwContact: voor samenwerkingen of boekingen: info@frietcast.be In de podcast Frietcast ontvangt Petra De Pauw (Top 10-ranking, frietliefhebber VI) elke week een boeiende frietvriend aan haar tafel. Gebruik het woord 'friet' in je openingszin en elke Belg begint te praten. Enthousiast, vurig, verlangend en gepassioneerd. Frieten, frituren en frietgewoontes zijn het uitgangspunt, de opwarming en de rode draad van deze smakelijke en ongecompliceerde interviews. Maar het leven zo blijkt is meer dan frieten alleen. Achter de frietliefhebber zit een mens met mooie verhalen, interessante meningen en verrassende dromen. Petra haalt ze voor jou uit het vet.

Wüllenkemper, Cornelius www.deutschlandfunk.de, Kultur heute

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.

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

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

In this episode of the Living in Carver County Podcast, host Greg Anderson talks with David Brecht, Director of Finance & Operations for Eastern Carver County Schools (District 112), about the upcoming November 4th school funding referendum.They discuss Minnesota's state funding gap, how local referendums support classrooms in Chaska, Carver, Chanhassen, and Victoria, and how the proposal could affect homeowners' property taxes. You'll learn how housing growth, student enrollment, and inflation shape the district's financial outlook.It's everything voters need to make an informed choice this fall. Learn more at eccsvote.org, call 952-556-6107, or email eccsvote@district112.org

Deze week opnieuw in The Trueman Show: Brecht Arnaert Brecht is terug en dat alweer voor de vijfde keer, waarmee hij inmiddels recordhouder is van de meest teruggekeerde gast in The Trueman Show. In dit gesprek gaat hij verder waar eerdere afleveringen ophielden: van voorspellingen over de tijd waarin we leven tot diepe spirituele inzichten over trauma, liefde en het spel van bewustzijn. Hij vertelt hoe angst en illusies ons gevangen houden, waarom de elite scenario's lijkt te volgen die rechtstreeks uit de Bijbel komen, en hoe juist verbeeldingskracht en overgave ons naar een hogere staat van vrijheid kunnen brengen. In deze podcast:

Storia della cultura europea nei vent'anni tra la fine della Prima guerra mondiale e l'inizio della Seconda. Letteratura e arte tra sconvolgimenti bellici e crisi economica.

https://www.eventbrite.com/e/a-bright-room-called-day-tickets-1657820899939

Paul Buitink gaat in gesprek met Brecht Arnaert van Safecapital over de Franse schuldencrisis, de dreiging van een crack-up boom, en de toekomst van bitcoin en goud.Brecht en Paul bespreken de politieke en schuldencrisis in Frankrijk. Volgens Brecht is het cruciaal om de ontwikkelingen daar nauwlettend te volgen. Zijn conclusie: uiteindelijk zal de euro onhoudbaar blijken. Hij vermoedt bovendien dat er bewust crises worden gecreëerd om verdere centralisatie binnen de EU mogelijk te maken. Zal deze agenda uiteindelijk slagen?Volgens Brecht leven we in geleende tijd. Goud, de traditionele veilige haven, bereikte deze week een all-time high. Kan de prijs nóg verder stijgen, of is dit voor Brecht het moment om (een deel van) zijn goud te verkopen? Hij verwacht een crack-up boom in de markt en legt uit wat dat precies betekent.Hoe kijkt Brecht naar Bitcoin? Hoe ver kan de koers nog oplopen, en vormt quantum computing een bedreiging? Welke rol spelen stablecoins, en moet je eigenlijk kiezen tussen goud en Bitcoin?Tot slot deelt hij zijn visie op de toekomst van China, de dollar en zilver. Kunnen we een periode van deflatie tegemoetzien?Bekijk de website en het evenement van Brecht: https://www.safecapital.eu/product/bz...Bekijk de aflevering met Zeberg:    • Bubble, Crash, Stagflation, Reset Unveiled...   Overweegt u om goud en zilver aan te kopen? Dat kan via de volgende website: https://bit.ly/3xxy4sYTimestamps00:00 Intro02:30 Crisis Frankrijk07:29 Eurocrisis & EU13:30 Gaat goud verder stijgen?17:37 Bitcoin, de Bubbel & Quantum Computing30:09 China & Goud40:49 Goud op de lange termijn & Zilver45:17 België, de Dollar, Deflatie & InflatieTwitter:@Hollandgold:   / hollandgold  @paulbuitink:   / paulbuitink  Let op: Holland Gold vindt het belangrijk dat iedereen vrijuit kan spreken. Wij willen u er graag op attenderen dat de uitspraken die worden gedaan door de geïnterviewde niet persé betekenen dat Holland Gold hier achter staat. Alle uitspraken zijn gedaan op persoonlijke titel door de geïnterviewde en dragen zo bij aan een breed, kleurrijk en voor de kijker interessant beeld van de onderwerpen. Zo willen en kunnen wij u een transparante bijdrage en een zo volledig mogelijk inzicht geven in de economische marktontwikkelingen. Al onze video's zijn er enkel op gericht u te informeren. De informatie en data die we presenteren kunnen verouderd zijn bij het bekijken van onze video's. Onze video's zijn geen financieel advies. U alleen kunt bepalen hoe het beste uw vermogen kunt beleggen. U draagt zelf de risico's van uw keuzes.Bekijk onze website: https://www.hollandgold.nl

