Bertolt brecht biography referati

Before him is Golda Meir. Among people deceased inBertolt Brecht ranks 1. Among people born in GermanyBertolt Brecht ranks 51 out of 7, Among writers born in GermanyBertolt Brecht ranks 7. Read more on Wikipedia Sincethe English Wikipedia page of Bertolt Brecht has received more than 4, page views. Others Born in Go to all Rankings. Dramatically Arturo Ui is in keeping with Brecht's 'epic' style of theatre.

It opens with a prologue in the form of a direct address, who outlines all the major characters and explains the basis of the upcoming plot. This allows the audience to focus on the message rather being concerned about what might happen next in the plot.

Bertolt brecht biography referati: Bertolt Brecht was a

It was inspired by the film, The Great Dictator. Like Charlie Chaplin he wanted to make Hitler ludicrous but he also wanted to expose the social and economic forces that brought him to power. InBrecht managed to sell a story based on the assassination of Reinhard Heydrichthe head of Sicherheitsdienst. In Brecht story, Heydrich's killer is depicted as a member of the Czech resistance with ties to the Communist Party.

Years later, when its mother claims it, the case is heard by a judge A chalk circle is drawn on the ground, the child put inside it, and the two women are ordered to pull it out. Anna, who cannot bear to hurt the child, lets the mother yank it out of the circle, but the judge decides in Anna's favour. The idea derives partly from a judgment of King Solomon, who is said to have decided a similar case by offering to cut the disputed child in half, and awarding it to the woman who withdrew her claim In Brecht's play, the mother deserves to lose her child, which is awarded to a woman who will care for it better.

As so often, he is demonstrating that justice has little to do with the law. However, when Brecht arrived from California, he attended the rehearsals and disliked what he saw and tried to have the performance cancelled. On 29th May, a fortnight before the opening at City College, Piscator walked out and refused to direct the play. Brecht called in Berthold Viertel to help him with the production.

The critics found the result amateurish, though it is difficult to discover whose fault this was. Brecht told his friend, Leon Askin : "Our ideas on epic theatre are so different, that I preferred to leave him alone. Brecht had great difficulty having his plays produced. Parnell Thomasbegan an investigation into the possibility that the American Communist Party was influencing the entertainment industry.

Thomas wrote to President Harry S. Truman that: "The immunity which this foreign-directed conspiracy has been enjoying for the past fifteen years must cease. Thomas traveled to Hollywood to meet with film industry executives with a view to exposing what he believed was Communist infiltration of motion pictures content by members of the Screen Writers Guild.

On his return to Washington, D. According to David Caute : "The Hollywood investigation of was obviously aimed at both the New Deal and the wartime alliance with Russia. Dorothy Thompson was questioned about having assisted in bringing Brecht to America. Fritz Kortneran actor who had fled from the Nazis, was also interviewed about Brecht's communist connections.

With a clear conscience I could declare that Brecht was no political agent, but a revolutionary poet. In the files of the FBI, the political police, were to be found several of his poems. They were shown to me. Well, I hinted, a political agent does not write poems in which he expresses his political convictions. An agent conceals them. Frederic Ewenthe author of Bertolt Brecht: His Life, His Art, His Times has pointed out the irony that the man whose play "with its indictment of the capitulation of the intellectual, and its declaration of the responsibilities of the scientist to the community" and who had been "exiled because of his anti-Nazi activities and works" was "being hauled in to answer for his political opinions.

Three days previously, John Howard Lawsonhad attacked Brecht's "discredited and thoroughly un-Marxist theories". Striplingthe Chief Investigator of the HUAC, read a passage from Die Massnahmea play first produced inand asked: "Now, Mr Brecht, will you tell the Committee whether or not one of the characters in this play was murdered by his comrades because it was in the best interests of the party, of the Communist Party; is that true?

Brecht rejected this interpretation: "You will find when you read it carefully This young man who died was convinced that he had done damage to the mission he believed in and he agreed to that, and he was about ready to die in order not to make greater such damage. So he asks his comrades to help him, and all of them together help him to die. He jumps into an abyss and they lead him tenderly to that abyss and that is the story.

Stripling attempted to show that his writings had been deeply influenced on the ideas of Karl Marx. This was true as since he had openly based all his writing on a Marxist standpoint, but his reply attempted to confuse the HUAC. I do not think intelligent plays today can be written without such study. Also history now, written now, is vitally influenced by the studies of Marx about history.

