LEADER 03722nam 22005652 450 001 9911008462803321 005 20151002020704.0 010 $a1-281-74129-9 010 $a9786611741297 010 $a1-57113-635-5 024 7 $a10.1515/9781571136350 035 $a(CKB)1000000000536392 035 $a(OCoLC)646887876 035 $a(CaPaEBR)ebrary10354508 035 $a(SSID)ssj0000110416 035 $a(PQKBManifestationID)11138178 035 $a(PQKBTitleCode)TC0000110416 035 $a(PQKBWorkID)10064338 035 $a(PQKB)11595603 035 $a(UkCbUP)CR9781571136350 035 $a(MiAaPQ)EBC3003560 035 $a(DE-B1597)674730 035 $a(DE-B1597)9781571136350 035 $a(EXLCZ)991000000000536392 100 $a20120822d2004|||| uy| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aBertolt Brecht's dramatic theory /$fJohn J. White 210 1$aSuffolk :$cBoydell & Brewer,$d2004. 215 $a1 online resource (viii, 348 pages) $cdigital, PDF file(s) 225 1 $aStudies in German literature, linguistics, and culture 300 $aTitle from publisher's bibliographic system (viewed on 02 Oct 2015). 311 0 $a1-57113-076-4 320 $aIncludes bibliographical references (p. [313]-331) and index. 327 $aEpic opera and epic theater -- Conceptualizing the exile work -- The dramaturgical poems and their contexts -- Preparations for East Berlin -- Viel Theorie in Dialogform. 330 $aAs an integral part of his work as a political playwright and dramaturge, Bertolt Brecht concerned himself extensively with the theory of drama. He was convinced that the Aristotelian ideal of audience catharsis through identification with a hero and the resultant experience of terror and pity worked against his goal of bettering society. He did not want his audiences to feel, but to think, and his main theoretical thrusts - 'Verfremdungseffekte' (de-familiarization devices) and epic theater, among others - were conceived in pursuit of this goal. This is the first detailed study in English of Brecht's writings on the theater to take account of works first made available in the recent German edition of his collected works. It offers in-depth analyses of Brecht's canonical essays on the theater from 1930 to the late 1940s and early GDR years. Close readings of the individual essays are supplemented by surveys of the changing connotations within Brecht's dramaturgical oeuvre of key theoretical terms, including epic and anti-Aristotelian theater, de-familiarization, historicization, and dialectical theater. Brecht's distinct contribution to the theorizing of acting and audience response is examined in detail, and each theoretical essay and concept is placed in the context of the aesthetic debates of the time, subjected to a critical assessment, and considered in light of subsequent scholarly thinking. In many cases, the playwright's theoretical discourse is shown to employ methods of 'epic' presentation and techniques of de-familiarization that are corollaries of the dramatic techniques for which his plays are justly famous. John J. White is Emeritus Professor of German and Comparative Literature at King's College London. 410 0$aStudies in German literature, linguistics, and culture (Unnumbered) 606 $aTheater$xHistory$y20th century 615 0$aTheater$xHistory 676 $a832/.912 700 $aWhite$b John J.$f1940-$0206304 801 0$bUkCbUP 801 1$bUkCbUP 906 $aBOOK 912 $a9911008462803321 996 $aBertolt Brecht's dramatic theory$94396321 997 $aUNINA