Bertolt Brecht - Knowledge

1561: 328: 4250:, p. 145). Zuckmayer relates how: "Brecht seldom turned up there; with his flapping leather jacket he looked like a cross between a lorry driver and a Jesuit seminarist. Roughly speaking, what he wanted was to take over complete control; the season's programme must be regulated entirely according to his theories, and the stage be rechristened 'epic smoke theatre', it being his view that people might actually be disposed to think if they were allowed to smoke at the same time. As this was refused him he confined himself to coming and drawing his pay." (Quoted by 3678: 2132:

its name ... we had to speak of a truth as distinct from poetry ... we have given up examining works of art from their poetic or artistic aspect, and got satisfaction from theatrical works that have no sort of poetic appeal ... Such works and performances may have some effect, but it can hardly be a profound one, not even politically. For it is a peculiarity of the theatrical medium that it communicates awarenesses and impulses in the form of pleasure: the depth of the pleasure and the impulse will correspond to the depth of the pleasure.

4101: 1396: 7267: 7365: 8001: 1592:. Along with about 41 other Hollywood writers, directors, actors and producers, he was subpoenaed to appear before the HUAC in September 1947. Although he was one of 19 witnesses who declared that they would refuse to appear, Brecht eventually decided to testify. He later explained that he had followed the advice of attorneys and had not wanted to delay a planned trip to Europe. On 30 October 1947 Brecht testified that he had never been a member of the 2007:(translated as "defamiliarization effect", "distancing effect", or "estrangement effect", and often mistranslated as "alienation effect"). This involved, Brecht wrote, "stripping the event of its self-evident, familiar, obvious quality and creating a sense of astonishment and curiosity about them". To this end, Brecht employed techniques such as the actor's direct address to the audience, harsh and bright stage lighting, the use of songs to 51: 7389: 7377: 580:(written 1918), arose in response to an argument in one of Kutscher's drama seminars, initiating a trend that persisted throughout his career of creative activity that was generated by a desire to counter another work (both others' and his own, as his many adaptations and re-writes attest). "Anyone can be creative," he quipped, "it's rewriting other people that's a challenge." Brecht completed his second major play, 7401: 1719: 7178: 1906: 7353: 1715:, Brecht wrote that: "History will pay its respects to the revolutionary impatience of the Socialist Unity Party of Germany. The great discussion with the masses about the speed of socialist construction will lead to a viewing and safeguarding of the socialist achievements. At this moment I must assure you of my allegiance to the Socialist Unity Party of Germany." 4576:(1930): "In lieu of private themes we had generalisation, in lieu of what was special the typical, in lieu of accident causality. Decorativeness gave way to constructedness, Reason was put on a par with Emotion, while sensuality was replaced by didacticism and fantasy by documentary reality." From a speech given by Piscator on 25 March 1929, and reproduced in 570:, who performed in a beer-hall. He did short sketches in which he played refractory employees, orchestral musicians or photographers, who hated their employers and made them look ridiculous. The employer was played by his partner, Liesl Karlstadt, a popular woman comedian who used to pad herself out and speak in a deep bass voice. 5196:. It is fairly clear that in Brecht's case the practice came before the theory, for his actual composition of a play, with its switching around of scenes and characters, even the physical cutting up and sticking together of the typescript, shows that montage was the structural technique most natural to him. Like 2100:. Brecht believed, "Traditional Chinese acting also knows the alienation effect, and applies it most subtly. The performer portrays incidents of utmost passion, but without his delivery becoming heated." Brecht attended a Chinese opera performance and was introduced to the famous Chinese opera performer 1179:) it was the biggest hit in Berlin of the 1920s and a renewing influence on the musical worldwide. One of its most famous lines underscored the hypocrisy of conventional morality imposed by the Church, working in conjunction with the established order, in the face of working-class hunger and deprivation: 2131:

We shall not need to speak of a play's poetry ... something that seemed relatively unimportant in the immediate past. It seemed not only unimportant, but misleading, and the reason was not that the poetic element had been sufficiently developed and observed, but that reality had been tampered with in

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of emotion left an audience complacent. Instead, he wanted his audiences to adopt a critical perspective in order to recognize social injustice and exploitation and to be moved to go forth from the theatre and effect change in the world outside. For this purpose, Brecht employed the use of techniques

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For us, man portrayed on the stage is significant as a social function. It is not his relationship to himself, nor his relationship to God, but his relationship to society which is central. Whenever he appears, his class or social stratum appears with him. His moral, spiritual or sexual conflicts are

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Due to his grandmother's and his mother's influence, Brecht knew the Bible, a familiarity that would have a life-long effect on his writing. From his mother came the "dangerous image of the self-denying woman" that recurs in his drama. Brecht's home life was comfortably middle class, despite what his

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They were all "broken", and by this I mean they avoided the problem of Stalinism, ran from it. Never mentioned their murdered friends and comrades, mostly in the USSR. Never engaged politically during Slansky Trial in Prague. "Broken" means they experienced the lie. I accuse them of keeping silent

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about the crimes of Stalin's regime. They put aside the whole complex of guilt that came with communism, real communism, or Stalinism to be precise. If that was not enough, they also wrote panegyrics praising Stalin, and they did that when they already knew about all these murders and atrocities.

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project, which was to become the first product of "the 'Brecht collective'—that shifting group of friends and collaborators on whom he henceforward depended." This collaborative approach to artistic production, together with aspects of Brecht's writing and style of theatrical production, mark

856:) but also drawing those conclusions for the theatre as a whole which Brecht set down in his theoretical essay "Emphasis on Sport" and tried to realise by means of the harsh lighting, the boxing-ring stage and other anti-illusionistic devices that henceforward appeared in his own productions. 451:(who had been persuaded to have a Protestant wedding). The modest house where he was born is today preserved as a Brecht Museum. His father worked for a paper mill, becoming its managing director in 1914. At Augsburg, his maternal grandparents lived in the neighbouring house. They were 1214:. It was a personal and a commercial failure. At the time the book was purported to be by the mysterious Dorothy Lane (now known to be Elisabeth Hauptmann, Brecht's secretary and close collaborator). Brecht only claimed authorship of the song texts. Brecht would later use elements of 626:

had been produced). The citation for the award insisted that: " language is vivid without being deliberately poetic, symbolical without being over literary. Brecht is a dramatist because his language is felt physically and in the round." That year he married the Viennese opera singer

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Epic Theatre proposed that a play should not cause the spectator to identify emotionally with the characters or action before him or her, but should instead provoke rational self-reflection and a critical view of the action on the stage. Brecht thought that the experience of a

4548:, p. 104. In relation to his innovations in the use of theatre technology, Piscator wrote: "technical innovations were never an end in themselves for me. Any means I have used or am currently in the process of using were designed to elevate the events on the stage onto a 2241:(among others) stresses. Jameson describes the creator of the work not as Brecht the individual, but rather as 'Brecht': a collective subject that "certainly seemed to have a distinctive style (the one we now call 'Brechtian') but was no longer personal in the bourgeois or 493:("cheap propaganda for a specific purpose") and arguing that only an empty-headed person could be persuaded to die for their country. His expulsion was only prevented by the intervention of Romuald Sauer, a priest who also served as a substitute teacher at Brecht's school. 4660:

imagery appears in his first three "Mahagonny Songs", with their Wild West references. With that, however, the project stalled for two and a half years. With Hauptmann, who wrote the two English-language "Mahagonny Songs", Brecht had begun work on an opera to be called

4569:, pp. 109–110. The similarities between Brecht's and Piscator's theoretical formulations from the time indicate that the two agreed on fundamentals; compare Piscator's summation of the achievements of his first company (1929), which follows, with Brecht's 1678:

Brecht wrote very few plays in his final years in East Berlin, none of them as famous as his previous works. He dedicated himself to directing plays and developing the talents of the next generation of young directors and dramaturgs, such as Manfred Wekwerth,

1596:. He made wry jokes throughout the proceedings, punctuating his inability to speak English well with continuous references to the translators present, who transformed his German statements into English ones unintelligible to himself. HUAC vice-chairman 2104:

in 1935. However, Brecht was sure to distinguish between Epic and Chinese theatre. He recognized that the Chinese style was not a "transportable piece of technique", and that epic theatre sought to historicize and address social and political issues.

1800:", the report read on the 20th Congress of the CPSU, which brought the crimes of Stalinism to the public, Brecht wrote poems critical of Stalin and his cult, unpublished during Brecht's lifetime. In the best-known of them, "The Tsar Spoke to Them" ( 1880:

and with seriously impaired pumping. Brecht's colleagues described him as being very nervous, and sometimes shaking his head or moving his hands erratically. This can be reasonably attributed to Sydenham's chorea, which is also associated with

5457:, pp. 104–116, offers a particularly negative perspective; Jameson comments "his book will remain a fundamental document for future students of the ideological confusions of Western intellectuals during the immediate post-Cold War years" 4627:. When they met, Brecht was 29 years old and Weill was 27. Brecht had experience of writing songs and had performed his own with tunes he had composed; at the time he was also married to an opera singer (Zoff). Weill had collaborated with 975:'s first company, which was designed to tackle the problem of finding new plays for its "epic, political, confrontational, documentary theatre". Brecht collaborated with Piscator during the period of the latter's landmark productions, 604:—" has given our time a new tone, a new melody, a new vision. It is a language you can feel on your tongue, in your gums, your ear, your spinal column." In November it was announced that Brecht had been awarded the prestigious 5184:" form of narrative better able to cope with wide-ranging modern socio-economic themes. That, at least, was how Brecht theoretically justified his choice of form, and from about 1929 on he began to interpret its penchant for " 1099:

became an integral part of the collaborative effort, with words, music and visuals conceived in relation to one another from the start. The model for their mutual articulation lay in Brecht's newly formulated principle of the

4485:, Piscator wrote: "Perhaps my whole style of directing is a direct result of the total lack of suitable plays. It would certainly not have taken so dominant form if adequate plays had been on hand when I started" (1929, 185). 652:

and starring Karl Valentin. Despite a lack of success at the time, its experimental inventiveness and the subsequent success of many of its contributors have meant that it is now considered one of the most important films in

1604:, refused to testify and were cited for contempt. Brecht's decision to appear before the committee led to criticism, including accusations of betrayal. The day after his testimony, on 31 October, Brecht returned to Europe. 4552:

and not just to enlarge the technical range of the stage machinery. My technical devices had been developed to cover up the deficiencies of the dramatists' products" ("Basic Principles of a Sociological Drama" ; in

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for his musical score. The collaboration of three prominent refugees from Nazi Germany – Lang, Brecht and Eisler – is an example of the influence this generation of German exiles had on American culture.

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On his father's recommendation, Brecht sought to avoid being conscripted into the army by exploiting a loophole which allowed for medical students to be deferred. He subsequently registered for a medical course at

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broke out. Initially enthusiastic, Brecht soon changed his mind on seeing his classmates "swallowed by the army". Brecht was nearly expelled from school in 1915 for writing an essay in response to the line

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constituted his first attempt at collaborative writing and was the first of many classic texts he was to adapt. As his first solo directorial début, he later credited it as the germ of his conception of

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At this time Brecht revised his important "transitional poem", "Of Poor BB". In 1925, his publishers provided him with Elisabeth Hauptmann as an assistant for the completion of his collection of poems,

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for participants rather than passive audiences. These addressed themselves to the massive worker arts organisation that existed in Germany and Austria in the 1920s. So did Brecht's first great play,

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and not reality itself. By highlighting the constructed nature of the theatrical event, Brecht hoped to communicate that the audience's reality was equally constructed, and as such, was changeable.

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Throughout his theatric production, poems are incorporated into his plays with music. In 1951, Brecht issued a recantation of his apparent suppression of poetry in his plays with a note titled

1007:, which he later described as a "montage from the novel". The Piscator productions influenced Brecht's ideas about staging and design, and alerted him to the radical potentials offered to the " 6817:

Giuseppe Leone, "Bertolt Brecht, ripropose l'eterno conflitto dell'intellettuale fra libertà di ricerca e condizionamenti del potere", su "Ricorditi...di me" in "Lecco 2000", Lecco, June 1998.

7200: 5220:. The terms 'de-familiarisation' or 'estrangement', when understood as more than purely formal devices, give a more accurate sense of Brecht's intentions. A better term still would be 'de- 3373:

Brecht wrote hundreds of poems throughout his life. He began writing poetry as a young boy, and his first poems were published in 1914. His poetry was influenced by folk-ballads, French

4315:, p. viii; Joel Schechter writes: "The subjugation of an individual to that of a collective was endorsed by the affirmations of comedy, and by the decision of the coauthors of 3503: 5506:

The translations of the titles are based on the standard of the Brecht Collected Plays series (see bibliography, primary sources). Chronology provided through consultation with

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who knew Brecht for a long time described his attitude as "broken", "escaping the problem of Stalinism", ignoring his friends being murdered in the USSR, keeping silence during

1112:, proposed by-passing the "great struggle for supremacy between words, music and production" as Brecht put it, by showing each as self-contained, independent works of art that 2565: 1652:

which was granted in 1950, and overseas bank accounts from which he received valuable hard currency remittances. The copyrights on his writings were held by a Swiss company.

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and comment: all these are found in his notes and essays of the 1920s, and he bolstered them by citing such Piscatorial examples as the step-by-step narrative technique of

467:, with whom he formed a life-long creative partnership. Neher designed many of the sets for Brecht's dramas and helped to forge the distinctive visual iconography of their 1351:

on Funen. This house located at Skovsbo Strand 8 in Svendborg became the residence of the Brecht family for the next six years, where they often received guests including

1011:" playwright by the development of stage technology (particularly projections). What Brecht took from Piscator "is fairly plain, and he acknowledged it" Willett suggests: 2058:. Brechtian theatre articulated popular themes and forms with avant-garde formal experimentation to create a modernist realism that stood in sharp contrast both to its 2689: 919:", a note by Brecht reveals, "I understood my plays." Marx was, it continues, "the only spectator for my plays I'd ever come across." Inspired by the developments in 593:

with whom he established a joint venture, the Arnolt Bronnen / Bertolt Brecht Company. Brecht changed the spelling of his first name to Bertolt to rhyme with Arnolt.

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Besides being an influential dramatist and poet, some scholars have stressed the significance of Brecht's original contributions in political and social philosophy.

1804:), Brecht mocked the epithets applied to Stalin as "the honoured murderer of the people" and compared his state terror policies with the ones of the Russian Tsar 661:

premiered in Munich, also directed by Engel. Opening night proved to be a "scandal"—a phenomenon that would characterize many of his later productions during the

10049: 3568: 1374:, Brecht left Sweden for Helsinki, Finland, where he lived and waited for his visa for the United States until 3 May 1941. During this time he wrote the play 901:

In 1926 a series of short stories was published under Brecht's name, though Hauptmann was closely associated with writing them. Following the production of

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Willett and Manheim point to the significance of this poem as a marker of the shift in Brecht's work towards "a much more urban, industrialized flavour" (

1893:, which matched Brecht's behavior. "What is remarkable," wrote Parker, "is his capacity to turn abject physical weakness into peerless artistic strength, 1035:

Brecht was struggling at the time with the question of how to dramatize the complex economic relationships of modern capitalism in his unfinished project

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Between November 1921 and April 1922 Brecht made acquaintance with many influential people in the Berlin cultural scene. Amongst them was the playwright

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in the West 1964. It was first published in the GDR in 1969 after Helene Weigel had insisted on its inclusion in a collected edition of Brecht's works.

608:(intended for unestablished writers and probably Germany's most significant literary award, until it was abolished in 1932) for his first three plays ( 600:: "At 24 the writer Bert Brecht has changed Germany's literary complexion overnight"—he enthused in his review of Brecht's first play to be produced, 2317:

and Helene Weigel herself. This is "theatre as collective experiment as something radically different from theatre as expression or as experience."

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In 1930 Brecht married Weigel; their daughter Barbara Brecht was born soon after the wedding. She also became an actress and would later share the

10064: 10044: 1797: 1363:. During this period Brecht also travelled frequently to Copenhagen, Paris, Moscow, New York and London for various projects and collaborations. 9791: 4621:

The two first met in March 1927, after Weill had written a critical introduction to the broadcast on Berlin Radio of an adaptation of Brecht's

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Demetz, Peter, ed. 1962. "From the Testimony of Berthold Brecht: Hearings of the House Committee on Un-American Activities, 30 October 1947".

5002: 9984: 4829: 2084: 537:(who had begun a relationship in 1917) had a son, Frank. In 1920 Brecht's mother died. Frank died in 1943, fighting for Nazi Germany on the 9949: 4742: 8586: 8447: 5672:

In the Swamp, A Man's A Man, Saint Joan of the Stockyards, Mother Courage, Galileo, The Good Woman of Setzuan, The Caucasian Chalk Circle

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and lack of clear condemnation of purges resulted in criticism from many contemporaries who became disillusioned with communism earlier.

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than to the dramatic theatre's requirements." They met several times during Brecht's time in the United States, and discussed Chaplin's

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for a music festival in July, as what Weill called a "stylistic exercise" in preparation for the large-scale piece. From that point on

443:, Germany, the son of Berthold Friedrich Brecht (1869–1939) and his wife Sophie, née Brezing (1871–1920). Brecht's mother was a devout 7320: 5492:

Hellman, Lillian; Baker, Josephine; Bertolt, Brecht; Wolf, Christina; Kafka, Franz; Pynchon, Thomas. Miller, John; Smith, Tim (eds.).

