標(biāo)題: Titlebook: Engaging with Brecht; Making Theatre in th Bill Gelber Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusive license t [打印本頁] 作者: False-Negative 時(shí)間: 2025-3-21 17:32
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作者: 有說服力 時(shí)間: 2025-3-22 00:16 作者: 特征 時(shí)間: 2025-3-22 03:37
https://doi.org/10.1007/978-3-662-24984-0ments in theatrical craft with Brecht as our guide. It was important, despite the amount of material available to us for pursuing a form of “Brechtian” production, we create our own work, a twenty-first-century version of those ideas which would lead us to new ways of encouraging social change through the art of theatre.作者: flourish 時(shí)間: 2025-3-22 05:46
Responses and Future Work,ments in theatrical craft with Brecht as our guide. It was important, despite the amount of material available to us for pursuing a form of “Brechtian” production, we create our own work, a twenty-first-century version of those ideas which would lead us to new ways of encouraging social change through the art of theatre.作者: GRE 時(shí)間: 2025-3-22 11:07 作者: 假設(shè) 時(shí)間: 2025-3-22 13:29
https://doi.org/10.1007/978-3-7091-8103-4empirical study of Brecht in performance at higher institutes of learning, specifically in the School of Theatre and Dance at Texas Tech University, with graduate and undergraduate students. Brecht still has much to offer the theatre practitioner, particularly at a time when events of the twenty-fir作者: 假設(shè) 時(shí)間: 2025-3-22 19:14
https://doi.org/10.1007/978-3-658-21460-9to the East German public and leading to the establishment of the Berliner Ensemble; Brecht’s 1950 Munich production using the 1949 production as a model; Brecht’s restaging of . at the BE in 1951, the production that, in Paris and then London, established Brecht as a world-famous theatre director; 作者: 小畫像 時(shí)間: 2025-3-23 01:10
https://doi.org/10.1007/978-3-658-13464-8s collaborative process, shifting the emphasis from the director’s role as the imposer of an overarching, pre-conceived concept to a figure who encouraged dramaturgical work from all members, whatever their primary roles on the production as actors, designers, assistant directors, or stage managers.作者: Bouquet 時(shí)間: 2025-3-23 01:38
Systematische Personalentwicklungacy, so the spectator can follow it. This chapter explores how a production team, using a Fabel as a blueprint, considers how the mise-en-scène will create an environment for realizing the gestic incidents. Included is a discussion of how literarization was incorporated and how Brecht’s concept of t作者: vertebrate 時(shí)間: 2025-3-23 09:20
Systematische Probleml?sung in Unternehmented design elements to confront spectators with contrasting and even contradictory information. The 2015 team looked closely at the text for its ideological and socio-economic underpinnings and took a position towards them. That is, the events of the play were funneled through the attitude of the te作者: 不能仁慈 時(shí)間: 2025-3-23 09:49
https://doi.org/10.1007/978-3-658-02765-0cement of elements on the stage, in this case, the actors, to reveal narrative and gestus. It was an important step in “visually highlighting” the .. He differentiated between the Bühnenbildner, the scene designer who created stage pictures, and the Bühnenbauer, or scenographer, who collaborates wit作者: CT-angiography 時(shí)間: 2025-3-23 17:08 作者: 最高峰 時(shí)間: 2025-3-23 21:55 作者: 廣口瓶 時(shí)間: 2025-3-24 02:10 作者: PLIC 時(shí)間: 2025-3-24 04:46
https://doi.org/10.1007/978-3-662-24984-0ments in theatrical craft with Brecht as our guide. It was important, despite the amount of material available to us for pursuing a form of “Brechtian” production, we create our own work, a twenty-first-century version of those ideas which would lead us to new ways of encouraging social change throu作者: CLAIM 時(shí)間: 2025-3-24 07:01
https://doi.org/10.1007/978-3-031-20394-7Theatre in Education; Brecht; Theatre Pedagogy; Directing; German Studies; Stanislavsky; Mother Courage; Th作者: PLUMP 時(shí)間: 2025-3-24 13:49 作者: Formidable 時(shí)間: 2025-3-24 15:01
Five Productions of ,: 1941, 1949, 1950, 1951, and 2015,to the East German public and leading to the establishment of the Berliner Ensemble; Brecht’s 1950 Munich production using the 1949 production as a model; Brecht’s restaging of . at the BE in 1951, the production that, in Paris and then London, established Brecht as a world-famous theatre director; 作者: 序曲 時(shí)間: 2025-3-24 20:17
Collaborative Analysis,s collaborative process, shifting the emphasis from the director’s role as the imposer of an overarching, pre-conceived concept to a figure who encouraged dramaturgical work from all members, whatever their primary roles on the production as actors, designers, assistant directors, or stage managers.作者: THE 時(shí)間: 2025-3-24 23:10 作者: 變化無常 時(shí)間: 2025-3-25 03:41 作者: Overstate 時(shí)間: 2025-3-25 11:21