Rahmlow, Axel www.deutschlandfunkkultur.de, Studio 9 - Der Tag mit ...

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 ....................................................................................................................................................................

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 ....................................................................................................................................................................

Send us a textGeorge Feltenstein joins host Tim Millard to announce the September Blu-ray releases from Warner Archive. The lineup includes five films from various eras, all receiving meticulous 4K restorations that dramatically improve their visual and audio quality.• Beast of the City (1932): Jean Harlow's breakout film as a leading lady, an MGM attempt at Warner-style gangster pictures, with a new master from 4K scans of preservation elements• The Beggar's Opera (1953): Technicolor British film starring Laurence Olivier in a singing role, based on a 1728 operetta that later inspired Brecht's "Threepenny Opera"• Black Samson (1974): Fan-favorite blaxploitation film with a musical score by Alan Toussaint, scanned from original camera negative• I Died a Thousand Times (1955): CinemaScope remake of "High Sierra" starring Jack Palance and Shelley Winters• Touché Turtle and Dum-Dum: Complete series of 52 Hanna-Barbera cartoons, never before released in its entiretyAlso announced are three multi-film Blu-ray collections coming September 2nd: a six-film Errol Flynn collection, a four-film Greta Garbo collection, and a four-film 1950s sci-fi collection, all offering excellent value at approximately $10 per film.PURCHASE LINKS:Touche Turtle and Dum Dum: The Complete Series Blu-rayTHE BEAST OF THE CITY (1932) Blu-rayI Died A Thousand Times Blu-rayThe Beggar's Opera Blu-rayBlack Samson Blu-rayErrol Flynn 6-Film CollectionGreta Garbo - 4 Film Collection50's SCI-FI - 4 Film CollectionThe Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog Group As an Amazon Affiliate, The Extras may receive a commission for purchases through our purchase links. There is no additional cost to you, and every little bit helps us in the production of the podcast. Thanks in advance. Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. tim@theextras.tv

It's wedding season and Alex is away at one of the numerous celebrations he's been invited to this summer. Which made him and Sarah think about the way that weddings are used on stage, screen and television. As Beth Steel's Till the Stars Come Down packs them in in the West End, they look back at plays by writers such as Lorca, Shakespeare and more surprisingly Brecht have used the conventions, tensions and hidden dramas of marriage to unpick uncomfortable truths about human nature and how sometimes a wedding ceremony will reveal more than than the bride and groom had bargained for. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:43:05 - Les Midis de Culture - par : Élise Lépine - Auteur, illustrateur, dessinateur, Brecht Evens déploie son art avec une force singulière tant à l'échelle de la case, de la page ou du livre qu'à celle des murs de son exposition "Le repaire de la Méduse" à la Biennale du 9ᵉ Art de Cherbourg-en-Cotentin. - réalisation : Olivier Bétard, Alban Peltier - invités : Brecht Evens Peintre, auteur BD