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In 1923 Brecht's marriage to Zoff began to break down (though they did not divorce until 1927). Brecht had become involved with both

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Willet and Manheim (1979, xv–xviii). In Munich in 1924 Brecht had begun referring to some of the stranger aspects of life in post-

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sense." During the course of his career, Brecht sustained many long-lasting creative relationships with other writers, composers,

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From July 1916, Brecht's newspaper articles began appearing under the new name "Bert Brecht" (his first theatre criticism for the

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imagery and sport. Together the "collective" would go to fights, not only absorbing their terminology and ethos (which permeates

10034: 9713: 8710: 7977: 7564: 6878:. Trans. Bernard Schütze and Caroline Schütze. Ed. Sylvère Lotringer. Semiotext(e) Foreign Agents Ser. New York: Semiotext(e). 4570: 3300: 2858: 1589: 1560: 1231: 1105: 1070: 498: 411: 1290:, and Hanns Eisler's dynamic musical contribution. It still provides a vivid insight into Berlin during the last years of the 7515: 7128: 6983: 6934: 6785: 6567: 6553: 6534: 5394: 5050: 5024: 4966: 3872: 2750: 760: 7028:

Ed. and trans. Michael Hays. Theory and History of Literature Series. 29. Minneapolis: University of Minnesota Press, 1987.

2175:, continued to manage the Berliner Ensemble until her death in 1971; it was primarily devoted to performing Brecht's plays. 1335:

took power. After brief spells in Prague, Zurich and Paris, he and Weigel accepted an invitation from journalist and author

7336: 481: 5084: 1272:. In addition, Brecht worked on a script for a semi-documentary feature film about the human impact of mass unemployment, 848:(or New Matter-of-Factness), their stressing of the collectivity and downplaying of the individual, and their new cult of 7280: 7079:

Weber, Carl. 1994. "Brecht and the Berliner Ensemble – the Making of a Model". In Thomson and Sacks (1994, 167–184).

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Lindbergh's Flight, The Baden-Baden Lesson on Consent, He Said Yes / He Said No, The Decision, The Exception and the Rule

3920:, as his "chief influences" in his early years: "he", Brecht writes of himself in the third person, "also saw the writer 2694: 1469: 5767:

Round heads and pointed heads, Dansen, How much is your iron?, The trial of Lucullus, Fear and misery of the Third Reich

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Brecht's subsequent commentary on those events, however, offered a very different assessment—in one of the poems in the

10059: 9784: 7640: 5216:, p. 193. Brooker writes that "the term 'alienation' is an inadequate and even misleading translation of Brecht's 3508: 2988: 1443: 548:. Brecht's diaries for the next few years record numerous visits to see Valentin perform. Brecht compared Valentin to 10024: 9994: 8735: 7550: 7226: 7159: 7113: 7095: 7063: 7048: 7033: 7002: 6967: 6919: 6901: 6883: 6865: 6830: 6800: 6770: 6740: 6725: 6706: 6684: 6669: 6654: 6626: 6597: 6582: 6515: 6484: 6465: 6443: 6420: 6401: 6382: 6363: 6327: 6196: 6134: 6115: 6093: 6036: 6008: 5986: 5962: 5943: 5925: 5903: 5887: 5865: 5843: 5821: 5799: 5777: 5755: 5724: 5701: 5647: 5624: 5605: 5593: 5369: 3660: 2834: 1371: 9979: 9848: 8581: 8505: 7703: 7633: 7501: 7310: 6031:. Theory and History of Literature Ser. 4. Translated by Michael Shaw. Minneapolis: University of Minnesota Press. 4152: 3108: 2976: 2738: 1708: 1431: 688: 526:

into military service in the autumn of 1918, only to be posted back to Augsburg as a medical orderly in a military

210: 8761: 802:, eventually published in January 1927). She continued to work with him after the publisher's commission ran out. 10014: 9989: 8873: 8591: 8440: 7983: 7731: 7675: 5200:

and Joyce he had not learnt this scissors-and-paste method from the Soviet cinema but picked it out of the air" (

4532: 3348: 3148: 3048: 2570: 1786: 1748: 1515: 1419: 518: 182: 17: 7072:. 1984. "The Actor and Brecht, or: The Truth Is Concrete: Some Notes on Directing Brecht with American Actors". 5411: 10039: 10029: 9954: 9944: 8576: 8030: 7262: 5441:, pp. 10–11). See also the discussions of Brecht's collaborative relationships in the essays collected in 5309: 5221: 1860:

According to Stephen Parker, who reviewed Brecht's writings and unpublished medical records, Brecht contracted

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Fuegi, John. 1994. "The Zelda Syndrome: Brecht and Elisabeth Hauptmann". In Thomson and Sacks (1994, 104–116).

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was Brecht's only script for a Hollywood film. The money he earned from writing the film enabled him to write

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or set to music right through, whereas on the latter Weill was brought at a late stage to set the songs. See

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or 'The Collapse of Miami, the Paradise City', both of which came to underlie the new scheme with Weill. See

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https://publikationen.uni-tuebingen.de/xmlui/bitstream/handle/10900/46670/pdf/Mueller_Brecht_und_Stalin.pdf

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Some time in either 1920 or 1921, Brecht took a small part in the political cabaret of the Munich comedian

538: 203: 7647: 3864: 3000: 9728: 8791: 7696: 7543: 7332: 3096: 2814: 1425: 1045:(written between 1929 and 1931) that Brecht solved it. In 1928 he discussed with Piscator plans to stage 189: 8776: 4242:

at not being given a Shakespeare production to direct. At the end of the 1924–1925 season, both his and

1411:. He expressed his opposition to the National Socialist and Fascist movements in his most famous plays: 728:

In his role as dramaturg, Brecht had much to stimulate him but little work of his own. Reinhardt staged

10019: 10009: 9974: 9969: 9889: 9856: 8913: 8868: 8771: 8766: 8715: 8637: 8495: 8433: 7962: 7847: 7738: 7598: 7343: 7253: 5461:, p. 31; Olga Taxidou offers a critical account of Fuegi's project from a feminist perspective in 4239: 3160: 2920: 1813: 1437: 1101: 706: 196: 5070: 4048: 1003:. Brecht's most significant contribution was to the adaptation of the unfinished episodic comic novel 9959: 8817: 8756: 8566: 8023: 7487: 5130:

Squiers, Anthony (2015). "A Critical Response to Heidi M. Silcox's "What's Wrong with Alienation?"".

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to move to Denmark. The family first stayed with Karin Michaëlis at her house on the small island of

1239:), caused an uproar when it premiered in 1930 in Leipzig, with Nazis in the audience protesting. The 821:

movement in the German arts. With little to do at the Deutsches Theater, Brecht began to develop his

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In 1922 while still living in Munich, Brecht came to the attention of an influential Berlin critic,

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Ed. Steve Giles and Rodney Livingstone. German Monitor 41. Amsterdam and Atlanta, Georgia: Rodopi.

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McDowell, W. Stuart (2000). "Acting Brecht: The Munich Years". In Carol Martin; Henry Bial (eds.).

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Man Equals Man, the Elephant Calf, The Threepenny Opera, The Rise and Fall of the City of Mahagonny

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When war seemed imminent in April 1939, he moved to Stockholm, where he remained for a year. After

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that proved to be a milestone in Brecht's early theatrical and dramaturgical development. Brecht's

355:, he had his first successes as a playwright in Munich and moved to Berlin in 1924, where he wrote 9174: 1703:

At first Brecht apparently supported the measures taken by the East German government against the

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in 1954. His proximity to Marxist thought made him controversial in Austria, where his plays were

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influenced Brecht greatly, both his aesthetic theory and theatrical practice. Brecht received the

1039:(which Piscator's theatre announced in its programme for the 1927–28 season). It wasn't until his 327: 9929: 9753: 9635: 8647: 8571: 8005: 7752: 7661: 7494: 7419: 6940:

Reinelt, Janelle. 1990. "Rethinking Brecht: Deconstruction, Feminism, and the Politics of Form".

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taken of Brecht in 1951 describes a badly diseased heart, enlarged to the left with a protruding

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performing his own works in a style which he had developed in cabaret. Wedekind had worked as a

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was "bitterly critical" of Brecht's own early dramatic writings (Willet and Manheim 1970, vii).

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s score by Weill produced many Brecht/Weill hits like "Der Bilbao-Song" and "Surabaya-Jonny".

9830: 9284: 9169: 9074: 8858: 8652: 7970: 7773: 7682: 7473: 6280: 5688:. Ed. John Willett and Ralph Manheim. Bertolt Brecht: Plays, Poetry, Prose. London: Methuen. 5615: 5173: 4849: 3908: 3356: 3220: 3072: 3060: 2665: 1987: 1254:. These were a group of plays driven by morals, music and Brecht's budding epic theatre. The 1161: 1109: 750: 554: 300: 9124: 7123:. Translated by Christine Shuttleworth. London / New Haven: Libris / Yale University Press. 439:

Eugen Berthold Friedrich Brecht (as a child known as Eugen) was born on 10 February 1898 in

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The Visions of Simone Machard, Schweyk in the Second World War, The Caucasian Chalk Circle

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Bertolt Brecht's theories had a major influence on radical cinema in the 1960s and 1970s.

8: 9723: 9239: 9109: 8953: 8690: 8627: 8540: 8215: 8203: 7780: 7584: 7557: 7529: 7480: 7369: 6278:

Taxidou, Olga (November 1995). "Crude Thinking: John Fuegi and Recent Brecht Criticism".

4941: 4334: 3232: 2892: 2846: 2790: 2677: 2610:"The Job", alternative title "By The Sweat of Thy Brow Shalt Thou Fail to Earn Thy Bread" 2417: 2372: 2294: 2254: 2096:

Brecht was also influenced by Chinese theatre, and used its aesthetic as an argument for

1694: 1585: 1260: 1127: 1091: 1046: 1015:

The emphasis on Reason and didacticism, the sense that the new subject matter demanded a

943: 931: 876: 729: 718: 677: 552:, for his "virtually complete rejection of mimicry and cheap psychology". Writing in his 362: 9607: 7854: 7196: 4514:

entry), but Piscator contested that; the manuscript bears the names "Brecht, Gasbarra,

3527: 1964:" of the drama. This dramatic form is related to similar modernist innovations in other 50: 9733: 9314: 9234: 9039: 8918: 8812: 8480: 8475: 8384: 8350: 8340: 8244: 7808: 7759: 7466: 6544:

Davies, Steffan; Ernest Schonfield (2009). Davies, Steffan; Schonfield, Ernest (eds.).

6522: 6507: 6297: 6266: 6175: 6167: 5585: 5318: 5307:

Hsia, Adrian (Summer 1983). "Bertolt Brecht in China and His Impact on Chinese Drama".

5147: 5112: 4747: 4042: 3534: 3280: 3196: 2643: 2165: 2047: 2012: 2003: 1957: 1938: 1922: 1882: 1790: 1668: 1664: 1367: 1075: 1057: 582: 390: 79: 7134:

Womack, Peter (1979), "Brecht: The Search for an Audience", in Bold, Christine (ed.),

7108:. Trans. John Peet. London: Lawrence and Wishart; New York: International Publishers. 6349: 5100: 3382: 1845:

Brecht died on 14 August 1956 of a heart attack at the age of 58. He is buried in the

1336: 9758: 9645: 9602: 9587: 9527: 9364: 9339: 9329: 9119: 9024: 8938: 8908: 8893: 8888: 8838: 8662: 8515: 8456: 7918: 7861: 7801: 7794: 7710: 7522: 7244: 7155: 7141: 7124: 7109: 7091: 7059: 7044: 7029: 6998: 6979: 6963: 6930: 6915: 6897: 6879: 6861: 6826: 6796: 6781: 6766: 6751: 6736: 6721: 6702: 6680: 6665: 6650: 6622: 6593: 6578: 6563: 6549: 6530: 6511: 6480: 6461: 6439: 6416: 6397: 6378: 6359: 6323: 6301: 6192: 6179: 6130: 6111: 6089: 6032: 6004: 5982: 5958: 5939: 5921: 5899: 5883: 5861: 5839: 5817: 5795: 5773: 5751: 5720: 5697: 5675: 5643: 5620: 5601: 5589: 5529: 5476: 5390: 5365: 5189: 5151: 5104: 5046: 5020: 4986: 4962: 4912: 4788: 3868: 3575: 3385:. The last collection of new poetry by Brecht published in his lifetime was the 1939 3268: 3256: 3120: 2778: 2517: 2457: 2412: 2402: 2352: 2258: 2071: 2066:

varieties. "Brecht's work is the most important and original in European drama since

2063: 2059: 2043: 1979: 1645: 1565: 1549: 1461: 1456: 1131: 1064:

The year 1927 also saw the first collaboration between Brecht and the young composer

871: 832:

movement. The collective's work "mirrored the artistic climate of the middle 1920s",

734: 673: 654: 419: 9537: 9497: 6962:. Ed. Phillip B. Zarrilli. 2nd ed. Worlds of Performance Series. London: Routledge. 6944:

15. Ed. Marc Silberman et al. Madison, Wisconsin: The International Brecht Society,

5197: 5116: 4783: 2237:

Collective and collaborative working methods were inherent to Brecht's approach, as

2181:

Brecht's collaborations with Kurt Weill have had some influence in rock music. The "

2034:" the theatre to a new social use. In this regard he was a vital participant in the 1850: 1287: 764:

in his group of Berlin theatres. A new version of Brecht's third play, now entitled

505:, who inspired in the young Brecht an admiration for the iconoclastic dramatist and 9907: 9685: 9597: 9542: 9502: 9477: 9467: 9154: 8988: 8948: 8848: 8730: 8705: 8632: 8622: 8545: 8525: 8294: 8260: 8221: 8191: 8182: 8164: 8152: 8136: 8124: 8088: 8076: 8066: 7357: 7271: 7011: 6562:

Demčišák, Ján. 2012. "Queer Reading von Brechts Frühwerk". Marburg: Tectum Verlag.

6453: 6289: 6256: 6248: 6159: 6057: 5690:

Baal, Drums in the Night, In the Jungle of Cities, The Life of Edward II in England

5139: 5096: 5065: 4653: 3724: 3637: 3605: 3328: 2580: 2462: 2437: 2310: 2117: 2075: 1857:

neighbourhood of Berlin, overlooked by the residence he shared with Helene Weigel.

1782: 1473: 894: 755: 682: 9670: 9452: 9294: 9209: 9104: 9054: 8973: 8853: 6951:

Reinelt, Janelle. 1994. "A Feminist Reconsideration of the Brecht/Lukács Debate".

6871: 3913: 3342:

Short Description of a New Technique of Acting which Produces an Alienation Effect

2161: 559: 463:

occasional attempt to claim peasant origins implied. At school in Augsburg he met

9630: 9562: 9492: 9482: 9442: 9389: 9349: 9334: 9049: 8878: 8843: 8510: 8470: 8288: 8197: 7942: 7654: 7328: 7054:

Thomson, Peter. 2000. "Brecht and Actor Training: On Whose Behalf Do We Act?" In

6795:. Ed. Phillip B. Zarrilli. 1st ed. Worlds of Performance Ser. London: Routledge. 6733:

Bertolt Brecht and Critical Theory: Marxism, Modernity and the Threepenny Lawsuit

6239: 6103: 5996: 5954: 5533:, begun in 1935, but not premiered until 1959 (three years after Brecht's death). 5040: 5014: 4959:

So macht Kommunismus Spaß: Ulrike Meinhof, Klaus Rainer Röhl und die Akte Konkret

4803: 4549: 3933: 3615: 3012: 2542: 2442: 2422: 2332: 2238: 2153: 2149: 2055: 1974: 1926: 1861: 1712: 1655:

Though he was never a member of the Communist Party, Brecht had been schooled in

1593: 1485: 1413: 1385: 1352: 1314: 1309: 1291: 1247: 1080: 861: 814: 662: 597: 549: 534: 502: 352: 175: 9690: 9680: 9522: 9517: 9289: 9199: 9144: 7249: 7021: 4156:

for details of Brecht's germinal 'epic' ideas and techniques in this production.

1395: 9875: 9650: 9582: 9472: 9462: 9437: 9379: 9344: 9259: 9214: 9089: 9084: 9044: 8978: 8958: 8923: 8883: 8668: 8550: 8530: 8356: 8112: 8100: 7913: 7508: 7405: 7381: 6603: 6438:. Bertolt Brecht: Plays, Poetry and Prose. London: Methuen. pp. vii–xvii. 4834: 4623: 4515: 4458: 4317: 4243: 4170: 3709: 3610: 3477: 3378: 2762: 2512: 2427: 2407: 2362: 2327: 2306: 2290: 2220: 1918: 1865: 1283: 1126:

Brecht formed a writing collective which became prolific and very influential.

972: 959: 823: 590: 510: 448: 9432: 7306: 6856:

Mitter, Schomit. 1992. "To Be And Not To Be: Bertolt Brecht and Peter Brook".

