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Colin Gardner

Brecht understood that living is ‘becoming’. (Joseph Losey) 1 For verily, my brothers, the spirit is a stomach. (Friedrich Nietzsche) 2 In 1960 Losey published ‘The Individual Eye’, an autobiographical document in which he acknowledged Bertolt Brecht’s crucial impor tance to his

in Joseph Losey
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Author: Bill Marshall

This is a full-length monograph about one of France's most important contemporary filmmakers, perhaps best known in the English-speaking world for his award-winning Les Roseaux sauvages/Wild Reeds of 1994. It locates André Téchiné within historical and cultural contexts that include the Algerian War, May 1968 and contemporary globalisation, and the influence of Roland Barthes, Bertolt Brecht, Ingmar Bergman, William Faulkner and the cinematic French New Wave. The originality of his sixteen feature films lies in his subtle exploration of sexuality and national identity as he challenges expectations in his depictions of gay relations, the North African dimensions of contemporary French culture and the centre–periphery relationship between Paris, especially his native southwest and the rest of France. The book also looks at the collaborative nature of Téchiné's filmmaking, including his work with Catherine Deneuve, who has made more films with him than with any other director, and the role of Philippe Sarde's musical scores.

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Author: Robert Ormsby

Coriolanus resonated for a Jacobean London audience through performance, assuming it actually was performed in the early seventeenth century. This book focuses on the postwar-productions of the Shakespeare's play. It deals with the Laurence Olivier's 1959 version at the Shakespeare Memorial Theatre, the reconfiguration of Bertolt Brecht in the 1960s and early 1970s, and the Royal Shakespeare Company's staging of the play in 1972. Alan Howard won the 1978 London Theatre critics award for Best Actor, starred in successful Coriolanus remounts at Nottingham and London in 1978. The 1984-85 National Theatre's Coriolanus reveals the Shakespeare-plus-relevance ideology under strain from the factious political climate, and Peter Hall's outburst in 1985 was the result of years of stagnant arts funding from Margaret Thatcher's government. The book discusses goulash communism that characterized the mid-1980s Hungary and the staging of Coriolanus in Budapest by Gabor Szekely, and the 1988 theatrically radical presentation at the New York Shakespeare Festival. Coriolan embodies the competing influences that help define Robert Lepage's Shakespeare production, which overlapped the highly charged political events in Canada when Quebec voters turned down a proposal to negotiate sovereignty from the country. The new Globe theatre's Coriolanus in May 2006 was the inaugural production under the theatre's new artistic director, Dominic Dromgoole. This Coriolanus appeared to be designed to fulfil a set of expectations related to a certain image of Globe performance. Ralph Fiennes's film in 2011-12 made Coriolanus a failed action hero in denying him unambiguously heroic status.

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Thomas Linehan

Linehan 10 13/6/07 11:35 Page 201 Afterword ‘It is the simplest thing so hard to achieve’, goes the final line in Bertolt Brecht’s famous poem,‘Praise of Communism’.Yet many British communists between the Wars felt the striving to realise their communist vision worthwhile, even though ‘the patents of their nobility’ lay far into the future as Max Eastman put it. Looking back on a lifetime of revolutionary activism which incorporated virtually all of the interwar years as an activist for the British Communist Party, the then octogenarian Harry Young paused to

in Communism in Britain 1920–39
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A worker reads history and a historian writes poetry
Carolyn Steedman

method, The Pursuit of History. When treating literature as historical source material, he says, it is obvious that ‘novels and plays cannot … be treated as factual reports … Nor, needless to say, do historical novels – or Shakespeare’s history plays for that matter – carry any authority as historical statements about the periods to which they refer.’2   1 Bertolt Brecht, ‘Fragen eines lesenden Arbeiters’ (1935), trans. H. R. Hays, ‘A Worker Reads History’, Selected Poems, Grove Press, New York NY, 1947; Compact Poets: Bertolt Brecht, Denys Thompson (ed.), trans. H. R

in Poetry for historians
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The theatre of revelation in Beckett, Foreman and Barker
George Hunka

-capitalist culture industry. Neither Foreman nor Barker, in their theoretical writings, explicitly point to Samuel Beckett’s plays as a pervasive influence. Foreman’s early work was based in an aesthetic borrowed from Gertrude Stein and Bertolt Brecht;2 discussing the literature and music that informs his own practice, Barker cites Shakespeare and the Elizabethan and Jacobean dramatists, and as more contemporary influences he names the composers Bela Bartok and Karlheinz Stockhausen, as well as the writers Paul Celan, George Oppen and especially Louis-Ferdinand Céline.3 And indeed

in Howard Barker’s Art of Theatre
Coriolanus in Budapest in 1985
Robert Ormsby

commentary in the stage action. Székely’s Coriolanus is a decided rejection of the optimism about positive change at the social level found in Bertolt Brecht’s ‘Marxist’ version of the play; the 1985 production embodies a melancholy recognition that the futility of participating in a degraded public sphere has a profoundly corrosive effect on anyone who attempts to do so. The

in Coriolanus
Robert Ormsby

At the turn of the twenty-first century, Antony Tatlow recalled the Berliner Ensemble’s 1964 German staging of the Bertolt-Brecht-inspired Coriolanus that the company would mount the following year in London on the National Theatre’s Old Vic stage: ‘It made the hopelessly conventional English Shakespearean productions appear vacuous, abstract, and theatrical, merely

in Coriolanus
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Some reflections on the relationship between television and theatre
Stephen Lacey

theatre magazine closely identified with the New Wave. Encore allied itself with a range of theatre practitioners and writers who were opposed to naturalism (especially when it was conceived as a theatre practice, an approach to staging, as distinct from a particular genre of play). Non-naturalism and Brecht Those seeking to chart the course of a new and progressive drama on both the stage and the small screen had an ally in their struggles against naturalism: the German poet, dramatist and theoretician Bertolt Brecht (1898–1956). Brecht cast a long shadow across

in Popular television drama
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Modes of reading in Marxist-socialist and post-Marxist-socialist Television drama criticism
Geraldine Harris

M410 HARRIS TEXT.qxd 20/7/06 11:35 AM Page 9 Phil's G4 Phil's G4:Users:phil:Public: 1 Beyond realism? Modes of reading in Marxist-socialist and post-Marxist-socialist Television drama criticism The ‘back story’: the critique of realism and the turn to form In the context of mid- to late twentieth-century British television drama criticism, the relationship between politics and aesthetics was most often defined through reference to the Marxist-socialist tradition and more specifically to the work of theatre practitioner and theorist Bertolt Brecht. Brecht

in Beyond representation