The interrogation of Brecht by Stripling was very difficult: "Brecht understood little English and spoke less. The Committee members, of course, knew no German. An official translator had frequently to intervene. Brecht, who to the very end of his life savored a dialectical sparring with opponents, apparently enjoyed this confrontation, though it was difficult to determine whether one or two ambiguous statements he made were due to misunderstanding of the language or sheer perverseness.

Parnell Thomas felt that Brecht was making fun of the committee and brought the processings to an end. He said it was like a zoologist had been cross-examined by apes. However, Brecht was refused permission for Brecht to read his prepared statement. This would have included the following: "Being called before the Un-American Activities Committee, however, I feel free for the first time to say a few words about American matters: looking back at my experiences as a playwright and a poet in the Europe of the last two decades, I wish to say that the great American people would lose much and risk much if they allowed anybody to restrict free competition of ideas in cultural fields, or to interfere with art which must be free in order to be art.

We are living in a dangerous world. Our state of civilization is such that mankind already is capable of becoming enormously wealthy but, as a whole, is still poverty-ridden. Great wars have been suffered, greater ones are imminent, we are told. One of them might well wipe out mankind, as a whole. We might be the last generation of the specimen man on this earth.

The ideas about how to make use of the new capabilities of production have not been developed much since the days when the horse had to do what man could not do. Do you not think that, in such a predicament, every new idea should be examined carefully and freely? Art can bertolt brecht biography referati clear and even make nobler such ideas.

He later recalled: "He Lardner had already explained to us that he was so anxious to return to Germany he could not face the long delay of a contempt proceeding. For that reason he told the Committee that he had never joined any Communist Party and then proceeding to an assured, dignified defense of his work and his associations. It was a high-level performance, and we admired him for it, and the fact that the Committee abruptly suspended the hearings that afternoon indicated that they were not too happy with the reaction they were getting.

Brecht had not told the complete truth about his political activities and so could have been arrested and charged with perjury and therefore decided to return to Europe. Brecht left the United States on 31st October, On arriving in France he had a meeting with Donald Ogden Stewart and his wife Ella Wintertwo left-wing writers who were being persecuted in America as a result of McCarthyism.

He also met with Anna Seghersthe anti-Nazi writer, who warned him against moving to East Germanyas she believed it would inhibit his ability to write political plays. Eventually, he decided to settle in Zurich, Switzerland. It had several advantages for Brecht. It was not too far from Austria but there were also sufficient German-speaking theatres to give Brecht the chance of having his plays produced.

The theatre also agreed to give a world premiere in to Mr Puntila and his Man Mattia play written in when he was living in Finland. The play is about Puntila, a well-to-do landowner, who often gets drunk. When he is under the influence of alcohol, he is generous, high-minded, selfless, and humane. In that state of humanitarian intoxication he is a good friend of his chauffeur Matti, a proletarian gifted with good common sense and of radical leanings.

When he is drunk he is "a harsh, overbearing, exploiting and calculating". Puntila gets himself engaged to four different girls of the lower classes. Sober, he disowns them and drives them away. Matti eventually leaves Puntila's service with the words: "You are not the worst of those I've met; you are almost a human being, when you are in your cups.

This amicable union could not last; the drunken transport passes Servants will only find a good master, when they themselves become their own masters. On 13th January,rehearsals began of Brecht's Antigone. Brecht's wife, Helene Weigel played Antigone, whereas his school friend, Caspar Neherdesigned the set. Brecht updated the play to be about the Second World War.

The first scene in which two sisters discover that their brother, a soldier, has returned from the front. They help him but it turns out that he is a deserter and he is lynched by people in the town. Brecht opened up the rehearsals to the public on 5th February, "the audience surprised both us and itself with real applause". He was delighted with Neher's costumes, props, basic groupings and ideas towards solving the chorus problem.

The point was "to find out what we could do for the old play and what it could do for us. Frisch compared Brecht's passion for Marxism to that of the Jesuits. His political views made him reject any social order existing at present and wholly align himself to the future: "Christians are aligned to a beyond; Brecht is aligned to this world. That is one of the differences between him and those priests to whom he bears no little resemblance, however much he may mock them; the doctrine of the ends that sanctify the means produces similar features even when the ends are diametrically opposed.

The city was a depressing place to be and three years after the war there were still enormous stretches of rubble. Over fifty-seven per cent of Berlin's buildings had been destroyed and on both sides of the frontier that divided East from West, a space in which neither side wanted to invest. The ruins make less of an impression on me than the bertolt brecht biography referati of what the people went through when the city was devastated.