6293: 6061: 4510:

entry for 24 June 1943. Brecht claimed to have written the adaptation (in his

9923: 9675: 9660: 9592: 9567: 9512: 9487: 9447: 9384: 9264: 9249: 9159: 9139: 9094: 9079: 9059: 9003: 8993: 8983: 8928: 8903: 8740: 8535: 8425: 8403: 8344: 8276: 8250: 8146: 8106: 7957: 7577: 7393: 7315: 7258: 6431: 6322:. Cambridge Companions to Literature. Cambridge: Cambridge University Press. 6081: 6069: 5639: 5597: 5551: 5185: 4632: 3917: 2876: 2527: 2487: 2447: 2432: 2342: 2242: 2205: 2172: 2031: 1991: 1890: 1601: 1541: 1497: 1477: 1408: 881: 866: 837: 818: 739: 722: 702: 628: 545: 456: 423: 313: 295: 260: 231: 83: 7900: 7875: 6841:

Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte

6577:. Twentieth Century Views Ser. Eaglewood Cliffs, New Jersey: Prentice Hall. 3552: 1734: 1600:

thanked Brecht for his co-operation. The remaining witnesses, the so-called

1139: 860:

In 1925, Brecht also saw two films that had a significant influence on him:

379: 9882: 9748: 9738: 9695: 9552: 9547: 9507: 9457: 9414: 9404: 9399: 9369: 9359: 9354: 9304: 9299: 9224: 9219: 9184: 9179: 9149: 9064: 9029: 8998: 8720: 8413: 8407: 8378: 8366: 8324: 8314: 8282: 8272: 8254: 8176: 8170: 8158: 8140: 7988: 7894: 7840: 7833: 7083: 6846: 6370: 6018:

Brooker, Peter. "Key Words in Brecht's Theory and Practice of Theatre". In

5581: 5547: 5524: 5108: 4839:: "Stalins deutsche Opfer und die Volksfront", in the underground magazine 4628: 4519: 4330: 4326: 3704: 3600: 3467: 3407: 2537: 2497: 2492: 2482: 2387: 2382: 2357: 2337: 2314: 2282: 2274: 2266: 2246: 2182: 2067: 2039: 1914: 1680: 1533: 1520: 1493: 1400: 1356: 1332: 1328: 1279: 1269: 1096: 982: 909:

and socialism in earnest, under the supervision of Hauptmann. "When I read

833: 694: 605: 523: 468: 464: 403: 399: 384: 370: 136: 103: 6613:

Eaton, Katherine B. "Brecht's Contacts with the Theater of Meyerhold". in

5143: 1000: 770:, opened at the Deutsches Theater in October 1924, but was not a success. 9665: 9655: 9572: 9557: 9409: 9394: 9374: 9324: 9319: 9274: 9204: 9194: 9189: 9129: 8898: 8520: 8393: 8360: 8334: 8310: 8300: 8209: 8094: 7868: 7612: 7571: 7459: 6907: 6660:

Eddershaw, Margaret. 1982. "Acting Methods: Brecht and Stanislavski". In

6191:. Worlds of Performance. London and New York: Routledge. pp. 71–83. 5935: 5667: 5555: 5412:"Zur Brecht-Uraufführung in Frankfurt: "Die Gesichte der Simone Machard"" 4636: 4166: 3415: 2944: 2870: 2635: 2507: 2477: 2472: 2467: 2397: 2392: 2377: 2347: 2302: 2298: 2278: 2262: 2198: 2113: 2101: 2090: 2051: 2023: 1969: 1946: 1877: 1805: 1753: 1660: 1641: 1545: 1360: 1274: 1135: 915: 888:. Brecht later wrote that Chaplin "would in many ways come closer to the 849: 649: 576: 475: 415: 99: 7276: 6839:

McBride, Patrizia. "De-Moralizing Politics: Brecht's Early Aesthetics."

5877:

The Tutor; Coriolanus; The Trial of Joan of Arc at Rouen, 1431; Don Juan

5387:

An Introduction to the Social and Political Philosophy of Bertolt Brecht

5322: 4987:"The Tsar spoke to them ... – Brecht's Works in English: A Bibliography" 9804: 9640: 9269: 9254: 9229: 9164: 9134: 9099: 9034: 8933: 8725: 8685: 8318: 8238: 8118: 8082: 7240: 7136: 6889: 6270: 6171: 5679: 5177: 4928:, p. 440. The poem was first printed in the West-German newspaper 4322: 2532: 2452: 2367: 2270: 2035: 2016: 1894: 1873: 1597: 1555: 1451: 1282:. This striking film is notable for its subversive humour, outstanding 1243:

opera would premier later in Berlin in 1931 as a triumphant sensation.

1166: 1143: 1065: 968: 939: 698: 632: 444: 402:

period, Brecht fled his home country, first to Scandinavia, and during

366: 290: 6699:

Brecht and Company: Sex, Politics, and the Making of the Modern Drama.

6527:

Bertolt Brecht et Fritz Lang : le nazisme n'a jamais été éradiqué

6261: 4784:"Bertolt Brecht asui maanpakolaisvuosinaan Kuhankeittäjän korttelissa" 754:

in which the actors chatted with the prompter about their roles), and

8807: 8695: 8607: 8397: 8266: 7952: 6778:

The Partnership: Brecht, Weill, Three Women, and Germany on the Brink

5193: 4884:"Bertolt Brecht Biography – List of Works, Study Guides & Essays" 4698: 2250: 2194: 1953: 1941: 1687:. At this time he wrote some of his most famous poems, including the 1616: 1581: 1481: 1348: 1120: 928: 910: 639: 6252: 6163: 1897:

into the rhythms of poetry, chorea into the choreography of drama."

1737:" (The Solution), a disillusioned Brecht writes a few months later: 1608: 9825: 9612: 9577: 9019: 8963: 8304: 8130: 8060: 7207:

external links, and converting useful links where appropriate into

6125:

Kolocotroni, Vassiliki; Goldman, Jane; Taxidou, Olga, eds. (1998).

5416: 4930: 2502: 2286: 2027: 2011:

the action, explanatory placards, the transposition of text to the

1965: 1778: 1577: 1156: 924: 806: 452: 440: 75: 6712:

Giles, Steve. 1998. "Marxist Aesthetics and Cultural Modernity in

6645:. Ed. J. Fuegi, R. Grimm, J. Hermand. Suhrkamp, 1979. 1985 19–29. 6144:

McDowell, W. Stuart (Winter 1977). "A Brecht-Valentin Production:

4856:

Der Stalinismus und die Renegaten. Die Literatur der Exkommunisten

1909:

Statue of Brecht outside the Berliner Ensemble's theatre in Berlin

1340: 8801: 7411: 6896:. Chicago: University of Chicago Press; Oxford: Basil Blackwell. 6394:

Art and Politics in the Weimar Period: The New Sobriety 1917–1933

5938:, Hugh Rorrison and Antony Tatlow. London and New York: Methuen. 4356: 4294: 3760:

The introduction of this article draws on the following sources:

3352:("Kleines Organon für das Theater", written 1948; published 1949) 2001:

One of Brecht's most important principles was what he called the

1808:, famous for violent suppression of a peaceful demonstration on " 1656: 1152:, which attempts to portray the drama in financial transactions. 906: 558:

years later, Brecht identified Valentin, along with Wedekind and

506: 387:(which he later preferred to call "dialectical theatre") and the 374: 7388: 6076:(Citadel Press Book ed.). New York: Carol Publishing Group. 6046:

Culbert, David (March 1995). "Joseph Goebbels and his diaries".

4368: 2108:

Brecht used his poetry to criticize European culture, including

1905: 884:

to Chaplin, and the two of them provided models for Galy Gay in

669:

blew whistles and threw stink bombs at the actors on the stage.

638:

In 1923, Brecht wrote a scenario for what was to become a short

7936: 7668: 7090:. Translated by Hugh Rorrison. London and New York: Routledge. 6858:

Systems of Rehearsal: Stanislavsky, Brecht, Grotowski and Brook

4635:

playwrights that Brecht admired; he was married to the actress

3925: 3729: 3549:

The Sixteen-Year-Old Seamstress Emma Ries before the Magistrate

3036: 1995: 1465: 1113: 666: 486: 6237:

Smith, Iris (1991). "Brecht and the Mothers of Epic Theater".

4530:, pp. 90–95. Brecht wrote a sequel to the novel in 1943, 4269: 2168:

are often cited as the major exponents of "Brechtian cinema".

1718: 1407:

During the war years, Brecht became a prominent writer of the

1222:, a play that would never see the stage in Brecht's lifetime. 455:

and his grandmother influenced Bertolt Brecht and his brother

7929: 7121:

Walter Benjamin and Bertolt Brecht: The Story of a Friendship

5811:

The Good Person of Szechwan, The Resistible Rise of Arturo Ui

5523:

Note: Several of Brecht's poems were set by his collaborator

5475:

Bertolt, Brecht (1983). Willet, John; Manheim, Ralph (eds.).

3955: 3855:

Hässler, Hans-Jürgen; von Heusinger, Christian, eds. (1989).

3471: 2109: 1854: 1537: 1389: 1344: 7400: 6958:

Rouse, John. 1995. "Brecht and the Contradictory Actor". In

6851:

From Baal to Keuner. The "Second Optimism" of Bertolt Brecht

5445:. John Fuegi's take on Brecht's collaborations, detailed in 3797:. Berlin-Akademie der Künste – Akademie der Künste – Berlin. 2208:, became a poet and theatre critic interested in New York's 2116:. Brecht's poetry is marked by the effects of the First and 1297: 8045: 6504:

Directors on Directing: A Source Book to the Modern Theater

5362:

The Films of Oshima Nagisa: Images of a Japanese Iconoclast

5172:, pp. 87–92). Willett observes: "With Brecht the same 3997: 3841:

See Brecht's poem "Of Poor B.B." (first version, 1922), in

3649: 3646: 2019:

in rehearsals, and speaking the stage directions out loud.

1633:, accompanied by an essay on the importance of creating a " 1612: 1250:(1930–1933) in Berlin working with his "collective" on the 1089:, which had informed Brecht's previous work. They produced 920: 6003:. Translated by Anna Bostock. London and New York: Verso. 4591: 2185:" for example, originally published as a poem in Brecht's 1913:

Brecht developed the combined theory and practice of his "

7016:

Der Dichter und die Ratio: Erinnerungen an Bertolt Brecht

6664:. Ed. Graham Bartram and Anthony Waine. London: Longman. 6375:

The Theatre of Bertolt Brecht: A Study from Eight Aspects

6124: 4554: 4462: 3773: 3742: 501:, where he enrolled in 1917. There he studied drama with 407: 27:

German poet, playwright, and theatre director (1898–1956)

6960:

Acting (Re)considered: A Theoretical and Practical Guide

4428: 4113: 2201:

and various other bands and performers since the 1960s.

1675:

by directors and not performed for more than ten years.

1138:

and others worked with Brecht and produced the multiple

5875:

Ed. John Willett and Ralph Manheim. New York: Vintage.

5831:. Ed. John Willett and Ralph Manheim. London: Methuen. 5809:. Ed. John Willett and Ralph Manheim. London: Methuen. 5787:. Ed. John Willett and Ralph Manheim. London: Methuen. 5711:. Ed. John Willett and Ralph Manheim. London: Methuen. 5252: 4440: 4404: 4380: 4246:'s (his fellow dramaturg) contracts were not renewed. ( 4009: 2320: 672:

In 1924 Brecht worked with the novelist and playwright

635:, born in March 1923, was a successful German actress. 5981:. Cambridge: Cambridge University Press. p. 129. 4416: 4257: 4238:

According to Willett, Brecht was disgruntled with the

4125: 1258:

often aimed at educating workers on Socialist issues.

369:

and began a life-long collaboration with the composer

7341: 6953:

Women & Performance: A Journal of Feminist Theory

6341:. Translated by John Nowell. New York: Seabury Press. 5853:

Ed. Tom Kuhn and David Constantine. London: Methuen.

5240: 4603: 4488: 4204: 3795:"Brecht-Weigel-Gedenkstätte-Chausseestraße 125-10115" 3661: 2223:

was general manager, including the world premiere of

1460:

which was loosely based on the 1942 assassination of

1388:, with whom he lived in the Marlebäck manor house in 712: 406:

to the United States, where he was surveilled by the

7299:

Communications from the International Brecht Society

7058:. Ed. Alison Hodge. London and New York: Routledge. 5341: 5329: 5288: 5276: 5264: 4392: 4089: 3854: 3652: 3643: 3640: 3564:

To the Students and Workers of the Peasants' Faculty

2136:

Brecht's most influential poetry is featured in his

2042:/popular culture" dichotomy—vying with the likes of 1556:

Cold War and final years in East Germany (1945–1956)

1229:

The masterpiece of the Brecht/Weill collaborations,

1196:

First the grub (lit. "eating like animals, gorging")

934:(replaceability of each member of the collective in 776:

