Collected plays

Vintage Books, 01.12.1973 - 19 Seiten
8 Rezensionen
The authorized translation of the collected plays includes introductions, placing each work in the context of Brecht's total output and the whole range of German literature

Im Buch

Was andere dazu sagen - Rezension schreiben

Bewertungen von Nutzern

5 Sterne
4 Sterne
3 Sterne
2 Sterne
1 Stern

LibraryThing Review

Nutzerbericht  - quantum_flapdoodle - LibraryThing

A collection of five plays, and four short pieces for practicing the alienation effect. Two of the pieces were much shorter than the others, and appeared to be played together, as they told the same ... Vollständige Rezension lesen

Review: Collected Plays Two: Man equals Man, The Elephant Calf, The Threepenny Opera, The Rise and Fall of the City of Mahagonny, and The Seven Deadly Sins (Methuen World Classics)

Nutzerbericht  - Ra - Goodreads

A GREAT series. I'm only sorry that I DIDN'T purchase the others at the time they were published. This particular anthology presents, perhaps, the most known or most popular Brecht plays: A Man's a ... Vollständige Rezension lesen


Coriolanus William Shakespeare translated
The Trial of Joan of Arc at Rouen 1431 Anna Seghers
Don Juan Moliere translated by Ralph Manheim

8 weitere Abschnitte werden nicht angezeigt.

Andere Ausgaben - Alle anzeigen

Häufige Begriffe und Wortgruppen

Über den Autor (1973)

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.

Bibliografische Informationen