Fear and Misery of the Third ReichA&C Black, 30.12.2015 - 144 Seiten 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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... what the playwright Max Frisch described as a 'revue for the memory' of Germany in the 30s, Brecht portrays with terrifying accuracy the gradual terrorisation of a nation, from the cooks, workers and farmers at the bottom to the ...
... what the playwright Max Frisch described as a 'revue for the memory' of Germany in the 30s, Brecht portrays with terrifying accuracy the gradual terrorisation of a nation, from the cooks, workers and farmers at the bottom to the ...
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... what he called 'the dark times'. Partly this was because of the new Soviet reaction against the modern movement in the arts, which became crippling early in 1936 with Pravda's denunciations of Shostakovitch, Eisenstein and other ...
... what he called 'the dark times'. Partly this was because of the new Soviet reaction against the modern movement in the arts, which became crippling early in 1936 with Pravda's denunciations of Shostakovitch, Eisenstein and other ...
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... what on the face of it should have been the most serious of the various proposals for an American staging of the play. This was for a production off Broadway under the sponsorship of the CIO unions. Brecht, who had already licensed a ...
... what on the face of it should have been the most serious of the various proposals for an American staging of the play. This was for a production off Broadway under the sponsorship of the CIO unions. Brecht, who had already licensed a ...
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... what moves them relentlessly past us, in any order one chooses, is the regular rhythm of the linking stanzas. Brecht himself suggested to Piscator in 1938 that he might stage them by interspersing documentary material – presumably ...
... what moves them relentlessly past us, in any order one chooses, is the regular rhythm of the linking stanzas. Brecht himself suggested to Piscator in 1938 that he might stage them by interspersing documentary material – presumably ...
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1945 production anyway Arndt beer Berthold Viertel Bertolt Brecht Brecht Collected Plays BROTHER BRÜHL butcher’s can’t Carrar CHAUFFEUR concentration camp COOK course d’you mean DAIRYWOMAN DAUGHTER DIEVENBACH doctor Dudow DYING Eric Bentley FATHER Fear and Misery fellow Führer gasmask German give goes Goll Häberle Heil Hitler Helene Weigel honour HUSBAND Included in 99 INSPECTOR JEHOVAH’S WITNESS Jewish John Willett keep LOHMANN look MAIDSERVANT MalikVerlag marchpast Miehl MOTHER Nazi NEIGHBOUR never OLD WOMAN OLDER WORKER PASTOR Pause Peatbog soldiers PETITBOURGEOIS Piscator play’s production and PLMR PROSECUTOR RELEASED round scenes SCHARFÜHRER Schünt and Gaunitzer SECOND BOY SECOND WOMAN SENIOR JUDGE Steve Giles suppose talk Tallinger tell theatre Theo there’s they’re thing Third Reich Tom Kuhn twenty marks usher verse Völkischer Beobachter waggon What’s who’s WIFE Winter Aid won’t workingclass you’re YOUNG WORKER