In the asphalt city I'm at home. From the very start

5491: 5168:, pp. 43–58) and "non-organic work of art" in 4344: 3533:Die Bücherverbrennung (The Book Burning, about the 1917:" by synthesizing and extending the experiments of 5855:The Antigone of Sophocles, The Days of the Commune 5765:. Ed. Tom Kuhn and John Willett. London: Methuen. 5578:Brecht on Theatre: The Development of an Aesthetic 4804:"International Brecht Society – Brecht Chronology" 2197:, on their self-titled debut album, as well as by 1968:, including the strategy of divergent chapters in 1868:, followed by life-long chronic heart failure and 1722:Graves of Helene Weigel and Bertolt Brecht in the 422:with his wife and long-time collaborator, actress 418:after the war, he established the theatre company 7191:may not follow Knowledge's policies or guidelines 6997:. Translated by Marc Silberman. London: Methuen. 6978:. Translated by Marc Silberman. London: Methuen. 6914:. Classic Film Scripts Series. London: Lorrimer. 6761:Jacobs, Nicholas and Prudence Ohlsen, eds. 1977. 1900: 898:project, which it is possible Brecht influenced. 351:, playwright, and poet. Coming of age during the 9921: 6590:Unmaking Mimesis: Essays on Feminism and Theater 6510:. Rev. ed. Boston, MA: Allyn & Bacon, 1963. 6127:Modernism: An Anthology of Sources and Documents 6049:Historical Journal of Film, Radio and Television 5916:. Ed. Tom Kuhn and David Constantine. New York: 5569: 5164:On these relationships, see "autonomization" in 4743:"Barbara Brecht-Schall – About This Person" 4461:, "Basic Principles of a Sociological Drama" in 3857:Kultur gegen Krieg, Wissenschaft für den Frieden 3124:(credited as Bert Brecht) (screenplay) 1942/1943 6765:London: IRAT Services Ltd and TQ Publications. 6074:Bertolt Brecht: His Life, His Art and His Times 5977:Banham, Martin, ed. (1998). "Brecht, Bertolt". 5619:. Translated by John Willett. London: Methuen. 5045:. Northwestern University Press. 6 March 2008. 5019:. Cambridge University Press. 2 November 2000. 4796: 3988: 3986: 2232: 1644:and established his theatre company there, the 1611:in Switzerland for a year. In February 1948 in 1588:by movie studio bosses and interrogated by the 10050:20th-century German dramatists and playwrights 8455: 7043:. Basingstoke, Hampshire: Palgrave Macmillan. 6429: 5364:. University of California Press. p. 45. 4725: 4713: 4674: 4640: 4374: 4362: 4337:) to call themselves 'The Brecht Collective'." 4312: 4300: 4288: 4275: 4182: 4083: 4070: 4053: 4003: 3961: 3928:singer; he accompanied himself on the lute." ( 1821:the sun of the peoples burned its worshippers. 1759:Had forfeited the confidence of the government 1468:Deputy Reich Protector of the German-occupied 1074:project, along thematic lines of the biblical 905:in Darmstadt that year, Brecht began studying 828:Brecht's work from this period as part of the 676:(whom he had met in 1919) on an adaptation of 566:But the man he learnt most from was the clown 377:thought during this period, he wrote didactic 339:(10 February 1898 – 14 August 1956), known as 9785: 8441: 8031: 7427: 6793:Acting (Re)considered: Theories and Practices 6649:. Connecticut and New York: Greenwood Press. 6318:Thomson, Peter; Sacks, Glendyr, eds. (1994). 5934:. Ed. John Willett and Ralph Manheim. Trans. 5176:technique spread to the drama, where the old 4814: 2026:approaches, however, Brecht had no desire to 1945:that remind the spectator that the play is a 1929:and the creation of a critical aesthetics of 30:"Brecht" redirects here. For other uses, see 6811: 6621:ed. C. Davidson. New York: AMS Press, 1984. 6317: 6310: 6229: 6216: 6207: 6019: 5454: 5442: 4656:Bavaria under the codename "Mahagonny". The 4066: 3983: 1484:, who was known as "The Hangman of Prague" ( 1210:was followed by the quickly thrown together 721:and Helene Weigel. Brecht and Weigel's son, 388: 8587:Category:Translators of William Shakespeare 7303:, University of Wisconsin–Madison Libraries 7293:, University of Wisconsin–Madison Libraries 7277:"Brecht's Works in English: A Bibliography" 6641:. Bemerkungen zu Brecht und Tretjakow". in 6617:11.1 (Spring 1977)3–21. Reprinted in 1984. 5657: 5514:, preferring the former with any conflicts. 3250:Der Prozess der Jeanne D'Arc zu Rouen, 1431 1812:" and later protests which resulted in the 1061:, but the productions did not materialize. 9792: 9778: 8448: 8434: 8188:Denis Markell and Douglas Bernstein (1993) 8038: 8024: 7434: 7420: 7041:Modernism and Performance: Jarry to Brecht 6791:Krause, Duane. 1995. "An Epic System". In 6548:. Berlin and New York: Walter de Gruyter. 5894:John Willett; Ralph Manheim, eds. (2000). 4696:In this respect, the creative process for 2948:(screenplay, with Ernst Ottwalt) 1931/1932 2859:The Rise and Fall of the City of Mahagonny 2038:debates of his era—particularly over the " 1304:Unhappy the land where heroes are needed. 1068:. Together they began to develop Brecht's 992:The Adventures of the Good Soldier Schweik 782:To the end mistrustful, lazy and content. 748:(with the improvisational approach of the 562:, as his "chief influences" at that time: 49: 8701:Hans Jakob Christoffel von Grimmelshausen 7227:Learn how and when to remove this message 6853:, Bern and Frankfurt am Main: Peter Lang. 6413:Brecht in Context: Comparative Approaches 6377:(3rd revised ed.). London: Methuen. 6260: 6223: 6129:. Edinburgh: Edinburgh University Press. 5481:. London; New York: Methuen. p. 121. 4410: 4386: 4338: 3445:I'm Not Saying Anything Against Alexander 3262:Turandot oder Der Kongreß der Weißwäscher 2756:Der Untergang des Egoisten Johnann Fatzer 2592:The Business Affairs of Mr. Julius Caesar 2054:, and developing a close friendship with 1298:Nazi Germany and World War II (1933–1945) 410:. After the war he was subpoenaed by the 7329:Newspaper clippings about Bertolt Brecht 6452: 6436:Collected Plays: 'One' by Bertolt Brecht 6215:Sacks, Glendyr. "A Brecht Calendar". In 6206:Meech, Tony. "Brecht's Early Plays". In 6186: 6143: 5995: 5453:) and summarized in his contribution to 5258: 4866: 4864: 4681:is most clearly discernible in Brecht's 4173:was to join Brecht in the position. See 4147: 4095: 3992: 3977: 3777: 3774:Kolocotroni, Goldman & Taxidou (1998 2616: 2030:as an institution; rather, he hoped to " 1904: 1717: 1559: 1532:Brecht's refusal to speak in support of 1394: 1031:('Petroleum resists the five-act form'). 780:With newspapers. And tobacco. And brandy 8047:Drama Desk Award for Outstanding Lyrics 7788:The Trial of Joan of Arc at Rouen, 1431 6575:Brecht: A Collection of Critical Essays 6410: 6391: 6369: 6358:Munich and Vienna: Carl Hanser Verlag. 6308: 6277: 6102: 6045: 6017: 5633: 5511: 5474: 5462: 5458: 5438: 5384: 5234: 5213: 5201: 5165: 5129: 4609: 4597: 4585: 4581: 4566: 4555:Kolocotroni, Goldman & Taxidou 1998 4545: 4527: 4523: 4494: 4478: 4474: 4463:Kolocotroni, Goldman & Taxidou 1998 4434: 4350: 4263: 4251: 4247: 4210: 4178: 4119: 4107: 4028: 3949: 3945: 3903: 3887: 3825: 3814: 3810: 3808: 3806: 3804: 3769: 3748: 3245:The Trial of Joan of Arc at Rouen, 1431 1450:Brecht co-wrote the screenplay for the 1347:. They later bought their own house in 1165:, with Brecht's lyrics set to music by 14: 10065:Burials at the Dorotheenstadt Cemetery 10045:German male dramatists and playwrights 9922: 8711:Christian Hoffmann von Hoffmannswaldau 7978:The Modern Theatre Is the Epic Theatre 7565:Rise and Fall of the City of Mahagonny 7140:, no. 1, Autumn 1979, pp. 24–28, 6474: 6336: 6080: 6026: 5976: 5893: 5859:Turandot or the Whitewasher's Congress 5612: 5575: 5449:(New York: Grove, 1994; also known as 5409: 5403: 5347: 5335: 5294: 5282: 5270: 5246: 5169: 5082: 4925: 4881: 4729: 4446: 4398: 4226: 4222: 4198: 4165:Brecht was recommended for the job by 4015: 3929: 3863:] (in German). Würzburg, Germany: 3861:Culture against War, Science for Peace 3842: 3781: 3765: 3761: 3558:To Be Read in the Morning and at Night 3301:The Modern Theatre Is the Epic Theatre 3114:Der aufhaltsame Aufstieg des Arturo Ui 2607:, 1937–39, unfinished, published 1957) 2166:Jean-Marie Straub and Danielle Huillet 1590:House Un-American Activities Committee 1232:Rise and Fall of the City of Mahagonny 1108:" (1930). The principle, a variety of 1106:The Modern Theatre Is the Epic Theatre 817:") had given its name to the new post- 697:". That September, a job as assistant 522:appeared in October 1919). Brecht was 434: 412:House Un-American Activities Committee 9773: 8429: 8019: 7516:Downfall of the Egotist Johann Fatzer 7415: 6780:. New York: Nan A. Talese/Doubleday. 6546:Alfred Döblin: Paradigms of Modernism 6460:. London: Hogarth. pp. 277–290. 6415:(revised ed.). London: Methuen. 6309:Thomson, Peter. "Brecht's Lives". In 6236: 6214: 6205: 6088:. London: Weidenfeld & Nicolson. 5914:The Collected Poems of Bertolt Brecht 5736:St Joan of the Stockyards, the Mother 5734:. Ed. John Willett. London: Methuen. 5558:(London: Eyre Methuen, 1976), p. 507. 5507: 5359: 4998: 4996: 4861: 4422: 4174: 4143: 4131: 3973: 3891: 3829: 3671: 2864:Aufstieg und Fall der Stadt Mahagonny 2751:Downfall of the Egotist Johann Fatzer 2744:Leben Eduards des Zweiten von England 2623:English-language translation of title 2597:Die Geschäfte des Herrn Julius Caesar 1564:Brecht and Weigel on the roof of the 1237:Aufstieg und Fall der Stadt Mahagonny 761:Six Characters in Search of an Author 459:considerably during their childhood. 383:and became a leading theoretician of 9985:Protestants in the German Resistance 7307:International Brecht Society records 7171: 6477:Postmodern Brecht: A Re-Presentation 6068: 5969: 5666:, 1961. Ed. Eric Bentley. New York: 5306: 4956: 4843:, Nr. 4/5, October 1938, pp. 7 ff.; 4677:, pp. xv–xvi. The influence of 4194: 3912:, Brecht cites Wedekind, along with 3801: 3293: 2994:Furcht und Elend des Dritten Reiches 2958:Die sieben Todsünden der Kleinbürger 2914:Die heilige Johanna der Schlachthöfe 2840:Badener Lehrstück vom Einverständnis 2321:List of collaborators and associates 2189:(1927) and set to music by Weill in 2140:, establishing him as a noted poet. 1123:of Brecht's work with her siblings. 482:Dulce et decorum est pro patria mori 9950:Writers from the Kingdom of Bavaria 7152:The Lost One: A Life of Peter Lorre 6647:The Theater of Meyerhold and Brecht 6224:Schechter, Joel. "Brecht's Clowns: 5451:The Life and Lies of Bertolt Brecht 3513:(Questions from a Worker Who Reads) 2215:Brecht's plays were a focus of the 1629:. It was published under the title 1470:Protectorate of Bohemia and Moravia 1246:Brecht spent the last years of the 967:In 1927 Brecht became part of the " 778:Provided with every last sacrament: 24: 7641:Fear and Misery of the Third Reich 7441: 6691:. London: Eyre & Spottiswoode. 6592:. London and New York: Routledge. 6495: 6479:. London and New York: Routledge. 5564: 5410:Jacobi, Johannes (14 March 1957). 5016:Brecht's Poetry of Political Exile 4993: 4150:, p. 115. See the article on 3463:In Praise of the Work of the Party 3090:Herr Puntila und sein Knecht Matti 2989:Fear and Misery of the Third Reich 1444:Fear and Misery of the Third Reich 1382:Herr Puntila und sein Knecht Matti 1142:, which attempted to create a new 713:Weimar Republic Berlin (1925–1933) 429: 25: 10081: 10055:20th-century German screenwriters 8736:Anthony Ulrich, Duke of Brunswick 7551:The Baden-Baden Lesson on Consent 7167: 6718:Bertolt Brecht: Centenary Essays. 6320:The Cambridge Companion to Brecht 3466:Legend of the Origin of the Book 2835:The Baden-Baden Lesson on Consent 1615:, Brecht staged an adaptation of 1327:Fearing persecution, Brecht left 1027:and the oil interests handled in 574:Brecht's first full-length play, 8506:Early New High German literature 8000: 7999: 7704:The Resistible Rise of Arturo Ui 7634:The Horatians and the Curiatians 7399: 7387: 7375: 7363: 7351: 7311:University of Maryland Libraries 7268:Works by or about Bertolt Brecht 7176: 7154:. University Press of Kentucky. 7056:Twentieth Century Actor Training 6356:Bertolt Brecht, Eine Biographie. 5748:The Horatians and the Curiatians 5083:Parker, Stephen (2 April 2011). 4934:in 1959 and subsequently in the 3636: 3442:I want to Go with the One I Love 3314:) (written 1931; published 1932) 3109:The Resistible Rise of Arturo Ui 2977:The Horatians and the Curiatians 2970:Die Rundköpfe und die Spitzköpfe 2739:The Life of Edward II of England 1802:Der Zar hat mit ihnen gesprochen 1752:Had leaflets distributed in the 1432:The Resistible Rise of Arturo Ui 657:. In May of that year, Brecht's 326: 247: 211:The Resistible Rise of Arturo Ui 10070:Naturalised citizens of Austria 7984:A Short Organum for the Theatre 7732:Schweyk in the Second World War 7676:Mother Courage and Her Children 7281:University of Wisconsin–Madison 7018:. Göttingen: Sachse & Pohl. 6927:Bertolt Brecht: A Literary Life 6808:Mother Courage and Her Children 6606:. 1985. "Brecht and Rhetoric". 6434:, eds. (1970). "Introduction". 5793:Mother Courage and Her Children 5536: 5517: 5500: 5485: 5468: 5432: 5378: 5353: 5300: 5227: 5207: 5158: 5123: 5076: 5059: 5033: 5007: 4979: 4950: 4919: 4904: 4890: 4875: 4823: 4776: 4767: 4735: 4719: 4690: 4646: 4615: 4560: 4539: 4533:Schweik in the Second World War 4500: 4468: 4452: 4306: 4281: 4232: 4216: 4188: 4159: 4137: 4076: 4059: 4034: 4021: 3967: 3939: 3897: 3881: 3848: 3504:Fragen eines lesenden Arbeiters 3433:How Fortunate the Man with None 3430:Honoured Murderer of the People 3349:A Short Organum for the Theatre 3149:Schweik in the Second World War 3134:Die Gesichte der Simone Machard 3049:Mother Courage and Her Children 2253:and actors; the list includes: 2226:Die Gesichte der Simone Machard 1825:when young he was conscientious 1768:In that case for the government 1516:Schweik in the Second World War 1480:, and a chief architect of the 1420:Mother Courage and Her Children 1104:", which he first outlined in " 530:; the war ended a month later. 