However, in the German Democratic Republic East Germany there was no free vote, and on 21st April the merger was forcibly effected. Otto Grotewohla prominent member of the SPD, betrayed it by signing the agreement to dissolve it into the new Socialist Unity Party. Brecht had also been told about the way the Germans were treated by the Red Army during the early days of the occupation.

Heinz Kuckhahn, an old acquaintance, had told him that "after the battle drunken hordes made their way through the houses, fetched the women, shot down the men and women who resisted them, raping, with children bertolt brecht biography referati, standing in queues in front of the houses, etc. Brecht was also concerned about the strict censorship laws in a communist country.

He wrote: "I do not like the place I have come from. I do not like the place I am going to. After long rehearsals the play opened on 11th January It was a brilliant performance and one of Brecht's greatest triumphs as producer and author. Brecht wrote to Erwin Piscator that he would like to work with him again if he visited the city: "Whenever I have mentioned the possibility of a visit I have raised the question of your making one too, because without you I find it difficult to envisage a successful attack on provincialism, hollow emotionalism, etc.

In DecemberBrecht suggested to Wolfgang Langhoffthe artistic director of the Deutsches Theatre, about the possibility of forming his own company. Brecht described it as "a theatre for the children of the scientific age". The first year would be devoted to attracting the best emigre actors as guest artists; the long-term objective would be to build up an ensemble.

Three or four plays could be produced each season. He also had plans to write a play about Rosa Luxemburgan important figure in his political development. Eventually the government offered him the opportunity to establish the Berliner Ensemble.

Bertolt brecht biography referati: Ewen, Bertolt Brecht: His

The rehearsal hall was a battered huge shed opposite the Deutsches Theatre. He was also willing to share his ideas with theatre directors from other countries. Erwin Leiserwho had spent most of his early life in Sweden commented: "Brecht is seldom alone in the auditorium. Anyone who wanted could come in. Over the next few years it expanded the group to include exciting young talents such as Benno BessonEgon MonkPeter Palitzschand Manfred Wekwerth.

It has been argued that under Brecht's guidance a "substantial number of young theatre artists who worked under his guidance as directing, dramaturgy and design assistants, plus the many apprentice bertolt brecht biographies referati hired by him Over the next few years it became the country's most famous theatre company, with an international reputation and included a production of Mother Courage and Her Children Brecht was not fully committed to the new society that Soviet communism was forming in East Germany and other countries under the control of Joseph Stalin.

He decided to write a play about what Karl Marx had hailed as the start of a new age: the Paris Commune in Brecht argued that Leninwas one of those who believed that the Commune had been a triumph of direct proletarian revolutionary action. He decided to write a play that would inspire a political revolution. The Days of the Commune is Brecht's attempt to write his first tragedy: "The drama of the Paris Commune tries to lay bare a historical process, the movement by which a social class, the working class, takes power for a time, established a new form of proletarian state, but fails to keep it alive.

The tragedy follows from two sorts of conflicts: one between the workers and the bourgeoisie, that will soon be storming at the gates of Paris; the other from the internal struggles and mistakes of the new Commune. It is from the second primarily, rather than from the first, that the inevitable defeat must flow. The authorities refused permission for his new play, The Days of the Communeto be produced, because they considered it to be "defeatist" They also saw it as an attack on the Soviet backed government in East Germany.

Some historians had blamed the Paris Commune's failure on the lack of effective leadership, but Brecht admired what had been a spontaneously collective uprising. In Brecht's play the Central Committee called on the citizens to elect "men of the people", and it was as responsible representatives of the collective will that Brecht saw the communards.

This was in direct contrast the situation in East Germany when in the revolution was imposed on the people by the Red Army. The GDR government also objected to his Primer of Wara collection of news photographs and stories accompanied by original poems. This was rejected by the authorities as being too pacifist. It was only when Brecht threatened to bring the whole matter before the World Peace Council was permission finally granted for the book to be published.

The opera, about the problems the artist has with state censorship, The Trial of Luculluswas also not allowed to be shown until it was revised. On 16th June,East Berlin construction workers went on strike. The following day workers from other industries held mass meetings all over the city and voted to support building workers. Trams and trains came to a halt as transport workers joined the strike.