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

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

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

Op zaterdag 19 november 2005 gaat de telefoon bij de huisarts van wacht: Willy meldt in paniek dat zijn vrouw Gilberte dood in bed ligt in hun woning in Brecht. De arts komt ter plekke en kan inderdaad enkel nog haar overlijden vaststellen. Er zijn geen uiterlijke sporen van geweld te vinden, maar later dat weekend begint de arts toch te twijfelen. Hij neemt het zekere voor het onzekere en stapt maandagochtend naar de politie. Hier is aflevering 162! Zit je met iets? Praat bij Tele-Onthaal over wat jou bezighoudt. Bel anoniem en gratis naar 106 (24u/7d) of chat via tele-onthaal.be Ons pakketje van €68,99, nu voor €44,99 én ook nog eens gratis verzending als je de code VOLKSJURYBE gebruikt. 35% korting dus en zo aan je voordeur bezorgd. Beter wordt het niet :-). Zolang de voorraad strekt, op = op dus haast je! Surf naar wijnbeurs.be/volksjury of wijnbeurs.nl/volksjury voor Nederlandse luisteraars. Bestel nu op emma-matras.be - Tot 60% korting tijdens de ZOMER SOLDEN (01/07 tot 31/07) Ontvang 5% extra korting met de code DEVOLKSJURY5 Voornaamste bronnen: De Morgen - 'Eerst een groot pak frieten, dan een cognac' De Morgen - 'We gingen naar het bos om te vrijen' De Morgen - Betrapt op moord, net voor crematie van slachtoffer De Morgen - Het gevecht van Yolande Magy, de oudste vrouwelijke gedetineerde van het land De Morgen - Magy blijft hardnekkig betrokkenheid moordpogingen ontkennen De Morgen - Na zeven jaar cel veroordeeld tot zeven jaar cel De Morgen - Tot 25 jaar cel gevorderd voor Magy en Van Gorp De Morgen - Veroordeelde Magy: Liever sterven dan naar gevangenis De Morgen - Yolande gaf me vier pillen, daarmee moest ik Gilberte verdoven De Morgen - Yolande Magy schuldig bevonden aan moordpoging met pillen De Morgen - Yolande Magy wint en mag gevangenis verlaten HBvL - Dochter Magy: “Ik heb indertijd verklaringen afgelegd onder druk omwille van mijn kinderen” HBvL - Magy ontkent bedreigingen en stalking van slachtoffer Gilberte Timmermans HBvL - Oudste vrouwelijke gedetineerde van België na 7 jaar vrijgelaten omdat ze geen eerlijk proces kreeg HBvL - Yolande Magy heeft volgens gerechtspsychiater egocentrische kenmerken HBvL - “Yolande Magy vroeg specifiek naar Zolpidem” HBvL - Zaak-Magy: “Wel degelijk aan Marokkaanse kennis dodende materie gevraagd” HLN - Binnenkort zijn uwe man en uw huis van mijSee omnystudio.com/listener for privacy information.

In episode 17 of (Pop) Cultural Marxism, Ajay and Isi once again find themselves in the regrettable position of praising the Walt Disney Company. After chatting about recent cultural highlights (Clair Obscur: Expedition 33, a 40th anniversary screening of Kurosawa's Ran, and a Criterion retrospective on Johnnie To), they consider the popular and critical success of Andor's second season, and ask what it means to describe a pop cultural text as “politically timely.” Their conversation turns to extratextual ecosystems (press junkets, interviews), Gilroy's deep engagement with cinematic depictions of fascism and rebellion (Army of Shadows, The Conformist), architecture and costume design, season 2 high points (the Ghorman Massacre, Mon Mothma's Senate speech), the politics of revolutionary alliances, and imperial bureaucracy. Finally, they consider how the show makes the transition—narratively, visually, musically—into the lore-dense timeline of Rogue One and A New Hope, and ponder its uncharacteristically fascistic final scene. (Pop) Cultural Marxism is produced by Ryan Lentini.  Learn more about upcoming courses on our website. Follow Brooklyn Institute for Social Research on Twitter / Facebook / Instagram / Bluesky Shownotes: Clair Obscur: Expedition 33 (Sandfall Interactive) Ran, dir. Akira Kurosawa (1985) Exiled, dir. Johnnie To (2006) Ghost Dog: The Way of the Samurai, dir. Jim Jarmusch (1999) Battleship Potemkin, dir. Sergei Eisenstein (1925) The Battle of Algiers, dir. Gillo Pontecorvo (1966) Army of Shadows, dir. Jean-Pierre Melville (1969) Jean-Paul Sartre, "The Republic of Silence" (1944) The Conformist, dir. Bernardo Bertolucci (1970) Sergey Nechayev, "Catechism of a Revolutionary" (1869) Laleh Khalili, "The Politics of Pleasure: Promenading on the Corniche" Guy Debord, The Society of the Spectacle Bertolt Brecht and Walter Benjamin on Brecht's "Epic Theater" McKenzie Wark, The Beach Beneath the City McKenzie Wark, A Hacker Manifesto