337:Eugen Berthold Friedrich Brecht 269: 243: 183:Mother Courage and Her Children 64:Eugen Berthold Friedrich Brecht 7263:Internet Off-Broadway Database 6825:. Princeton University Press. 6619:Drama in the Twentieth Century 6110:. London and New York: Verso. 5979:The Cambridge Guide to Theatre 5957:. San Francisco: City Lights. 5310:Comparative Literature Studies 3835: 3819: 3787: 3754: 3717: 3697: 3628: 3494:On Reading a Recent Greek Poet 3344:(written 1940; published 1951) 3338:(written 1938; published 1958) 3332:(written 1938; published 1950) 3054:Mutter Courage und ihre Kinder 2982:Die Horatier und die Kuriatier 2659:Der Bettler oder Der tote Hund 1998:"collage" in the visual arts. 1960:led to his refinement of the " 1901:Theory and practice of theatre 1278:(1932), which was directed by 622:, although at that point only 13: 1: 10035:Stalin Peace Prize recipients 8501:Middle High German literature 7767:Die Verurteilung des Lukullus 7718:The Visions of Simone Machard 7627:Round Heads and Pointed Heads 6993:Silberman, Marc, ed. (2003). 6974:Silberman, Marc, ed. (2000). 6946:University of Wisconsin Press 6687:, first published in 1959 as 5664:Seven Plays by Bertolt Brecht 5570:Essays, diaries, and journals 5496:. Chronicle Books. p. 1. 5101:10.1016/S0140-6736(11)60453-4 4052:on 5 October 1922. Quoted in 4040:Herbert Ihering's review for 3691: 3596:Bertolt-Brecht-Literaturpreis 3581:War Has Been Given a Bad Name 3336:The Popular and the Realistic 3214:Die Verurteilung des Lukullus 3129:The Visions of Simone Machard 2965:Round Heads and Pointed Heads 2720:Mysterien eines Friseursalons 2089:dubs him "the most important 1510:The Visions of Simone Machard 1331:in February 1933, just after 1078:but rendered in terms of the 8787:Friedrich Gottlieb Klopstock 7690:Mr Puntila and His Man Matti 7592:Saint Joan of the Stockyards 7324:by Joseph Mach at Brechthall 6677:Brecht: The Man and His Work 5815:Mr Puntila and His Man Matti 3209:The Condemnation of Lucullus 3154:Schweyk im Zweiten Weltkrieg 3085:Mr Puntila and His Man Matti 2909:Saint Joan of the Stockyards 2566:Geschichten vom Herrn Keuner 2233:Collaborators and associates 2171:Brecht's widow, the actress 1925:to explore the theatre as a 1864:as a child, which led to an 1705:East German uprising of 1953 1625:, based on a translation by 1552:living throughout the West. 1548:, was harshly criticised by 1540:after being arrested during 1377:Mr Puntila and His Man Matti 1220:Saint Joan of the Stockyards 1149:Saint Joan of the Stockyards 1042:Saint Joan of the Stockyards 788:Bertolt Brecht, "Of Poor BB" 725:, was born in October 1924. 204:Mr Puntila and His Man Matti 7: 9729:Adelbert von Chamisso Prize 8864:Annette von Droste-Hülshoff 8792:Jakob Michael Reinhold Lenz 8416:and Erik Della Penna (2024) 7697:The Good Person of Szechwan 7544:The Flight Across the Ocean 7333:20th Century Press Archives 7322:A history of Mack the Knife 7316:FBI files on Bertolt Brecht 7150:Youngkin, Stephen D. 2005. 7026:Theory of the Modern Drama. 6502:1952. "Brecht Directs". In 6396:. New York: Da Capo Press. 5634:Willett, John, ed. (1990). 5584:. British edition. London: 5085:"Diagnosing Bertolt Brecht" 4522:" in Brecht's handwriting ( 4082:Herbert Ihering, quoted in 3784:, pp. 68–89, 113–137). 3589: 3362:Dialoge aus dem Messingkauf 3166:Der kaukasische Kreidekreis 3097:The Good Person of Szechwan 3006:Die Gewehre der Frau Carrar 2815:The Flight Across the Ocean 2138:Manual of Piety (Devotions) 1659:by the dissident communist 1426:The Good Person of Szechwan 923:, Brecht wrote a number of 767:Jungle: Decline of a Family 190:The Good Person of Szechwan 10: 10086: 8914:Christian Friedrich Hebbel 8869:Marie von Ebner-Eschenbach 8804:(Friedrich von Hardenberg) 8772:Johann Christoph Gottsched 8767:Johann Wolfgang von Goethe 8716:Johann Michael Moscherosch 8638:Walther von der Vogelweide 8592:Reformation era literature 8496:Old High German literature 8457:German-language literature 7963:Separation of the elements 7739:The Caucasian Chalk Circle 7599:The Exception and the Rule 7254:Internet Broadway Database 6995:Brecht on Art and Politics 6763:Bertolt Brecht in Britain. 6750:. London: Reaktion Books. 6525:; Gehrke, Richard (2015). 6475:Wright, Elizabeth (1989). 6458:Drama from Ibsen to Brecht 6311:Thomson & Sacks (1994) 6230:Thomson & Sacks (1994) 6217:Thomson & Sacks (1994) 6208:Thomson & Sacks (1994) 6020:Thomson & Sacks (1994) 4726:Willett & Manheim 1970 4714:Willett & Manheim 1970 4675:Willett & Manheim 1970 4641:Willett & Manheim 1970 4481:, p. 72. In his book 4375:Willett & Manheim 1970 4363:Willett & Manheim 1970 4313:Willett & Manheim 1970 4301:Willett & Manheim 1970 4289:Willett & Manheim 1970 4276:Willett & Manheim 1970 4183:Willett & Manheim 1970 4084:Willett & Manheim 1970 4071:Willett & Manheim 1970 4054:Willett & Manheim 1970 4004:Willett & Manheim 1970 3962:Willett & Manheim 1970 3865:Königshausen & Neumann 3828:, pp. 22–23 See also 3543:The Invincible Inscription 3178:Die Antigone des Sophokles 3161:The Caucasian Chalk Circle 3102:Der gute Mensch von Sezuan 2926:Die Ausnahme und die Regel 2921:The Exception and the Rule 2758:) (fragments) 1926–30/1974 2683:Er treibt einen Teufel aus 2554: 2022:In contrast to many other 1814:Russian Revolution of 1905 1761:And could win it back only 1742:After the uprising of the 1663:. Korsch's version of the 1570:International Workers' Day 1438:The Caucasian Chalk Circle 1102:separation of the elements 197:The Caucasian Chalk Circle 29: 10060:German male screenwriters 9899: 9890:What Keeps Mankind Alive? 9867: 9840: 9818: 9704: 9621: 9423: 9012: 8831: 8818:Johann Gottfried Schnabel 8757:Barthold Heinrich Brockes 8749: 8678: 8600: 8559: 8463: 8231: 8053: 7997: 7885: 7848:What Keeps Mankind Alive? 7818: 7488:Mysteries of a Barbershop 7449: 6929:. London: Methuen Drama. 6892:and Peter Thomson. 1981. 6823:Bertolt Brecht in America 6689:Brecht: A Choice of Evils 6294:10.1017/S0266464X00009350 6146:Mysteries of a Barbershop 6062:10.1080/01439689500260091 6029:Theory of the Avant-Garde 5596:. USA edition. New York: 5494:Berlin: Tales of the City 5385:Squiers, Anthony (2014). 5132:Philosophy and Literature 4702:was quite different from 4526:, p. 110). See also 3710:Dictionary.com Unabridged 3454:In Praise of Illegal Work 3368: 3357:The Messingkauf Dialogues 2715:Mysteries of a Barbershop 2143: 1947:representation of reality 1927:forum for political ideas 1763:By increased work quotas. 1476:'s right-hand man in the 1403:, 1063 26th Street (2014) 645:Mysteries of a Barbershop 533:In July 1919, Brecht and 325: 320: 309: 280: 220: 160: 150: 129: 109: 89: 60: 48: 41: 10025:German opera librettists 9995:German theatre directors 9410:Fritz Zorn (Fritz Angst) 8823:Christoph Martin Wieland 8797:Gotthold Ephraim Lessing 8777:Johann Christian Günther 8658:Gottfried von Strassburg 8491:History of Liechtenstein 7827:Reminiscence of Marie A. 7104:Witt, Hubert, ed. 1975. 6976:Brecht on Film and Radio 6955:7.1 (issue 13). 122–139. 6812:Thomson & Sacks 1994 5932:Short Stories: 1921–1946 5684:Brecht, Bertolt. 1994a. 5658:Drama, poetry, and prose 5613:Brecht, Bertolt (1965). 5478:Short stories, 1921-1946 5455:Thomson & Sacks 1994 5443:Thomson & Sacks 1994 5180:plot yielded to a more " 4961:. Wilhelm Heyne Verlag. 4858:, Stuttgart 1991, p. 163 4745:. Movies & TV Dept. 4708:, with the former being 4669:and a radio play called 4584:, p. 107. See also 4067:Thomson & Sacks 1994 3673:[ˈbɛʁtɔltˈbʁɛçt] 3621: 3520:Reminiscence of Marie A. 3497:On the Critical Attitude 3424:From a German War Primer 3320:(fragment also known as 2549: 2158:Rainer Werner Fassbinder 2125:On Poetry and Virtuosity 1956:concern with drama-as-a- 1840: 1777:Brecht's involvement in 1155:This collective adapted 954:conflicts with society. 809:the artistic exhibition 9980:German literary critics 9754:Leipzig Book Fair Prize 9714:Ingeborg Bachmann Prize 9636:Rudolf Christoph Eucken 8648:Albrecht von Johansdorf 8582:Swiss writers in German 7753:The Days of the Commune 7495:In the Jungle of Cities 7119:Wizisla, Erdmut. 2009. 7106:Brecht As They Knew Him 6925:Parker, Stephen. 2014. 6821:Lyon, James K. (1983). 6679:. New York: Doubleday. 6610:16.3 (Spring). 633–638. 6151:Performing Arts Journal 5851:Collected Plays: Eight. 5576:Brecht, Bertolt. 1964. 5360:Turim, Maureen (1998). 5071:Encyclopædia Britannica 4684:In the Jungle of Cities 4049:Berliner Börsen-Courier 3736:Oxford University Press 3491:O Germany, Pale Mother! 3312:Der Dreigroschenprozess 3185:The Days of the Commune 3066:Das Verhör des Lukullus 2727:In the Jungle of Cities 2671:Die Kleinbürgerhochzeit 2193:, has been recorded by 1931:dialectical materialism 1885:, personality changes, 1847:Dorotheenstadt Cemetery 1757:Stating that the people 1724:Dorotheenstadt Cemetery 1343:close to the island of 844:with their attitude of 32:Brecht (disambiguation) 10015:German Marxist writers 9990:German theatre critics 8969:Conrad Ferdinand Meyer 8874:Joseph von Eichendorff 8643:Wolfram von Eschenbach 8486:History of Switzerland 7907:Non-Aristotelian drama 7662:How Much Is Your Iron? 7648:Señora Carrar's Rifles 6806:Leach, Robert. 1994. " 6714:Der Dreigroschenprozeß 6675:Esslin, Martin. 1960. 6411:Willett, John (1998). 6392:Willett, John (1978). 6337:Völker, Klaus (1976). 6219:, pp. xvii–xxvii. 6027:Bürger, Peter (1984). 5873:Collected Plays: Nine. 5829:Collected Plays: Seven 5771:Señora Carrar's rifles 5732:Collected Plays: Three 4957:Röhl, Bettina (2018). 4898:"St. Petersburg Times" 4751:. 2012. Archived from 4667:The Man from Manhattan 4580:p. 50; quoted by 3540:The Exile of the Poets 3448:In Praise of Communism 3439:I Never Loved You More 3395:Some of Brecht's poems 3308:The Threepenny Lawsuit 3078:Die Judith von Shimoda 3025:How Much Is Your Iron? 3001:Señora Carrar's Rifles 2732:Im Dickicht der Städte 2134: 1910: 1838: 1775: 1770:To dissolve the people 1766:Would it not be easier 1726: 1573: 1572:demonstrations in 1954 1489: 1404: 1368:Germany invaded Norway 1306: 1189:Dann kommt die Moral. 1187:Erst kommt das Fressen 1033: 1019:, the use of songs to 956: 880:. Brecht had compared 858: 796:Devotions for the Home 785: 745:Servant of Two Masters 572: 389: 155:Non-Aristotelian drama 142:non-Aristotelian drama 10040:Theatre practitioners 10030:Exilliteratur writers 9955:People from Svendborg 9945:Writers from Augsburg 9285:Christian Morgenstern 9170:Hugo von Hofmannsthal 9075:Rolf Dieter Brinkmann 8859:Adelbert von Chamisso 8653:Heinrich von Morungen 8577:Liechtenstein writers 7971:Messingkauf Dialogues 7774:Report from Herrnburg 7683:The Trial of Lucullus 7620:The Seven Deadly Sins 7039:Taxidou, Olga. 2007. 6860:. London: Routledge. 6746:Glahn, Philip, 2014. 6662:Brecht in Perspective 6588:Diamond, Elin. 1997. 6281:New Theatre Quarterly 6189:The Brecht Sourcebook 5951:Stories of Mr. Keuner 5785:Collected Plays: Five 5763:Collected Plays: Four 5717:The Seven Deadly Sins 5616:Messingkauf Dialogues 5389:. Amsterdam: Rodopi. 5144:10.1353/phl.2015.0016 4808:www.brechtsociety.org 4483:The Political Theatre 4146:, pp. 54–55 and 3909:Messingkauf Dialogues 3906:, p. 24. In his 3780:, pp. 277–290); 3776:, pp. 465–466); 3732:UK English Dictionary 3572:(To Those Born After) 3457:In Praise of Learning 3404:A Bad Time for Poetry 3221:Report from Herrnburg 3073:The Judith of Shimoda 3061:The Trial of Lucullus 3030:Was kostet das Eisen? 2953:The Seven Deadly Sins 2666:A Respectable Wedding 2649:Trommeln in der Nacht 2627:German-language title 2617:Plays and screenplays 2561:Stories of Mr. Keuner 2129: 2093:writer of our time." 1990:" in the cinema, and 1908: 1827:when old he was cruel 1818: 1747:The Secretary of the 1739: 1721: 1563: 1519:and an adaptation of 1496:was nominated for an 1398: 1302: 1116:towards one another. 1013: 951: 842: 773: 564: 555:Messingkauf Dialogues 519:Augsburger Volkswille 301:Barbara Brecht-Schall 10005:Kleist Prize winners 9849:The Threepenny Opera 9810:The Threepenny Opera 9744:Heinrich Heine Prize 9310:Erich Maria Remarque 9280:Friederike Mayröcker 9115:Friedrich Dürrenmatt 7725:The Duchess of Malfi 7537:The Threepenny Opera 7197:improve this article 6912:The Threepenny Opera 6843:82.1 (2008): 85–111. 6776:Katz, Pamela. 2015. 6731:Giles, Steve. 1997. 6643:Brecht-Jahrbuch 1979 6608:New Literary History 6506:. Ed. Toby Cole and 6001:Understanding Brecht 5918:Liveright Publishing 5837:The Duchess of Malfi 5807:Collected Plays: Six 5709:Collected Plays: Two 5686:Collected Plays: One 5420:(in German). Hamburg 4910:Letter published in 4705:The Threepenny Opera 3569:An die Nachgeborenen 3485:My Young Son Asks Me 3388:Svendborger Gedichte 3377:, and the poetry of 3324:; written 1935–1939) 3286:Pauken und Trompeten 3190:Die Tage der Commune 3141:The Duchess of Malfi 2808:Die Dreigroschenoper 2803:The Threepenny Opera 2217:Schauspiel Frankfurt 1887:obsessive-compulsive 1796:After Khrushchev's " 1650:Austrian nationality 1640:In 1949 he moved to 1576:In the years of the 1526:The Duchess of Malfi 1218:as the germ for his 1208:The Threepenny Opera 1177:Die Dreigroschenoper 1172:The Threepenny Opera 1092:The Little Mahagonny 1037:Joe P. Fleischhacker 978:Hoppla, We're Alive! 927:plays, praising the 586:, in February 1919. 485:from the Roman poet 474:When Brecht was 16, 358:The Threepenny Opera 349:theatre practitioner 246: 1922; 169:The Threepenny Opera 10000:Hollywood blacklist 9965:East German writers 9724:Sigmund Freud Prize 9719:Georg Büchner Prize 9533:Emine Sevgi Özdamar 9245:Else Lasker-Schüler 9110:Heimito von Doderer 8954:Heinrich von Kleist 8944:Friedrich Hölderlin 8782:Friedrich Hölderlin 8628:Reinmar von Hagenau 8541:Austrian literature 8216:Gerard Alessandrini 8204:Gerard Alessandrini 7481:Driving Out a Devil 7289:The Brecht Yearbook 7209:footnote references 7074:The Brecht Yearbook 6942:The Brecht Yearbook 6814:, pp. 128–138. 6697:Fuegi, John. 2002. 