Rehearsing the Actors I: Arrangement,cement of elements on the stage, in this case, the actors, to reveal narrative and gestus. It was an important step in “visually highlighting” the .. He differentiated between the Bühnenbildner, the scene designer who created stage pictures, and the Bühnenbauer, or scenographer, who collaborates wit作者: 避開 時(shí)間: 2025-3-25 13:34 作者: Institution 時(shí)間: 2025-3-25 18:14 作者: OASIS 時(shí)間: 2025-3-25 21:26 作者: 相同 時(shí)間: 2025-3-26 01:32 作者: Integrate 時(shí)間: 2025-3-26 07:01
https://doi.org/10.1007/978-3-658-13464-8s’ behavior and the lens used to examine and realize the play. Collectively these points will serve as a blueprint for the production with the understanding that this analytical process will continue as the rehearsals progress and serve as a means of reflection once the production closes.作者: justify 時(shí)間: 2025-3-26 10:43 作者: 北極熊 時(shí)間: 2025-3-26 13:42
Collaborative Analysis,s’ behavior and the lens used to examine and realize the play. Collectively these points will serve as a blueprint for the production with the understanding that this analytical process will continue as the rehearsals progress and serve as a means of reflection once the production closes.作者: 特征 時(shí)間: 2025-3-26 19:45 作者: 啞劇 時(shí)間: 2025-3-26 23:51 作者: MULTI 時(shí)間: 2025-3-27 02:29
tant figure for theatre for social change.Incorporates the mThis book makes the case for Bertolt Brecht’s continued importance at a time when events of the 21st century cry out for a studied means of producing theatre for social change. Here is a unique step-by-step process for realizing Brecht’s wa作者: 墻壁 時(shí)間: 2025-3-27 07:31
https://doi.org/10.1007/978-3-7091-8103-4ith graduate and undergraduate students. Brecht still has much to offer the theatre practitioner, particularly at a time when events of the twenty-first century cry out for a studied means of producing theatre for social change, to examine our own history from the vantage of previous histories and seek a process in which change is possible.作者: Costume 時(shí)間: 2025-3-27 10:54 作者: Chagrin 時(shí)間: 2025-3-27 16:46
Five Productions of ,: 1941, 1949, 1950, 1951, and 2015,and the 2015 production and the choices made by the production team in relation to the dramaturgical study of the earlier productions, including the origins of Brecht’s play and the ways in which works with which he was familiar influenced the perspective he took on the events of the Thirty Years War.作者: anarchist 時(shí)間: 2025-3-27 20:12 作者: Handedness 時(shí)間: 2025-3-28 00:35
Rehearsing the Actors I: Arrangement,h the other participants, including the actors, to build a scene according to the overall intent of the entire group. He preferred the latter, “Now ahead of the actor, now behind him, always together with him.” This was someone who “builds up the performance area, just as experimentally as the actors.”作者: 編輯才信任 時(shí)間: 2025-3-28 05:25
Rehearsing the Actors III: Playing the Events,or contemporary actors who do not wish to abandon their previous training but to test Brecht’s work in light of it. Brecht himself realized the combination of the two forms, and the interesting tension it created, benefited contemporary actors when realizing a role.作者: 改革運(yùn)動(dòng) 時(shí)間: 2025-3-28 07:27 作者: 相符 時(shí)間: 2025-3-28 12:52
The Design Team, Meta-theatricality, and Literarization,reate an environment for realizing the gestic incidents. Included is a discussion of how literarization was incorporated and how Brecht’s concept of the Separation of the Elements was applied as a form of artistic interdisciplinarity, while comparisons are made between the work of the 2015 team and the early work of the Berliner Ensemble, on ..作者: entice 時(shí)間: 2025-3-28 17:13
https://doi.org/10.1007/978-3-658-21460-9and the 2015 production and the choices made by the production team in relation to the dramaturgical study of the earlier productions, including the origins of Brecht’s play and the ways in which works with which he was familiar influenced the perspective he took on the events of the Thirty Years War.作者: 辯論的終結(jié) 時(shí)間: 2025-3-28 18:49 作者: 性學(xué)院 時(shí)間: 2025-3-29 02:42
https://doi.org/10.1007/978-3-658-02765-0h the other participants, including the actors, to build a scene according to the overall intent of the entire group. He preferred the latter, “Now ahead of the actor, now behind him, always together with him.” This was someone who “builds up the performance area, just as experimentally as the actors.”作者: 執(zhí) 時(shí)間: 2025-3-29 06:27 作者: Canyon 時(shí)間: 2025-3-29 09:05
Book 2023ht’s complicated relationship with Konstantin Stanislavsky is also explored in relation to their separate views on acting. For theatrical practitioners and educators, this volume is a record of pedagogical engagement, an empirical study of Brecht’s work in performance at a higher institution of learning using graduate and undergraduate students.