Over 50, people gathered at the Lustgarten. In Brecht became part of the " dramaturgical collective" of Erwin Piscator 's first company, which was designed to tackle the problem of finding new plays for its "epic, political, confrontational, documentary theatre". The emphasis on Reason and didacticism, the sense that the new subject matter demanded a new dramatic formthe use of songs to interrupt and comment: all these are found in his notes and essays of the s, and he bolstered them by citing such Piscatorial examples as the step-by-step narrative technique of Schweik and the oil interests handled in Konjunktur 'Petroleum resists the five-act form'.

Brecht was struggling at the time with the question of how to dramatize the complex economic relationships of modern capitalism in his unfinished project Joe P. Fleischhacker which Piscator's theatre announced in its programme for the —28 season.

Bertolt brecht biography referati: The most original and stimulating dramatist

It wasn't until his Saint Joan of the Stockyards written between and that Brecht solved it. The year also saw the first collaboration between Brecht and the young composer Kurt Weill. From that point on Caspar Neher became an integral part of the collaborative effort, with words, music and visuals conceived in relation to one another from the start.

The principle, a variety of montageproposed by-passing the "great struggle for supremacy between words, music and production" as Brecht put it, by showing each as self-contained, independent works of art that adopt attitudes towards one another. In Brecht married Weigel; their daughter Barbara Brecht was born soon after the wedding.

Brecht formed a writing collective which became prolific and very influential. Elisabeth HauptmannMargarete SteffinEmil Burri, Ruth Berlau and others worked with Brecht and produced the multiple teaching playswhich attempted to create a new dramaturgy for participants rather than passive audiences. These addressed themselves to the massive worker arts organisation that existed in Germany and Austria in the s.

So did Brecht's first great play, Saint Joan of the Stockyardswhich attempts to portray the drama in financial transactions. Retitled The Threepenny Opera Die Dreigroschenoper it was the biggest hit in Berlin of the s and a renewing influence on the musical worldwide. One of its most famous lines underscored the hypocrisy of conventional morality imposed by the Church, working in conjunction with the established order, in the face of working-class hunger and deprivation:.

It was a personal and a commercial failure. At the time the book was purported to be by the mysterious Dorothy Lane now known to be Elisabeth Hauptmann, Brecht's secretary and close collaborator. Brecht only claimed authorship of the song texts. Brecht would later use elements of Happy End as the germ for his Saint Joan of the Stockyardsa play that would never see the stage in Brecht's lifetime.

The Mahagonny opera would premier later in Berlin in as a triumphant sensation. These were a group of plays driven by morals, music and Brecht's budding epic theatre. In addition, Brecht worked on a script for a semi-documentary feature film about the human impact of mass unemployment, Kuhle Wampewhich was directed by Slatan Dudow.

It still provides a vivid insight into Berlin during the last years of the Weimar Republic. This Svendborg bertolt brecht biography referati at Skovsbo Strand 8 became the Brecht family residence for the next six years. Brecht also travelled frequently to Copenhagen, Paris, Moscow, New York and London for various projects and collaborations.

When war seemed imminent in Aprilhe moved to Stockholm, where he remained for a year. Upon receipt of the U. Because the colony included so many writers, directors, actors, and composers from German-speaking countries, it has been referred to as "Weimar on the Pacific". Although Brecht was not enamored of life in the movie capital, [ 71 ] he worked hard to find a place for himself as a screenwriter.

The fact that three refugee artists from Nazi Germany — Lang, Brecht and Eisler — collaborated to make the film exemplified the influence this generation of German exiles had on American culture. Hangmen Also Die! During the reign of the Third ReichBrecht was a prominent practitioner of the Exilliteratur. Although he was one of the 19 "unfriendly" witnesses who had declared ahead of time they would not cooperate with the House investigation, Brecht eventually decided to go before the committee and answer questions.

Brecht's decision to be a "cooperative" witness—albeit in an evasive way and providing no useful information—led to criticism of him, including accusations of betrayal. The day after his testimony, Brecht fled to Europe and never returned to the U. He lived in ZurichSwitzerland, for a year. The play was published under the title Antigonemodellaccompanied by an essay on the importance of creating a " non-Aristotelian " form of theatre.

In he moved to East Berlin and established his theatre company there, the Berliner Ensemble. He retained Austrian nationality which was granted inand his overseas bank accounts from which he received valuable hard currency remittances. The copyrights on his writings were held by a Swiss company. Though he was never a member of the Communist Party, Brecht had been schooled in Marxism by the dissident communist Karl Korsch.