6523:Bleitrach, Danielle 6339:Brecht: A Biography 6086:Brecht: A Biography 6022:, pp. 185–200. 5898:. London: Methuen. 5642:. London: Methuen. 5465:, pp. 381–384. 4900:. 21 December 1954. 4871:Brecht HUAC hearing 4755:on 17 February 2012 4728:, p. xvii and 4600:, pp. 104–105. 4588:, pp. 104–105. 4365:, pp. viii–ix. 4335:Elisabeth Hauptmann 4303:, pp. viii, x. 4181:, p. 145, and 4073:, pp. viii–ix. 4056:, pp. viii–ix. 3845:, pp. 107–108. 3772:, pp. 43–58); 3768:, pp. 87–92); 3751:, pp. 312–313. 3578:(United Front Song) 3318:The Book of Changes 3226:Herrnburger Bericht 2796:Mahagonny-Songspiel 2722:) (screenplay) 1923 2678:Driving Out a Devil 2418:Elisabeth Hauptmann 2255:Elisabeth Hauptmann 2210:avant-garde theatre 1994:'s introduction of 1772:And elect another? 1637:" form of theatre. 1631:Antigonemodell 1948 1490:der Henker von Prag 1447:, and many others. 1198:Then the morality. 1128:Elisabeth Hauptmann 1076:Cities of the Plain 877:Battleship Potemkin 719:Elisabeth Hauptmann 678:Christopher Marlowe 655:German film history 435:Bavaria (1898–1924) 363:Elisabeth Hauptmann 9831:The Beggar's Opera 9734:Hans Fallada Prize 9315:Rainer Maria Rilke 9235:Siegfried Kracauer 9125:Marieluise Fleißer 9040:Johannes R. Becher 8919:Johann Peter Hebel 8813:Friedrich Schiller 8560:Related categories 8481:History of Austria 8476:History of Germany 8385:Michael R. Jackson 8351:Lin-Manuel Miranda 8341:Robert L. Freedman 8245:Jason Robert Brown 7809:Trumpets and Drums 7467:Drums in the Night 7088:Journals 1934–1955 6629:. 203–221. 1979. " 6508:Helen Krich Chinoy 5881:Trumpets and Drums 5694:Five One-Act Plays 5233:Brecht, quoted by 5192:, in terms of the 4845:Michael Rohrwasser 4748:The New York Times 4663:Sodom and Gomorrah 4477:, p. 103 and 4333:, Bernhard Reich, 4225:, p. 104 and 4197:, p. 159 and 4043:Drums in the Night 3584:What Has Happened? 3535:Nazi book burnings 3488:Not What Was Meant 3460:In Praise of Study 3451:In Praise of Doubt 3421:Contemplating Hell 3412:Children's Crusade 3281:Trumpets and Drums 2898:The Measures Taken 2824:Lindbergh's Flight 2644:Drums in the Night 2098:Verfremdungseffekt 2004:Verfremdungseffekt 1982:'s evolution of a 1923:Vsevolod Meyerhold 1911: 1883:emotional lability 1727: 1669:Stalin Peace Prize 1574: 1536:, who died in the 1405: 1399:Brecht's house in 1261:The Measures Taken 1162:The Beggar's Opera 1058:Drums in the Night 751:commedia dell'arte 631:. Their daughter, 614:Drums in the Night 602:Drums in the Night 583:Drums in the Night 391:Verfremdungseffekt 10020:Modernist theatre 10010:Marxist theorists 9975:East German poets 9970:German male poets 9917: 9916: 9767: 9766: 9759:Nelly Sachs Prize 9646:Gerhart Hauptmann 9603:Wolf Wondratschek 9528:Sharon Dodua Otoo 9365:Berta von Suttner 9340:Arthur Schnitzler 9330:Ernst von Salomon 9120:Lion Feuchtwanger 9025:Ingeborg Bachmann 8939:E. T. A. Hoffmann 8909:Gerhart Hauptmann 8894:Franz Grillparzer 8889:Jeremias Gotthelf 8839:Bettina von Arnim 8762:Christian Gellert 8663:Dietrich von Bern 8618:Der von Kürenberg 8516:Weimar Classicism 8423: 8422: 8013: 8012: 7919:Defamiliarization 7862:Einheitsfrontlied 7711:Hangmen Also Die! 7523:The Elephant Calf 7237: 7236: 7229: 7129:978-1-870352-78-9 6985:978-1-4081-6987-2 6935:978-1-4081-5562-2 6786:978-0-385-53491-8 6756:978 1 78023 262 1 6701:New York: Grove. 6615:Comparative Drama 6568:978-3-8288-2995-4 6555:978-3-11-021769-8 6536:978-2-3671-6122-8 6454:Williams, Raymond 6313:, pp. 22–39. 6232:, pp. 68–78. 6210:, pp. 43–55. 6108:Brecht and Method 5970:Secondary sources 5636:Letters 1913–1956 5580:. Ed. and trans. 5530:Deutsche Sinfonie 5396:978-90-420-3899-8 5190:Sergei Eisenstein 5052:978-0-8101-2393-9 5042:Bentley on Brecht 5026:978-0-521-78215-9 4968:978-3-453-60450-6 4913:Neues Deutschland 4789:Helsingin Sanomat 4732:, pp. 37–38. 4631:, one of the few 4449:, pp. 23–24. 4437:, pp. 28–29. 4377:, p. xxxiii. 4240:Deutsches Theater 4177:, p. xviii, 4134:, pp. 54–55. 4069:, p. 50 and 4018:, pp. 69–70. 3976:, p. xx and 3948:, p. 24 and 3890:, p. 24 and 3874:978-3-88479-401-2 3725:"Brecht, Bertolt" 3576:Einheitsfrontlied 3530:(Solidarity Song) 3436:Hymn to Communism 3418:(Children's Hymn) 3364:, published 1963) 3294:Theoretical works 3121:Hangmen Also Die! 3018:Leben des Galilei 2784:Das Elefantenkalb 2779:The Elephant Calf 2586:Dreigroschenroman 2518:Margarete Steffin 2458:Wolfgang Langhoff 2413:Alexander Granach 2403:Lion Feuchtwanger 2353:Berliner Ensemble 2259:Margarete Steffin 2118:Second World Wars 2112:, and the German 2044:Theodor W. Adorno 1980:Sergei Eisenstein 1870:Sydenham's chorea 1665:Marxist dialectic 1646:Berliner Ensemble 1566:Berliner Ensemble 1505:Hangmen Also Die! 1462:Reinhard Heydrich 1457:Hangmen Also Die! 1204: 1203: 1132:Margarete Steffin 1081:Neue Sachlichkeit 1055:and Brecht's own 1017:new dramatic form 846:Neue Sachlichkeit 830:Neue Sachlichkeit 811:Neue Sachlichkeit 707:Deutsches Theater 674:Lion Feuchtwanger 499:Munich University 447:and his father a 420:Berliner Ensemble 334: 333: 316:(younger brother) 151:Literary movement 16:(Redirected from 10077: 9960:Acting theorists 9908:Threepenny Novel 9794: 9787: 9780: 9771: 9770: 9686:Elfriede Jelinek 9608:Feridun Zaimoğlu 9598:Peter Wawerzinek 9543:Julya Rabinowich 9503:Christian Kracht 9478:Wladimir Kaminer 9468:Elfriede Jelinek 9230:Egon Erwin Kisch 9175:Ödön von Horváth 9155:Marlen Haushofer 8989:Adalbert Stifter 8949:Gottfried Keller 8849:Clemens Brentano 8731:Angelus Silesius 8706:Andreas Gryphius 8633:Hartmann von Aue 8623:Dietmar von Aist 8567:Austrian writers 8546:Swiss literature 8526:Literary realism 8464:Related articles 8450: 8443: 8436: 8427: 8426: 8295:Stephen Sondheim 8261:Stephen Schwartz 8222:Stephen Sondheim 8192:Stephen Sondheim 8183:Susan Birkenhead 8165:Stephen Sondheim 8153:Stephen Sondheim 8137:Stephen Sondheim 8125:Stephen Sondheim 8089:Stephen Sondheim 8077:Stephen Sondheim 8067:Stephen Sondheim 8040: 8033: 8026: 8017: 8016: 8003: 8002: 7855:Solidaritätslied 7530:Little Mahagonny 7436: 7429: 7422: 7413: 7412: 7404: 7403: 7392: 7391: 7380: 7379: 7378: 7368: 7367: 7366: 7356: 7355: 7354: 7347: 7272:Internet Archive 7232: 7225: 7221: 7218: 7212: 7180: 7179: 7172: 7101: 7012:Sternberg, Fritz 7008: 6989: 6836: 6559: 6540: 6490: 6471: 6449: 6426: 6407: 6388: 6353: 6342: 6333: 6314: 6305: 6274: 6264: 6233: 6220: 6211: 6202: 6183: 6140: 6121: 6104:Jameson, Fredric 6099: 6077: 6065: 6042: 6023: 6014: 5997:Benjamin, Walter 5992: 5909: 5896:Poems: 1913–1956 5653: 5638:. Translated by 5630: 5609: 5559: 5542:Bertolt Brecht, 5540: 5534: 5521: 5515: 5504: 5498: 5497: 5489: 5483: 5482: 5472: 5466: 5447:Brecht & Co. 5436: 5430: 5429: 5427: 5425: 5407: 5401: 5400: 5382: 5376: 5375: 5357: 5351: 5345: 5339: 5333: 5327: 5326: 5304: 5298: 5292: 5286: 5280: 5274: 5268: 5262: 5256: 5250: 5244: 5238: 5231: 5225: 5211: 5205: 5162: 5156: 5155: 5127: 5121: 5120: 5095:(9772): 1146–7. 5080: 5074: 5063: 5057: 5056: 5037: 5031: 5030: 5011: 5005: 5000: 4991: 4990: 4983: 4977: 4976: 4954: 4948: 4945: 4923: 4917: 4908: 4902: 4901: 4894: 4888: 4887: 4879: 4873: 4868: 4859: 4853: 4838: 4827: 4821: 4818: 4812: 4811: 4800: 4794: 4793: 4792:. 26 April 2009. 4780: 4774: 4771: 4765: 4764: 4762: 4760: 4739: 4733: 4723: 4717: 4694: 4688: 4650: 4644: 4619: 4613: 4607: 4601: 4595: 4589: 4564: 4558: 4550:historical plane 4543: 4537: 4504: 4498: 4492: 4486: 4472: 4466: 4456: 4450: 4444: 4438: 4432: 4426: 4425:, p. xviii. 4420: 4414: 4408: 4402: 4396: 4390: 4384: 4378: 4372: 4366: 4360: 4354: 4348: 4342: 4310: 4304: 4298: 4292: 4291:, p. viii). 4285: 4279: 4273: 4267: 4261: 4255: 4236: 4230: 4220: 4214: 4208: 4202: 4192: 4186: 4163: 4157: 4141: 4135: 4129: 4123: 4122:, p. 26–27. 4117: 4111: 4105: 4099: 4093: 4087: 4080: 4074: 4063: 4057: 4038: 4032: 4025: 4019: 4013: 4007: 4001: 3995: 3990: 3981: 3971: 3965: 3959: 3953: 3943: 3937: 3901: 3895: 3885: 3879: 3878: 3852: 3846: 3839: 3833: 3823: 3817: 3812: 3799: 3798: 3791: 3785: 3764:, p. 129); 3758: 3752: 3746: 3740: 3739: 3721: 3715: 3714: 3701: 3685: 3683: 3682: 3681: 3675: 3670: 3664: 3659: 3658: 3655: 3654: 3651: 3648: 3645: 3642: 3632: 3606:List of refugees 3546:The Mask of Evil 3528:Solidaritätslied 3512: 3329:The Street Scene 2888:) 1929–30/1930–? 2791:Little Mahagonny 2698: 2605: 2581:Threepenny Novel 2574: 2463:Charles Laughton 2438:Angelika Hurwicz 2311:Angelika Hurwicz 2088: 2076:Raymond Williams 1872:. A report of a 1711:First Secretary 1698: 1635:non-Aristotelian 1474:Heinrich Himmler 1323: 1268:) was scored by 1182: 1181: 963: 895:Monsieur Verdoux 789: 394: 330: 273: 271: 251: 249: 245: 119:theatre director 96: 73:10 February 1898 72: 70: 53: 39: 38: 21: 10085: 10084: 10080: 10079: 10078: 10076: 10075: 10074: 9920: 9919: 9918: 9913: 9895: 9863: 9836: 9814: 9798: 9768: 9763: 9707:literary awards 9706: 9705:German-language 9700: 9631:Theodor Mommsen 9624:Nobel laureates 9623: 9622:German-language 9617: 9563:Clemens J. Setz 9493:Alexander Kluge 9483:Daniel Kehlmann 9443:Jenny Erpenbeck 9425: 9419: 9390:Josef Weinheber 9350:Kurt Schwitters 9335:Paul Scheerbart 9050:Thomas Bernhard 9008: 8879:Theodor Fontane 8844:Achim von Arnim 8827: 8745: 8674: 8613:Courtly romance 8596: 8555: 8511:Sturm und Drang 8471:German language 8459: 8454: 8424: 8419: 8390:No Award (2021) 8329:Markéta Irglová 8227: 8198:Jonathan Larson 8049: 8044: 8014: 8009: 7993: 7943:Historicization 7887: 7881: 7814: 7655:Life of Galileo 7451: 7445: 7440: 7410: 7398: 7386: 7376: 7374: 7364: 7362: 7352: 7350: 7342: 7233: 7222: 7216: 7213: 7194: 7185:This article's 7181: 7177: 7170: 7165: 7098: 7082: 7005: 6992: 6986: 6973: 6833: 6820: 6604:Eagleton, Terry 6556: 6543: 6537: 6521: 6498: 6496:Further reading 6493: 6487: 6468: 6446: 6430:Willett, John; 6423: 6404: 6385: 6347: 6343:Translation of 6330: 6288:(44): 381–384. 6253:10.2307/3207978 6247:(43): 491–505. 6240:Theatre Journal 6228:and After". In 6199: 6164:10.2307/3245245 6137: 6118: 6096: 6039: 6011: 5989: 5972: 5955:Martin Chalmers 5906: 5789:Life of Galileo 5660: 5650: 5627: 5572: 5567: 5565:Primary sources 5562: 5544:Poems 1913–1956 5541: 5537: 5522: 5518: 5505: 5501: 5490: 5486: 5473: 5469: 5437: 5433: 5423: 5421: 5408: 5404: 5397: 5383: 5379: 5372: 5358: 5354: 5346: 5342: 5334: 5330: 5305: 5301: 5293: 5289: 5281: 5277: 5269: 5265: 5257: 5253: 5245: 5241: 5232: 5228: 5212: 5208: 5204:, p. 110). 5188:", much as had 5163: 5159: 5128: 5124: 5081: 5077: 5064: 5060: 5053: 5039: 5038: 5034: 5027: 5013: 5012: 5008: 5001: 4994: 4985: 4984: 4980: 4969: 4955: 4951: 4939: 4924: 4920: 4916:, 21 June 1953. 4909: 4905: 4896: 4895: 4891: 4880: 4876: 4869: 4862: 4847: 4832: 4828: 4824: 4819: 4815: 4802: 4801: 4797: 4782: 4781: 4777: 4773:german.wisc.edu 4772: 4768: 4758: 4756: 4741: 4740: 4736: 4724: 4720: 4710:durchkomponiert 4695: 4691: 4651: 4647: 4620: 4616: 4608: 4604: 4596: 4592: 4565: 4561: 4557:, p. 243). 4544: 4540: 4505: 4501: 4493: 4489: 4473: 4469: 4457: 4453: 4445: 4441: 4433: 4429: 4421: 4417: 4409: 4405: 4397: 4393: 4385: 4381: 4373: 4369: 4361: 4357: 4349: 4345: 4311: 4307: 4299: 4295: 4286: 4282: 4278:, p. viii. 4274: 4270: 4262: 4258: 4237: 4233: 4221: 4217: 4209: 4205: 4193: 4189: 4164: 4160: 4142: 4138: 4130: 4126: 4118: 4114: 4106: 4102: 4094: 4090: 4081: 4077: 4064: 4060: 4039: 4035: 4026: 4022: 4014: 4010: 4002: 3998: 3991: 3984: 3972: 3968: 3960: 3956: 3944: 3940: 3932:, p. 69). 3902: 3898: 3894:, p. xvii. 3886: 3882: 3875: 3853: 3849: 3840: 3836: 3824: 3820: 3813: 3802: 3793: 3792: 3788: 3759: 3755: 3747: 3743: 3723: 3722: 3718: 3703: 3702: 3698: 3694: 3689: 3688: 3677: 3676: 3668: 3662: 3639: 3635: 3633: 3629: 3624: 3616:Western Marxism 3592: 3587: 3506: 3474:Road into Exile 3371: 3296: 3291: 3013:Life of Galileo 2692: 2690:Lux in Tenebris 2619: 2599: 2568: 2557: 2552: 2547: 2543:Hella Wuolijoki 2443:Herbert Ihering 2423:John Heartfield 2333:Walter Benjamin 2323: 2243:individualistic 2239:Fredric Jameson 2235: 2154:Alexandre Kluge 2150:Jean-Luc Godard 2146: 2082: 2056:Walter Benjamin 1903: 1862:rheumatic fever 1843: 1837: 1834: 1833:who becomes god 1832: 1830: 1828: 1826: 1824: 1822: 1774: 1771: 1769: 1767: 1765: 1764: 1762: 1760: 1758: 1756: 1751: 1746: 1713:Walter Ulbricht 1692: 1594:Communist Party 1558: 1550:Russian emigres 1454:-directed film 1414:Life of Galileo 1386:Hella Wuolijoki 1353:Walter Benjamin 1337:Karin Michaëlis 1325: 1315:Life of Galileo 1308: 1300: 1292:Weimar Republic 1206:The success of 1200: 1197: 1191: 1188: 1114:adopt attitudes 971:collective" of 965: 958: 815:New Objectivity 791: 787: 784: 781: 779: 777: 715: 663:Weimar Republic 598:Herbert Ihering 550:Charlie Chaplin 535:Paula Banholzer 503:Arthur Kutscher 491:Zweckpropaganda 437: 432: 430:Life and career 414:. Returning to 353:Weimar Republic 347:, was a German 305: 287:Frank Banholzer 276: 275: 272: 1930) 267: 263: 253: 250: 1927) 241: 237: 234: 216: 176:Life of Galileo 146: 125: 98: 94: 74: 68: 66: 65: 56: 44: 35: 28: 23: 22: 18:Berthold Brecht 15: 12: 11: 5: 10083: 10073: 10072: 10067: 10062: 10057: 10052: 10047: 10042: 10037: 10032: 10027: 10022: 10017: 10012: 10007: 10002: 9997: 9992: 9987: 9982: 9977: 9972: 9967: 9962: 9957: 9952: 9947: 9942: 9937: 9932: 9930:Bertolt Brecht 9915: 9914: 9912: 9911: 9903: 9901: 9897: 9896: 9894: 9893: 9886: 9879: 9876:Mack the Knife 9871: 9869: 9865: 9864: 9862: 9861: 9857:Mack the Knife 9853: 9844: 9842: 9838: 9837: 9835: 9834: 9822: 9820: 9816: 9815: 9801:Bertolt Brecht 9797: 9796: 9789: 9782: 9774: 9765: 9764: 9762: 9761: 9756: 9751: 9746: 9741: 9736: 9731: 9726: 9721: 9716: 9710: 9708: 9702: 9701: 9699: 9698: 9693: 9688: 9683: 9678: 9673: 9668: 9663: 9658: 9653: 9651:Carl Spitteler 9648: 9643: 9638: 9633: 9627: 9625: 9619: 9618: 9616: 9615: 9610: 9605: 9600: 9595: 9590: 9585: 9583:Ilija Trojanow 9580: 9575: 9570: 9565: 9560: 9555: 9550: 9545: 9540: 9538:Teresa Präauer 9535: 9530: 9525: 9520: 9515: 9510: 9505: 9500: 9498:Barbara Köhler 