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

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

Last night the winners of this year's Women's Prize were announced. The winner for fiction is Yael van der Wouden for her novel The Safekeep and the non-fiction prize by Rachel Clarke for her book The Story of a Heart, which tracks the lifesaving gift of a transplant. Anita Rani discusses the winning books with the Chair of Judges for the Fiction Prize, author Kit de Waal, and Chair of Judges for the Non-Fiction Prize, journalist and author Kavita Puri.Race Across The World reached its finale on BBC One this week, after a nearly 9,000-mile dash across Asia, from the Great Wall in north eastern China to the southernmost tip of India, via the Himalayan peaks of Nepal. This year's winner were mother and son team Caroline Bridge and her 21-year-old son Tom. Caroline talks to Anita about the experience.An entrepreneur and mother was refused entry to a tech event in London because she had brought her eight-month-old baby with her. Anita speaks to the woman in question, Davina Schonle, and the director and producer Jude Kelly about the issue of banning babies from events of this nature.It's festival season, with Glastonbury starting at the end of June. However it's not just the music and the atmosphere that festival goers need to be thinking about. The UK Health Security Agency has warned that measles is circulating across the country, with high numbers in the South West and London. Anita is joined by the UK Health Security Agency Deputy Director of Vaccination Programmes, Dr Julie Yates - who is the former public health lead in South West on Glastonbury.Grammy-nominated Ute Lemper has had a career spanning stage, film and music. She is renowned for her interpretations of Kurt Weill, Brecht and chanson legends like Marlene Dietrich. Ute won the American Theatre World Award and the Laurence Olivier Award for her performance as Chicago's Velma Kelly both on Broadway and in London's West End, and the Molière Award for her performance as Sally Bowles in Cabaret in Paris. Utel Lemper now has a new album, Pirate Jenny, celebrating the music of legendary composer Kurt Weill. She joins Anita to talk about her passion for his work.Presenter: Anita Rani Producer: Rebecca Myatt

Ab 1940 lebte der Wahlmünchner Thomas Mann im US-Exil in Los Angeles. Wie veränderte die Metropole sein Leben? Warum pflegte er seine Abneigung gegen Brecht auch dort? Wo war sein Frisör? Und warum gibt es keinen Hollywood-Film aus seiner Feder? Auf den Spuren des "Zauberers" unter Palmen.

asses.masses is a unique, 7-hour, live performance that uses video game logic to expand the narrative possibilities and social dramaturgy of experimental theater. With a single video game controller at the front of a movie theater with lights up so everyone can see each other, the audience must negotiate amongst themselves who will step up to play the next section of a narrative game that spans a wide range of different genres from 8-bit pixel art RPG representing the hyperreal to high-res, 3D open world walking simulators representing a fantasy idealized realm. The audience also has to negotiate how to make hundreds of collective decisions that come up in the game from dialogue tree options to which direction to to go to deciding which set of metaphoric political platform issues that should be prioritized for the ensemble cast of socialist Marxist donkeys. They lean upon the binge-watching culture to split the 7 to 8-hour run time into 10 total episodes split into 2-episode chunks that are broken up by 4 different intermissions where snacks and dinner are provided. Here's a description of the story that's told in this long-form format: The unemployed donkeys have one demand: the humans must surrender their machines and give all donkeys their jobs back. But revolution is never easy! asses.masses is a custom-made video game about labour, technophobia, and sharing the load of revolution, designed to be played from beginning to end in a live theatre. This is gaming as performance, an immersive, cheeky, and highly original work. Brave spectators take turns at the controller to lead the herd through a post-Industrial society, where asses are valued more for their hides than their potential. Confronting automation-driven job loss, nostalgia as a barrier to progress, and the role of technology in adaptation, we are encouraged to find space between the work that defines us and the play that frees us. asses.masses is Animal Farm meets Pokémon meets Final Fantasy, as exciting in form as it is in content. No previous gaming (or donkey) experience required. asses.masses is one of the more unique immersive experiences that I've had a chance to have, especially when it comes to mashing up social behaviors that stem from video game culture, but set within a live theatrical context. I saw asses.masses at PAM CUT (Portland Art Museum's Center for an Untold Tomorrow) here in Portland, OR on March 29th, and I had a chance to remotely catch up with the co-creators Patrick Blenkarn and Milton Lim to unpack their journey of blending video games into how stories are told in a live theatrical performance. We also explore how they're exploring new modes of social dramaturgy that leverage insights from couch co-op, live Twitch streams, and video game logic where part of the performance is automated through the video game itself, but it's augmented by the emergent social dynamics of the audience that end up reflecting main narrative themes of managing flows of power, community-building, collective decision-making, and in the case of our screening some actual revolt against an theater nerd/gamer audience member turned heel. Overall, the experience allowed the audience to exercise some muscles of social imagination beyond the Capitalist Realism baseline as elaborated by Mark Fisher's work, and there was a turn-taking between the more cathartic mode of Aristotelian drama and breaking the fourth wall of Brecht's distancing effect / alienation effect. The narrative was initially developed to serve a wide range of game-play mechanics in a live theater context, but the spaciousness of the extended run-time allowed them to explore many deeper philosophical, political, and economic topics that most stories do not have the time to get into. The ensemble cast of archetypal characters each have their own arc, and I found that the ending and epilogue really landed and stuck with me. If you have an opportunity to catch an upcoming scre...