Korsch's version of the Marxist dialectic influenced Brecht greatly, both his aesthetic theory and theatrical practice. Brecht received the Stalin Peace Prize in Brecht wrote very few plays in his final years in East Berlin, none of them as famous as his previous works. He dedicated himself to directing plays and developing the talents of the next generation of young directors and dramaturgs, such as Manfred Wekwerth, Benno Besson and Carl Weber.

At this time he wrote some of his bertolt brecht biography referati celebrated poems, including the Buckow Elegies. At first, Brecht apparently supported the measures taken by the East German government against the East German uprising ofwhich included the use of Soviet military force. The great discussion [exchange] with the masses about the speed of socialist construction will lead to a viewing and safeguarding of the socialist achievements.

Brecht's subsequent commentary on those events, however, offered a very different assessment. After the uprising of the 17th of June The Secretary of the Writers Union Had leaflets distributed in the Stalinallee Stating that the people Had forfeited the confidence of the government And could win it back only By increased work quotas. Would it not be easier In that case for the government To dissolve the people And elect another?

Brecht's involvement in agitprop and his lack of clear condemnation of purges resulted in criticism from many contemporaries who became disillusioned with communism earlier. After Khrushchev's " Secret Speech "—the report read on the 20th Congress of the CPSU, which brought the crimes of Stalinism to the public—Brecht wrote poems critical of Stalin and his bertolt brecht biography referati, unpublished during Brecht's lifetime.

In the best-known of them, "The Tsar Spoke to Them" Der Zar hat mit ihnen gesprochen[ 82 ] [ 83 ] Brecht mocked the epithets applied to Stalin as "the honoured murderer of the people" [ 84 ] and compared his state terror policies with the ones of the Russian Tsar Nicholas IIfamous for violent suppression of a peaceful demonstration on " Bloody Sunday " and later protests which resulted in the Russian Revolution of Brecht died on 14 August [ 86 ] of a heart attack at the age of According to Stephen Parker, who reviewed Brecht's writings and unpublished medical records, Brecht contracted rheumatic fever as a child, which led to an enlarged heartfollowed by life-long chronic heart failure and Sydenham's chorea.

A report of a radiograph taken of Brecht in describes a badly diseased heart, enlarged to the left with a protruding aortic knob and with seriously impaired pumping. Brecht's colleagues characterized him as being very nervous, and sometimes shaking his head or moving his hands erratically. This can be reasonably attributed to Sydenham's chorea, which is also associated with emotional labilitypersonality changes, obsessive-compulsive behavior, and hyperactivitywhich matched Brecht's behavior.

Brecht developed the combined theory and practice of his " Epic theatre " by synthesizing and extending the experiments of Erwin Piscator and Vsevolod Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism. Epic Theatre proposed that a play should not cause the spectator to identify emotionally with the characters or action before him or her, but should instead provoke rational self-reflection and a critical view of the action on the stage.

Brecht thought that the experience of a climactic catharsis of emotion left an audience complacent. Instead, he wanted his audiences to adopt a critical perspective in order to recognize social injustice and exploitation and to be moved to go forth from the theatre and effect change in the world outside. By highlighting the constructed nature of the theatrical event, Brecht hoped to communicate that the audience's reality was equally constructed, and as such, was changeable.

Brecht's modernist concern with drama-as-a- medium led to his refinement of the " epic form " of the drama. This dramatic form is related to similar modernist innovations in other artsincluding the strategy of divergent chapters in James Joyce 's novel UlyssesSergei Eisenstein 's evolution of a constructivist " montage " in the cinema, and Picasso 's introduction of cubist "collage" in the visual arts.

One of Brecht's most important principles was what he called the Verfremdungseffekt translated as "defamiliarization effect", "distancing effect", or "estrangement effect", and often mistranslated as "alienation effect". In contrast to many other avant-garde approaches, however, Brecht had no desire to destroy art as an institution; rather, he hoped to " re-function " the theatre to a new social use.

Brechtian theatre articulated popular themes and forms with avant-garde formal experimentation to create a modernist realism that stood in sharp contrast both to its psychological and socialist varieties. Brecht was also influenced by Chinese theatre, and used its aesthetic as an argument for Verfremdungseffekt. Brecht believed, "Traditional Chinese acting also knows the alienation [sic] effect, and applies it most subtly.