9495: 9490: 9485: 9480: 9475: 9473:Reinhard Jirgl 9470: 9465: 9463:Judith Hermann 9460: 9455: 9450: 9445: 9440: 9438:Thomas Brussig 9435: 9429: 9427: 9421: 9420: 9418: 9417: 9412: 9407: 9402: 9397: 9392: 9387: 9382: 9380:Kurt Tucholsky 9377: 9372: 9367: 9362: 9357: 9352: 9347: 9345:Helga Schubert 9342: 9337: 9332: 9327: 9322: 9317: 9312: 9307: 9302: 9297: 9292: 9287: 9282: 9277: 9272: 9267: 9262: 9260:Siegfried Lenz 9257: 9252: 9247: 9242: 9237: 9232: 9227: 9222: 9217: 9215:Hermann Kesten 9212: 9207: 9202: 9197: 9192: 9187: 9182: 9177: 9172: 9167: 9162: 9157: 9152: 9147: 9142: 9137: 9132: 9127: 9122: 9117: 9112: 9107: 9102: 9097: 9092: 9090:Hermann Burger 9087: 9085:Arnolt Bronnen 9082: 9077: 9072: 9070:Bertolt Brecht 9067: 9062: 9057: 9052: 9047: 9045:Gottfried Benn 9042: 9037: 9032: 9027: 9022: 9016: 9014: 9010: 9009: 9007: 9006: 9001: 8996: 8991: 8986: 8981: 8979:Johann Nestroy 8976: 8971: 8966: 8961: 8959:Nikolaus Lenau 8956: 8951: 8946: 8941: 8936: 8931: 8926: 8924:Heinrich Heine 8921: 8916: 8911: 8906: 8901: 8896: 8891: 8886: 8884:Gustav Freytag 8881: 8876: 8871: 8866: 8861: 8856: 8851: 8846: 8841: 8835: 8833: 8829: 8828: 8826: 8825: 8820: 8815: 8810: 8805: 8799: 8794: 8789: 8784: 8779: 8774: 8769: 8764: 8759: 8753: 8751: 8747: 8746: 8744: 8743: 8738: 8733: 8728: 8723: 8718: 8713: 8708: 8703: 8698: 8693: 8688: 8682: 8680: 8676: 8675: 8673: 8672: 8669:Nibelungenlied 8665: 8660: 8655: 8650: 8645: 8640: 8635: 8630: 8625: 8620: 8615: 8610: 8604: 8602: 8598: 8597: 8595: 8594: 8589: 8584: 8579: 8574: 8572:German writers 8569: 8563: 8561: 8557: 8556: 8554: 8553: 8551:German studies 8548: 8543: 8538: 8533: 8531:Weimar culture 8528: 8523: 8518: 8513: 8508: 8503: 8498: 8493: 8488: 8483: 8478: 8473: 8467: 8465: 8461: 8460: 8453: 8452: 8445: 8438: 8430: 8421: 8420: 8418: 8417: 8411: 8401: 8391: 8388: 8382: 8376: 8370: 8364: 8354: 8348: 8338: 8332: 8322: 8308: 8298: 8292: 8286: 8280: 8270: 8264: 8258: 8248: 8242: 8235: 8233: 8229: 8228: 8226: 8225: 8219: 8213: 8207: 8201: 8195: 8189: 8186: 8180: 8174: 8168: 8162: 8156: 8150: 8144: 8134: 8128: 8122: 8116: 8113:Martin Charnin 8110: 8104: 8101:Charlie Smalls 8098: 8092: 8086: 8080: 8074: 8071:Bertolt Brecht 8064: 8057: 8055: 8051: 8050: 8043: 8042: 8035: 8028: 8020: 8011: 8010: 7998: 7995: 7994: 7992: 7991: 7986: 7981: 7974: 7966: 7965: 7960: 7955: 7950: 7945: 7940: 7933: 7926: 7921: 7916: 7914:Complex seeing 7910: 7909: 7904: 7897: 7891: 7889: 7883: 7882: 7880: 7879: 7872: 7865: 7858: 7851: 7844: 7837: 7830: 7822: 7820: 7816: 7815: 7813: 7812: 7805: 7798: 7791: 7784: 7777: 7770: 7763: 7756: 7749: 7742: 7735: 7728: 7721: 7714: 7707: 7700: 7693: 7686: 7679: 7672: 7665: 7658: 7651: 7644: 7637: 7630: 7623: 7616: 7609: 7602: 7595: 7588: 7581: 7568: 7561: 7554: 7547: 7540: 7533: 7526: 7519: 7512: 7509:Man Equals Man 7505: 7498: 7491: 7484: 7477: 7470: 7463: 7455: 7453: 7447: 7446: 7443:Bertolt Brecht 7439: 7438: 7431: 7424: 7416: 7409: 7408: 7396: 7384: 7372: 7360: 7340: 7339: 7326: 7318: 7313: 7304: 7294: 7284: 7274: 7265: 7259:Bertolt Brecht 7256: 7250:Bertolt Brecht 7247: 7241:Bertolt Brecht 7235: 7234: 7189:external links 7184: 7182: 7175: 7169: 7168:External links 7166: 7164: 7163: 7148: 7132: 7117: 7102: 7096: 7086:, ed. (1993). 7080: 7077: 7067: 7052: 7037: 7019: 7009: 7003: 6990: 6984: 6971: 6956: 6949: 6938: 6923: 6905: 6887: 6872:Müller, Heiner 6869: 6854: 6844: 6837: 6831: 6818: 6815: 6804: 6789: 6774: 6759: 6748:Bertolt Brecht 6744: 6735:. Bern: Lang. 6729: 6710: 6695: 6692: 6673: 6658: 6611: 6601: 6586: 6571: 6560: 6554: 6541: 6535: 6519: 6499: 6497: 6494: 6492: 6491: 6485: 6472: 6466: 6450: 6444: 6432:Manheim, Ralph 6427: 6421: 6408: 6402: 6389: 6383: 6367: 6334: 6328: 6315: 6306: 6275: 6234: 6221: 6212: 6203: 6197: 6184: 6141: 6135: 6122: 6116: 6100: 6094: 6082:Hayman, Ronald 6078: 6070:Ewen, Frederic 6066: 6056:(1): 143–149. 6043: 6037: 6024: 6015: 6009: 5993: 5987: 5973: 5971: 5968: 5967: 5966: 5947: 5928: 5910: 5904: 5891: 5869: 5847: 5825: 5803: 5781: 5759: 5740:Six Lehrstöcke 5728: 5705: 5682: 5659: 5656: 5655: 5654: 5648: 5631: 5625: 5610: 5571: 5568: 5566: 5563: 5561: 5560: 5535: 5516: 5499: 5484: 5467: 5431: 5402: 5395: 5377: 5370: 5352: 5340: 5328: 5317:(2): 231–245. 5299: 5287: 5275: 5263: 5261:, p. 277. 5251: 5249:, p. 138. 5239: 5237:, p. 191. 5226: 5206: 5198:Jaroslav Hašek 5186:contradictions 5157: 5122: 5075: 5066:Bertolt Brecht 5058: 5051: 5032: 5025: 5006: 4992: 4978: 4967: 4949: 4937:Buckow Elegies 4918: 4903: 4889: 4874: 4860: 4822: 4820:Exilliteratur. 4813: 4795: 4775: 4766: 4734: 4718: 4689: 4645: 4643:, p. xv). 4624:Man Equals Man 4614: 4602: 4590: 4559: 4538: 4499: 4487: 4467: 4465:, p. 243. 4459:Erwin Piscator 4451: 4439: 4427: 4415: 4411:Schechter 1994 4403: 4391: 4387:Schechter 1994 4379: 4367: 4355: 4343: 4339:Schechter 1994 4305: 4293: 4280: 4268: 4266:, p. 145. 4256: 4254:, p. 145. 4244:Carl Zuckmayer 4231: 4215: 4203: 4187: 4185:, p. vii. 4171:Carl Zuckmayer 4158: 4136: 4124: 4112: 4100: 4088: 4075: 4058: 4033: 4020: 4008: 3996: 3982: 3966: 3964:, p. vii. 3954: 3938: 3896: 3880: 3873: 3847: 3834: 3818: 3800: 3786: 3778:Williams (1993 3753: 3741: 3716: 3713:(Online). n.d. 3695: 3693: 3690: 3687: 3686: 3626: 3625: 3623: 3620: 3619: 3618: 3613: 3611:Weimar culture 3608: 3603: 3598: 3591: 3588: 3586: 3585: 3582: 3579: 3573: 3565: 3562: 3559: 3556: 3555:(The Solution) 3550: 3547: 3544: 3541: 3538: 3531: 3525: 3524:Send Me a Leaf 3522: 3517: 3514: 3501: 3498: 3495: 3492: 3489: 3486: 3483: 3480: 3478:Mack the Knife 3475: 3464: 3461: 3458: 3455: 3452: 3449: 3446: 3443: 3440: 3437: 3434: 3431: 3428: 3425: 3422: 3419: 3413: 3410: 3405: 3402: 3398: 3370: 3367: 3366: 3365: 3353: 3345: 3339: 3333: 3325: 3315: 3305: 3295: 3292: 3290: 3289: 3277: 3265: 3264:) 1953–54/1969 3253: 3241: 3240:) 1951–53/1962 3229: 3217: 3216:) 1938–39/1951 3205: 3202:Der Hofmeister 3193: 3192:) 1948–49/1956 3181: 3169: 3168:) 1943–45/1948 3157: 3156:) 1941–43/1957 3145: 3137: 3136:) 1942–43/1957 3125: 3117: 3105: 3104:) 1939–42/1943 3093: 3081: 3069: 3068:) 1938–39/1940 3057: 3056:) 1938–39/1941 3045: 3033: 3021: 3020:) 1937–39/1943 3009: 2997: 2996:) 1935–38/1938 2985: 2984:) 1933–34/1958 2973: 2972:) 1931–34/1936 2961: 2949: 2941: 2940:) 1930–31/1932 2929: 2917: 2916:) 1929–31/1959 2905: 2889: 2867: 2866:) 1927–29/1930 2855: 2843: 2831: 2830:) 1928–29/1929 2822:); originally 2811: 2799: 2787: 2786:) 1924–26/1926 2775: 2774:) 1924–26/1926 2763:Man Equals Man 2759: 2747: 2735: 2734:) 1921–24/1923 2723: 2711: 2701: 2686: 2674: 2662: 2652: 2651:) 1918–20/1922 2640: 2631: 2621:Entries show: 2618: 2615: 2612: 2611: 2608: 2589: 2577: 2556: 2553: 2551: 2548: 2546: 2545: 2540: 2535: 2530: 2525: 2520: 2515: 2513:Erwin Piscator 2510: 2505: 2500: 2495: 2490: 2485: 2480: 2475: 2470: 2465: 2460: 2455: 2450: 2445: 2440: 2435: 2430: 2428:Paul Hindemith 2425: 2420: 2415: 2410: 2408:Therese Giehse 2405: 2400: 2395: 2390: 2385: 2380: 2375: 2370: 2365: 2363:Arnolt Bronnen 2360: 2355: 2350: 2345: 2340: 2335: 2330: 2328:Karl von Appen 2324: 2322: 2319: 2307:Therese Giehse 2291:Karl von Appen 2234: 2231: 2221:Harry Buckwitz 2204:Brecht's son, 2145: 2142: 2078:argues, while 1984:constructivist 1919:Erwin Piscator 1902: 1899: 1889:behavior, and 1866:enlarged heart 1851:Chausseestraße 1842: 1839: 1835:becomes dumb. 1831:he was not god 1819: 1740: 1690:Buckow Elegies 1648:. He retained 1584:", Brecht was 1557: 1554: 1312:, in Brecht's 1301: 1299: 1296: 1288:Günther Krampf 1284:cinematography 1202: 1201: 1194: 1192: 1185: 1140:teaching plays 1134:, Emil Burri, 973:Erwin Piscator 960:Erwin Piscator 950: 936:Man Equals Man 903:Man Equals Man 886:Man Equals Man 854:Man Equals Man 824:Man Equals Man 774: 772: 714: 711: 648:, directed by 591:Arnolt Bronnen 511:Frank Wedekind 449:Roman Catholic 436: 433: 431: 428: 373:. Immersed in 341:Bertolt Brecht 332: 331: 323: 322: 318: 317: 311: 307: 306: 304: 303: 298: 293: 288: 284: 282: 278: 277: 265: 259: 258: 257: 256: 239: 235: 230: 229: 228: 227: 224: 222: 218: 217: 215: 214: 207: 200: 193: 186: 179: 172: 164: 162: 158: 157: 152: 148: 147: 145: 144: 139: 133: 131: 127: 126: 124: 123: 120: 117: 113: 111: 107: 106: 97:(aged 58) 93:14 August 1956 91: 87: 86: 62: 58: 57: 55:Brecht in 1954 54: 46: 45: 43:Bertolt Brecht 42: 26: 9: 6: 4: 3: 2: 10082: 10071: 10068: 10066: 10063: 10061: 10058: 10056: 10053: 10051: 10048: 10046: 10043: 10041: 10038: 10036: 10033: 10031: 10028: 10026: 10023: 10021: 10018: 10016: 10013: 10011: 10008: 10006: 10003: 10001: 9998: 9996: 9993: 9991: 9988: 9986: 9983: 9981: 9978: 9976: 9973: 9971: 9968: 9966: 9963: 9961: 9958: 9956: 9953: 9951: 9948: 9946: 9943: 9941: 9938: 9936: 9933: 9931: 9928: 9927: 9925: 9910: 9909: 9905: 9904: 9902: 9898: 9891: 9887: 9884: 9880: 9877: 9873: 9872: 9870: 9866: 9859: 9858: 9854: 9851: 9850: 9846: 9845: 9843: 9839: 9833: 9832: 9827: 9824: 9823: 9821: 9817: 9812: 9811: 9806: 9802: 9795: 9790: 9788: 9783: 9781: 9776: 9775: 9772: 9760: 9757: 9755: 9752: 9750: 9747: 9745: 9742: 9740: 9737: 9735: 9732: 9730: 9727: 9725: 9722: 9720: 9717: 9715: 9712: 9711: 9709: 9703: 9697: 9694: 9692: 9689: 9687: 9684: 9682: 9679: 9677: 9676:Elias Canetti 9674: 9672: 9671:Heinrich Böll 9669: 9667: 9664: 9662: 9661:Hermann Hesse 9659: 9657: 9654: 9652: 9649: 9647: 9644: 9642: 9639: 9637: 9634: 9632: 9629: 9628: 9626: 9620: 9614: 9611: 9609: 9606: 9604: 9601: 9599: 9596: 9594: 9593:Martin Walser 9591: 9589: 9586: 9584: 9581: 9579: 9576: 9574: 9571: 9569: 9568:Botho Strauss 9566: 9564: 9561: 9559: 9556: 9554: 9551: 9549: 9546: 9544: 9541: 9539: 9536: 9534: 9531: 9529: 9526: 9524: 9521: 9519: 9516: 9514: 9513:Clemens Meyer 9511: 9509: 9506: 9504: 9501: 9499: 9496: 9494: 9491: 9489: 9488:Esther Kinsky 9486: 9484: 9481: 9479: 9476: 9474: 9471: 9469: 9466: 9464: 9461: 9459: 9456: 9454: 9453:Durs Grünbein 9451: 9449: 9448:Rainald Goetz 9446: 9444: 9441: 9439: 9436: 9434: 9431: 9430: 9428: 9422: 9416: 9413: 9411: 9408: 9406: 9403: 9401: 9398: 9396: 9393: 9391: 9388: 9386: 9385:Robert Walser 9383: 9381: 9378: 9376: 9373: 9371: 9368: 9366: 9363: 9361: 9358: 9356: 9353: 9351: 9348: 9346: 9343: 9341: 9338: 9336: 9333: 9331: 9328: 9326: 9323: 9321: 9318: 9316: 9313: 9311: 9308: 9306: 9303: 9301: 9298: 9296: 9295:Heiner Müller 9293: 9291: 9288: 9286: 9283: 9281: 9278: 9276: 9273: 9271: 9268: 9266: 9265:Heinrich Mann 9263: 9261: 9258: 9256: 9253: 9251: 9248: 9246: 9243: 9241: 9238: 9236: 9233: 9231: 9228: 9226: 9223: 9221: 9218: 9216: 9213: 9211: 9210:Erich Kästner 9208: 9206: 9203: 9201: 9198: 9196: 9193: 9191: 9188: 9186: 9183: 9181: 9178: 9176: 9173: 9171: 9168: 9166: 9163: 9161: 9160:Hermann Hesse 9158: 9156: 9153: 9151: 9148: 9146: 9143: 9141: 9140:Stefan George 9138: 9136: 9133: 9131: 9128: 9126: 9123: 9121: 9118: 9116: 9113: 9111: 9108: 9106: 9105:Alfred Döblin 9103: 9101: 9098: 9096: 9095:Elias Canetti 9093: 9091: 9088: 9086: 9083: 9081: 9080:Hermann Broch 9078: 9076: 9073: 9071: 9068: 9066: 9063: 9061: 9060:Thomas Brasch 9058: 9056: 9055:Heinrich Böll 9053: 9051: 9048: 9046: 9043: 9041: 9038: 9036: 9033: 9031: 9028: 9026: 9023: 9021: 9018: 9017: 9015: 9011: 9005: 9004:Ludwig Uhland 9002: 9000: 8997: 8995: 8994:Theodor Storm 8992: 8990: 8987: 8985: 8984:Wilhelm Raabe 8982: 8980: 8977: 8975: 8974:Eduard Mörike 8972: 8970: 8967: 8965: 8962: 8960: 8957: 8955: 8952: 8950: 8947: 8945: 8942: 8940: 8937: 8935: 8932: 8930: 8929:Georg Herwegh 8927: 8925: 8922: 8920: 8917: 8915: 8912: 8910: 8907: 8905: 8904:Wilhelm Grimm 8902: 8900: 8897: 8895: 8892: 8890: 8887: 8885: 8882: 8880: 8877: 8875: 8872: 8870: 8867: 8865: 8862: 8860: 8857: 8855: 8854:Georg Büchner 8852: 8850: 8847: 8845: 8842: 8840: 8837: 8836: 8834: 8830: 8824: 8821: 8819: 8816: 8814: 8811: 8809: 8806: 8803: 8800: 8798: 8795: 8793: 8790: 8788: 8785: 8783: 8780: 8778: 8775: 8773: 8770: 8768: 8765: 8763: 8760: 8758: 8755: 8754: 8752: 8748: 8742: 8741:Georg Wickram 8739: 8737: 8734: 8732: 8729: 8727: 8724: 8722: 8719: 8717: 8714: 8712: 8709: 8707: 8704: 8702: 8699: 8697: 8694: 8692: 8689: 8687: 8684: 8683: 8681: 8677: 8671: 8670: 8666: 8664: 8661: 8659: 8656: 8654: 8651: 8649: 8646: 8644: 8641: 8639: 8636: 8634: 8631: 8629: 8626: 8624: 8621: 8619: 8616: 8614: 8611: 8609: 8606: 8605: 8603: 8599: 8593: 8590: 8588: 8585: 8583: 8580: 8578: 8575: 8573: 8570: 8568: 8565: 8564: 8562: 8558: 8552: 8549: 8547: 8544: 8542: 8539: 8537: 8536:Exilliteratur 8534: 8532: 8529: 8527: 8524: 8522: 8519: 8517: 8514: 8512: 8509: 8507: 8504: 8502: 8499: 8497: 8494: 8492: 8489: 8487: 8484: 8482: 8479: 8477: 8474: 8472: 8469: 8468: 8466: 8462: 8458: 8451: 8446: 8444: 8439: 8437: 8432: 8431: 8428: 8415: 8412: 8409: 8405: 8404:Scott Wittman 8402: 8399: 8395: 8392: 8389: 8386: 8383: 8380: 8377: 8374: 8373:Peter Kellogg 8371: 8368: 8365: 8362: 8358: 8355: 8352: 8349: 8346: 8345:Steven Lutvak 8342: 8339: 8336: 8333: 8330: 8326: 8323: 8320: 8316: 8312: 8309: 8306: 8302: 8299: 8296: 8293: 8290: 8287: 8284: 8281: 8278: 8277:Greg Morrison 8274: 8271: 8268: 8265: 8262: 8259: 8256: 8252: 8251:Scott Wittman 8249: 8246: 8243: 8240: 8237: 8236: 8234: 8230: 8223: 8220: 8217: 8214: 8211: 8208: 8205: 8202: 8199: 8196: 8193: 8190: 8187: 8184: 8181: 8178: 8175: 8172: 8169: 8166: 8163: 8160: 8157: 8154: 8151: 8148: 8147:Howard Ashman 8145: 8142: 8138: 8135: 8132: 8129: 8126: 8123: 8120: 8117: 8114: 8111: 8108: 8107:Edward Kleban 8105: 8102: 8099: 8096: 8093: 8090: 8087: 8084: 8081: 8078: 8075: 8072: 8068: 8065: 8062: 8059: 8058: 8056: 8052: 8048: 8041: 8036: 8034: 8029: 8027: 8022: 8021: 8018: 8008: 8007: 7996: 7990: 7987: 7985: 7982: 7980: 7979: 7975: 7973: 7972: 7968: 7967: 7964: 7961: 7959: 7958:Refunctioning 7956: 7954: 7951: 7949: 7948:Interruptions 7946: 7944: 7941: 7939: 7938: 7934: 7932: 7931: 7927: 7925: 7924:Demonstration 7922: 7920: 7917: 7915: 7912: 7911: 7908: 7905: 7903: 7902: 7898: 7896: 7893: 7892: 7890: 7884: 7877: 7873: 7870: 7866: 7863: 7859: 7856: 7852: 7849: 7845: 7842: 7838: 7835: 7831: 7828: 