Fear and Misery in the Third Reich

Frontcover
Bloomsbury USA, 15.03.2012 - 144 Seiten
5 Rezensionen


Also known as The Private Life of the Master Race, this is a sequence of twenty-four realistic sketches showing how "ordinary" life under the Nazis was subtly permeated by suspicion and anxiety. Written in exile in Denmark and first staged in 1938 it was inspired in part by his recent trip to Moscow where he had been researching tasks for the anti-Nazi effort.


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Review: Fear and Misery of the Third Reich

Nutzerbericht  - Kristina Dixon - Goodreads

Fascinating play with stupendous characters. Wonderfully written. Vollständige Rezension lesen

Review: Fear and Misery of the Third Reich

Nutzerbericht  - Regina Andreassen - Goodreads

Sublime! Vollständige Rezension lesen

Inhalt

NOTES AND VARIANTS
46
Texts by Brecbt
93
Editorial Notes
116
Urheberrecht

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Über den Autor (2012)

Critics have said that Eric Bentley has given a new direction to theatrical history and represents the German avant-garde in drama. Brecht's most ambitious venture in verse drama, Saint Joan of the Stockyards (1933), was written in Germany shortly before Hitler came to power. Brecht left his homeland in 1993. Before he came to the United States in 1941, he was one of the editors of a short-lived anti-Nazi magazine in Moscow (1936--39). In 1949 his play Mother Courage and Her Children, which was a Marxist indictment of the economic motives behind internal aggression, was produced in the United States. Brecht found a large audience as librettist for Kurt Weill's Threepenny Opera, an adaptation of John Gay's Beggar's Opera. Brecht is considered a playwright who saw the stage as a platform for the presentation of a message. His aim was to transform the state from a place of entertainment to a place for instruction and public communication. He called himself an epic realist. In 1947, Brecht was summoned to Washington, D.C., by the on Un-American Activities Committee, before which he testified. He firmly denied that he had ever been a member of the Communist Party. How radical Brecht really was has been the subject of considerable controversy; but, for literary purposes, his politics need only be judged as they contributed to his artistry. In his final years Brecht experimented with his own theater and company-the Berliner Ensemble-which put on his plays under his direction and which continued after his death with the assistance of his wife. Brecht aspired to create political theater, and it is difficult to evaluate his work in purely aesthetic terms. It is likely that the demise of Marxist governments will influence his reputation over the next decade, though the changes are difficult to predict. Brecht died in 1956.

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