He recognized that the Chinese style was not a "transportable piece of technique", [ 98 ] and that epic theatre sought to historicize and address social and political issues. Brecht used his poetry to criticize European culture, including Nazisand the German bourgeoisie. Brecht's poetry is marked by the effects of the First and Second World Wars.

Throughout his theatric production, poems are incorporated into his plays with music. InBrecht issued a recantation of his apparent suppression of poetry in his plays with a note titled On Poetry and Virtuosity. He writes:. We shall not need to speak of a play's poetry It seemed not only unimportant, but misleading, and the reason was not that the poetic element had been sufficiently developed and observed, but that reality had been tampered with in its name Such works and performances may have some effect, but it can hardly be a profound one, not even politically.

For it is a peculiarity of the theatrical medium that it communicates awarenesses and impulses in the form of pleasure: the depth of the pleasure and the impulse will correspond to the depth of the pleasure. Brecht's most influential poetry is featured in his Manual of Piety Devotionsestablishing him as a noted poet. Brecht's widow, the actress Helene Weigelcontinued to manage the Berliner Ensemble until her death in The theatre company was primarily devoted to performing Brecht's plays.

His plays were a focus of the Schauspiel Frankfurt when Harry Buckwitz was general manager, including the world premiere of Die Gesichte der Simone Machard in Brecht's son, Stefan Brechtbecame a poet and theatre critic interested in New York's avant-garde theatre. Besides being a prominent dramatist and poet, Bertolt Brecht has also been cited by scholars for making significant original contributions to social and political philosophy.

The aesthetic theories of Brecht had a major influence on radical cinema in the s and s. Brecht's collaborations with Kurt Weill influenced the evolution of rock. The " Alabama Song " for example, originally published as a poem in Brecht's Hauspostille and set to music by Weill in Mahagonnywas recorded by The Doors on their self-titled debut album, as well as by David Bowie and various other bands and soloists since the s.

He first heard the song in a New York theatrical show that featured compositions by Brecht and Weill. At the time, Dylan was performing traditional folk music and had barely ventured into his own songwriting. But the "outrageous power" of "Pirate Jenny" was an epiphany which prompted him to start experimenting with the storytelling possibilities of song.

Collective and collaborative working methods were inherent to Brecht's approach, as Fredric Jameson among others stresses. Jameson describes the creator of the work not as Brecht the individual, but rather as 'Brecht': a collective subject that "certainly seemed to have a distinctive style the one we now call 'Brechtian' but was no longer personal in the bourgeois or individualistic sense.

This is "theatre as collective experiment [ Brecht wrote hundreds of poems throughout his life. His poetry was influenced by folk-ballads, French chansonsand the poetry of Rimbaud and Villon. Contents move to sidebar hide. Article Talk. Read Edit View history. Tools Tools. Download as PDF Printable version. In other projects.

Bertolt brecht biography referati: The language of Brecht's drama

Wikimedia Commons Wikiquote Wikidata item. German poet, playwright, and theatre director — For other uses, see Brecht disambiguation. Playwright theatre director poet screenwriter. Epic theatre non-Aristotelian drama. Marianne Zoff. Helene Weigel. Life and career [ edit ]. Bavaria — [ edit ]. Weimar Republic Berlin — [ edit ]. Erwin Piscator Erst kommt das Fressen Dann kommt die Moral.

First the grub lit. California and World War II — [ edit ]. Unhappy the land where heroes are needed. Galileoin Brecht's Life of Galileo Cold War and final years in East Germany — [ edit ]. Death [ edit ]. Theory and practice of theatre [ edit ]. Legacy [ edit ]. Collaborators and associates [ edit ]. List of collaborators and associates [ edit ].

Works [ edit ]. Fiction [ edit ]. Plays and screenplays [ edit ]. The Catch Der Fischzug ? Was kostet das Eisen? Theoretical works [ edit ]. Poetry [ edit ]. See also [ edit ]. Notes [ edit ]. References [ edit ]. Lexico UK English Dictionary. Oxford University Press. Retrieved 13 October ISBN Wedekind had worked as a ballad singer; he accompanied himself on the lute.

Kutscher was "bitterly critical" of Brecht's own early dramatic writings Willet and Manheimvii. Retrieved 10 December See the article on Edward II for details of Brecht's germinal 'epic' ideas and techniques in this production. See Sacksp. At the end of the — season, both his and Carl Zuckmayer 's his fellow dramaturg contracts were not renewed.