7824: 7823: 7821: 7817: 7811: 7810: 7806: 7804: 7803: 7799: 7797: 7796: 7792: 7790: 7789: 7785: 7783: 7782: 7778: 7776: 7775: 7771: 7769: 7768: 7764: 7762: 7761: 7757: 7755: 7754: 7750: 7748: 7747: 7743: 7741: 7740: 7736: 7734: 7733: 7729: 7727: 7726: 7722: 7720: 7719: 7715: 7713: 7712: 7708: 7706: 7705: 7701: 7699: 7698: 7694: 7692: 7691: 7687: 7685: 7684: 7680: 7678: 7677: 7673: 7671: 7670: 7666: 7664: 7663: 7659: 7657: 7656: 7652: 7650: 7649: 7645: 7643: 7642: 7638: 7636: 7635: 7631: 7629: 7628: 7624: 7622: 7621: 7617: 7615: 7614: 7610: 7608: 7607: 7603: 7601: 7600: 7596: 7594: 7593: 7589: 7587: 7586: 7582: 7580: 7579: 7578:Der Neinsager 7574: 7573: 7569: 7567: 7566: 7562: 7560: 7559: 7555: 7553: 7552: 7548: 7546: 7545: 7541: 7539: 7538: 7534: 7532: 7531: 7527: 7525: 7524: 7520: 7518: 7517: 7513: 7511: 7510: 7506: 7504: 7503: 7499: 7497: 7496: 7492: 7490: 7489: 7485: 7483: 7482: 7478: 7476: 7475: 7471: 7469: 7468: 7464: 7462: 7461: 7457: 7456: 7454: 7448: 7444: 7437: 7432: 7430: 7425: 7423: 7418: 7417: 7414: 7407: 7402: 7397: 7395: 7390: 7385: 7383: 7373: 7371: 7361: 7359: 7349: 7348: 7345: 7338: 7334: 7330: 7327: 7325: 7323: 7319: 7317: 7314: 7312: 7308: 7305: 7302: 7300: 7295: 7292: 7290: 7285: 7282: 7278: 7275: 7273: 7269: 7266: 7264: 7260: 7257: 7255: 7251: 7248: 7246: 7242: 7239: 7238: 7231: 7228: 7220: 7210: 7206: 7205:inappropriate 7202: 7198: 7192: 7190: 7183: 7174: 7173: 7161: 7160:0-8131-2360-7 7157: 7153: 7149: 7147: 7143: 7139: 7138: 7133: 7130: 7126: 7122: 7118: 7115: 7114:0-85315-285-3 7111: 7107: 7103: 7099: 7097:0-415-91282-2 7093: 7089: 7085: 7084:Willett, John 7081: 7078: 7075: 7071: 7068: 7065: 7064:0-415-19452-0 7061: 7057: 7053: 7050: 7049:1-4039-4101-7 7046: 7042: 7038: 7035: 7034:0-8166-1285-4 7031: 7027: 7023: 7022:Szondi, Péter 7020: 7017: 7013: 7010: 7006: 7004:0-413-75890-7 7000: 6996: 6991: 6987: 6981: 6977: 6972: 6969: 6968:0-415-26300-X 6965: 6961: 6957: 6954: 6950: 6947: 6943: 6939: 6936: 6932: 6928: 6924: 6921: 6920:0-85647-006-6 6917: 6913: 6909: 6906: 6903: 6902:0-226-57022-3 6899: 6895: 6891: 6888: 6885: 6884:0-936756-63-2 6881: 6877: 6873: 6870: 6867: 6866:0-415-06784-7 6863: 6859: 6855: 6852: 6848: 6847:Milfull, John 6845: 6842: 6838: 6834: 6832:9780691013947 6828: 6824: 6819: 6816: 6813: 6809: 6805: 6802: 6801:0-415-09859-9 6798: 6794: 6790: 6787: 6783: 6779: 6775: 6772: 6771:0-904844-11-0 6768: 6764: 6760: 6757: 6753: 6749: 6745: 6742: 6741:3-906757-20-X 6738: 6734: 6730: 6727: 6726:90-420-0309-X 6723: 6719: 6715: 6711: 6708: 6707:0-8021-3910-8 6704: 6700: 6696: 6693: 6690: 6686: 6685:0-393-00754-5 6682: 6678: 6674: 6671: 6670:0-582-49205-X 6667: 6663: 6659: 6656: 6655:0-313-24590-8 6652: 6648: 6644: 6640: 6636: 6632: 6631:Die Pionierin 6628: 6627:0-404-61581-3 6624: 6620: 6616: 6612: 6609: 6605: 6602: 6599: 6598:0-415-01229-5 6595: 6591: 6587: 6584: 6583:0-13-081760-0 6580: 6576: 6572: 6569: 6565: 6561: 6557: 6551: 6547: 6542: 6538: 6532: 6529:. LettMotif. 6528: 6524: 6520: 6517: 6516:0-02-323300-1 6513: 6509: 6505: 6501: 6500: 6488: 6486:0-415-02330-0 6482: 6478: 6473: 6469: 6467:0-7012-0793-0 6463: 6459: 6455: 6451: 6447: 6445:0-416-03280-X 6441: 6437: 6433: 6428: 6424: 6422:0-413-72310-0 6418: 6414: 6409: 6405: 6403:0-306-80724-6 6399: 6395: 6390: 6386: 6384:0-413-34360-X 6380: 6376: 6372: 6371:Willett, John 6368: 6365: 6364:0-8164-9344-8 6361: 6357: 6351: 6346: 6340: 6335: 6331: 6329:0-521-41446-6 6325: 6321: 6316: 6312: 6307: 6303: 6299: 6295: 6291: 6287: 6283: 6282: 6276: 6272: 6268: 6263: 6258: 6254: 6250: 6246: 6242: 6241: 6235: 6231: 6227: 6222: 6218: 6213: 6209: 6204: 6200: 6198:0-415-20043-1 6194: 6190: 6185: 6181: 6177: 6173: 6169: 6165: 6161: 6157: 6153: 6152: 6147: 6142: 6138: 6136:0-7486-0973-3 6132: 6128: 6123: 6119: 6117:1-85984-809-5 6113: 6109: 6105: 6101: 6097: 6095:0-297-78206-1 6091: 6087: 6083: 6079: 6075: 6071: 6067: 6063: 6059: 6055: 6051: 6050: 6044: 6040: 6038:0-8166-1068-1 6034: 6030: 6025: 6021: 6016: 6012: 6010:0-902308-99-8 6006: 6002: 5998: 5994: 5990: 5988:0-521-43437-8 5984: 5980: 5975: 5974: 5964: 5963:0-87286-383-2 5960: 5956: 5952: 5948: 5945: 5944:0-413-52890-1 5941: 5937: 5933: 5929: 5927: 5926:9780871407672 5923: 5919: 5915: 5911: 5907: 5905:0-413-15210-3 5901: 5897: 5892: 5889: 5888:0-394-71819-4 5885: 5882: 5878: 5874: 5870: 5867: 5866:0-413-77352-3 5863: 5860: 5856: 5852: 5848: 5845: 5844:0-413-68590-X 5841: 5838: 5834: 5830: 5826: 5823: 5822:0-413-68580-2 5819: 5816: 5812: 5808: 5804: 5801: 5800:0-413-69970-6 5797: 5794: 5790: 5786: 5782: 5779: 5778:0-413-70470-X 5775: 5772: 5768: 5764: 5760: 5757: 5756:0-413-70460-2 5753: 5749: 5745: 5741: 5737: 5733: 5729: 5726: 5725:0-413-68560-8 5722: 5718: 5714: 5710: 5706: 5703: 5702:0-413-68570-5 5699: 5695: 5691: 5687: 5683: 5681: 5677: 5673: 5669: 5665: 5662: 5661: 5651: 5649:0-413-51050-6 5645: 5641: 5640:Ralph Manheim 5637: 5632: 5628: 5626:0-413-38890-5 5622: 5618: 5617: 5611: 5607: 5606:0-8090-3100-0 5603: 5599: 5598:Hill and Wang 5595: 5594:0-413-38800-X 5591: 5587: 5583: 5579: 5574: 5573: 5557: 5553: 5552:Ralph Manheim 5549: 5545: 5539: 5532: 5531: 5526: 5520: 5513: 5509: 5503: 5495: 5488: 5480: 5479: 5471: 5464: 5460: 5456: 5452: 5448: 5444: 5440: 5439:Jameson (1998 5435: 5419: 5418: 5413: 5406: 5398: 5392: 5388: 5381: 5373: 5371:9780520206663 5367: 5363: 5356: 5350:, p. 96. 5349: 5344: 5338:, p. 95. 5337: 5332: 5324: 5320: 5316: 5312: 5311: 5303: 5297:, p. 92. 5296: 5291: 5285:, p. 91. 5284: 5279: 5273:, p. 88. 5272: 5267: 5260: 5259:Williams 1993 5255: 5248: 5243: 5236: 5230: 5223: 5219: 5215: 5210: 5203: 5199: 5195: 5191: 5187: 5183: 5179: 5175: 5171: 5167: 5166:Jameson (1998 5161: 5153: 5149: 5145: 5141: 5137: 5133: 5126: 5118: 5114: 5110: 5106: 5102: 5098: 5094: 5090: 5086: 5079: 5073: 5072: 5067: 5062: 5054: 5048: 5044: 5043: 5036: 5028: 5022: 5018: 5017: 5010: 5004: 4999: 4997: 4988: 4982: 4975: 4970: 4964: 4960: 4953: 4946: 4943: 4938: 4933: 4932: 4927: 4922: 4915: 4914: 4907: 4899: 4893: 4885: 4878: 4872: 4867: 4865: 4857: 4851: 4846: 4842: 4836: 4831: 4826: 4817: 4809: 4805: 4799: 4791: 4790: 4785: 4779: 4770: 4754: 4750: 4749: 4744: 4738: 4731: 4727: 4722: 4716:, p. xv. 4715: 4711: 4707: 4706: 4701: 4700: 4693: 4686: 4685: 4680: 4679:Amerikanismus 4676: 4672: 4668: 4664: 4659: 4658:Amerikanismus 4655: 4649: 4642: 4638: 4634: 4633:Expressionist 4630: 4626: 4625: 4618: 4612:, p. 76. 4611: 4606: 4599: 4594: 4587: 4583: 4579: 4575: 4573: 4568: 4563: 4556: 4551: 4547: 4542: 4535: 4534: 4529: 4525: 4521: 4517: 4513: 4509: 4506:See Brecht's 4503: 4497:, p. 74. 4496: 4491: 4484: 4480: 4476: 4471: 4464: 4460: 4455: 4448: 4443: 4436: 4431: 4424: 4419: 4413:, p. 72. 4412: 4407: 4401:, p. 56. 4400: 4395: 4389:, p. 68. 4388: 4383: 4376: 4371: 4364: 4359: 4352: 4347: 4340: 4336: 4332: 4328: 4324: 4320: 4319: 4314: 4309: 4302: 4297: 4290: 4284: 4277: 4272: 4265: 4260: 4253: 4249: 4245: 4241: 4235: 4229:, p. 108 4228: 4224: 4219: 4213:, p. 28. 4212: 4207: 4200: 4196: 4191: 4184: 4180: 4176: 4172: 4168: 4162: 4155: 4154: 4149: 4148:Benjamin 1983 4145: 4140: 4133: 4128: 4121: 4116: 4109: 4104: 4097: 4096:McDowell 1977 4092: 4086:, p. ix. 4085: 4079: 4072: 4068: 4062: 4055: 4051: 4050: 4045: 4044: 4037: 4031:, p. 25. 4030: 4024: 4017: 4012: 4005: 4000: 3994: 3993:McDowell 2000 3989: 3987: 3979: 3978:McDowell 1977 3975: 3970: 3963: 3958: 3951: 3947: 3942: 3935: 3931: 3927: 3923: 3919: 3915: 3911: 3910: 3905: 3900: 3893: 3889: 3884: 3876: 3870: 3866: 3862: 3858: 3851: 3844: 3838: 3831: 3827: 3822: 3816: 3811: 3809: 3807: 3805: 3796: 3790: 3783: 3779: 3775: 3771: 3770:Jameson (1998 3767: 3763: 3757: 3750: 3745: 3737: 3733: 3731: 3726: 3720: 3712: 3711: 3706: 3700: 3696: 3680: 3674: 3666: 3665: 3657: 3631: 3627: 3617: 3614: 3612: 3609: 3607: 3604: 3602: 3599: 3597: 3594: 3593: 3583: 3580: 3577: 3574: 3571: 3570: 3566: 3563: 3560: 3557: 3554: 3551: 3548: 3545: 3542: 3539: 3536: 3532: 3529: 3526: 3523: 3521: 3518: 3515: 3510: 3505: 3502: 3499: 3496: 3493: 3490: 3487: 3484: 3481: 3479: 3476: 3473: 3469: 3465: 3462: 3459: 3456: 3453: 3450: 3447: 3444: 3441: 3438: 3435: 3432: 3429: 3426: 3423: 3420: 3417: 3414: 3411: 3409: 3406: 3403: 3400: 3399: 3397: 3396: 3392: 3390: 3389: 3384: 3380: 3376: 3363: 3359: 3358: 3354: 3351: 3350: 3346: 3343: 3340: 3337: 3334: 3331: 3330: 3326: 3323: 3319: 3316: 3313: 3309: 3306: 3303: 3302: 3298: 3297: 3287: 3283: 3282: 3278: 3275: 3271: 3270: 3266: 3263: 3259: 3258: 3254: 3251: 3247: 3246: 3242: 3239: 3235: 3234: 3230: 3227: 3223: 3222: 3218: 3215: 3211: 3210: 3206: 3203: 3199: 3198: 3194: 3191: 3187: 3186: 3182: 3179: 3175: 3174: 3170: 3167: 3163: 3162: 3158: 3155: 3151: 3150: 3146: 3143: 3142: 3138: 3135: 3131: 3130: 3126: 3123: 3122: 3118: 3115: 3111: 3110: 3106: 3103: 3099: 3098: 3094: 3091: 3087: 3086: 3082: 3079: 3075: 3074: 3070: 3067: 3063: 3062: 3058: 3055: 3051: 3050: 3046: 3043: 3039: 3038: 3034: 3031: 3027: 3026: 3022: 3019: 3015: 3014: 3010: 3007: 3003: 3002: 2998: 2995: 2991: 2990: 2986: 2983: 2979: 2978: 2974: 2971: 2967: 2966: 2962: 2959: 2955: 2954: 2950: 2947: 2946: 2942: 2939: 2935: 2934: 2930: 2927: 2923: 2922: 2918: 2915: 2911: 2910: 2906: 2903: 2899: 2895: 2894: 2890: 2887: 2886:Der Neinsager 2883: 2879: 2878: 2873: 2872: 2868: 2865: 2861: 2860: 2856: 2853: 2849: 2848: 2844: 2841: 2837: 2836: 2832: 2829: 2828:Lindberghflug 2825: 2821: 2820:Der Ozeanflug 2817: 2816: 2812: 2809: 2805: 2804: 2800: 2797: 2793: 2792: 2788: 2785: 2781: 2780: 2776: 2773: 2772:Mann ist Mann 2769: 2768:A Man's A Man 2765: 2764: 2760: 2757: 2753: 2752: 2748: 2745: 2741: 2740: 2736: 2733: 2729: 2728: 2724: 2721: 2717: 2716: 2712: 2709: 2705: 2702: 2699: 2696: 2691: 2687: 2684: 2680: 2679: 2675: 2672: 2668: 2667: 2663: 2660: 2656: 2653: 2650: 2646: 2645: 2641: 2638: 2637: 2633: 2632: 2630: 2628: 2624: 2614: 2609: 2606: 2603: 2598: 2593: 2590: 2587: 2583: 2582: 2578: 2575: 2572: 2567: 2562: 2559: 2558: 2544: 2541: 2539: 2536: 2534: 2531: 2529: 2528:Helene Weigel 2526: 2524: 2521: 2519: 2516: 2514: 2511: 2509: 2506: 2504: 2501: 2499: 2496: 2494: 2491: 2489: 2488:Ralph Manheim 2486: 2484: 2481: 2479: 2476: 2474: 2471: 2469: 2466: 2464: 2461: 2459: 2456: 2454: 2451: 2449: 2448:Fritz Kortner 2446: 2444: 2441: 2439: 2436: 2434: 2433:Oskar Homolka 2431: 2429: 2426: 2424: 2421: 2419: 2416: 2414: 2411: 2409: 2406: 2404: 2401: 2399: 2396: 2394: 2391: 2389: 2386: 2384: 2381: 2379: 2376: 2374: 2371: 2369: 2366: 2364: 2361: 2359: 2356: 2354: 2351: 2349: 2346: 2344: 2343:Ruth Berghaus 2341: 2339: 2336: 2334: 2331: 2329: 2326: 2325: 2318: 2316: 2312: 2308: 2304: 2300: 2296: 2292: 2288: 2284: 2280: 2276: 2272: 2268: 2264: 2260: 2256: 2252: 2249:, directors, 2248: 2247:scenographers 2244: 2240: 2230: 2228: 2227: 2222: 2218: 2213: 2211: 2207: 2206:Stefan Brecht 2202: 2200: 2196: 2192: 2188: 2184: 2179: 2176: 2174: 2173:Helene Weigel 2169: 2167: 2163: 2162:Nagisa Ōshima 2159: 2155: 2151: 2141: 2139: 2133: 2128: 2127:. He writes: 2126: 2121: 2119: 2115: 2111: 2106: 2103: 2099: 2094: 2092: 2086: 2081: 2077: 2073: 2069: 2065: 2061: 2060:psychological 2057: 2053: 2049: 2048:György Lukács 2045: 2041: 2037: 2033: 2029: 2025: 2020: 2018: 2014: 2010: 2006: 2005: 1999: 1997: 1993: 1989: 1985: 1981: 1977: 1976: 1971: 1967: 1963: 1959: 1955: 1950: 1948: 1943: 1940: 1934: 1932: 1928: 1924: 1920: 1916: 1907: 1898: 1896: 1892: 1891:hyperactivity 1888: 1884: 1879: 1875: 1871: 1867: 1863: 1858: 1856: 1852: 1848: 1836: 1817: 1815: 1811: 1810:Bloody Sunday 1807: 1803: 1799: 1798:Secret Speech 1794: 1792: 1791:Slánský trial 1788: 1784: 1783:Fritz Raddatz 1780: 1773: 1755: 1750: 1749:Writers Union 1745: 1738: 1736: 1732: 1725: 1720: 1716: 1714: 1710: 1706: 1701: 1699: 1696: 1691: 1686: 1682: 1676: 1674: 1670: 1666: 1662: 1658: 1653: 1651: 1647: 1643: 1638: 1636: 1632: 1628: 1624: 1623: 1618: 1614: 1610: 1605: 1603: 1602:Hollywood Ten 1599: 1595: 1591: 1587: 1583: 1579: 1571: 1567: 1562: 1553: 1551: 1547: 1543: 1542:Joseph Stalin 1539: 1535: 1530: 1528: 1527: 1522: 1518: 1517: 1512: 1511: 1506: 1502: 1499: 1498:Academy Award 1495: 1491: 1487: 1483: 1479: 1475: 1471: 1467: 1463: 1459: 1458: 1453: 1448: 1446: 1445: 1440: 1439: 1434: 1433: 1428: 1427: 1422: 1421: 1416: 1415: 1410: 1409:Exilliteratur 1402: 1397: 1393: 1391: 1387: 1383: 1379: 1378: 1373: 1369: 1364: 1362: 1358: 1354: 1350: 1346: 1342: 1338: 1334: 1330: 1324: 1321: 1317: 1316: 1311: 1305: 1295: 1293: 1289: 1285: 1281: 1277: 1276: 1271: 1267: 1266:Die Massnahme 1263: 1262: 1257: 1253: 1249: 1244: 1242: 1238: 1234: 1233: 1227: 1225: 1221: 1217: 1213: 1209: 1199: 1193: 1190: 1184: 1183: 1180: 1178: 1174: 1173: 1168: 1164: 1163: 1158: 1153: 1151: 1150: 1145: 1141: 1137: 1133: 1129: 1124: 1122: 1117: 1115: 1111: 1107: 1103: 1098: 1094: 1093: 1088: 1087:Amerikanismus 1084: 1082: 1077: 1073: 1072: 1067: 1062: 1060: 1059: 1054: 1053: 1052:Julius Caesar 1048: 1044: 1043: 1038: 1032: 1030: 1026: 1022: 1018: 1012: 1010: 1006: 1002: 998: 994: 993: 988: 984: 980: 979: 974: 970: 969:dramaturgical 964: 961: 955: 949: 947: 946: 941: 937: 933: 930: 926: 922: 918: 917: 912: 908: 904: 899: 897: 896: 891: 887: 883: 879: 878: 873: 869: 868: 867:The Gold Rush 863: 857: 855: 851: 847: 841: 839: 835: 831: 826: 825: 820: 819:Expressionist 816: 812: 808: 803: 801: 797: 790: 783: 771: 769: 768: 763: 762: 757: 753: 752: 747: 746: 741: 737: 736: 731: 726: 724: 720: 710: 708: 704: 703:Max Reinhardt 700: 696: 691: 690: 685: 684: 679: 675: 670: 668: 664: 660: 659:In the Jungle 656: 651: 647: 646: 641: 636: 634: 630: 629:Marianne Zoff 625: 621: 620: 619:In the Jungle 615: 611: 607: 603: 599: 594: 592: 587: 585: 584: 579: 578: 571: 569: 563: 561: 557: 556: 551: 547: 546:Karl Valentin 542: 540: 539:Eastern Front 536: 531: 529: 525: 521: 520: 514: 512: 508: 504: 500: 494: 492: 489:, calling it 488: 484: 483: 477: 472: 470: 466: 460: 458: 454: 450: 446: 442: 427: 425: 424:Helene Weigel 421: 417: 413: 409: 405: 401: 396: 393: 392: 386: 382: 381: 376: 372: 368: 364: 360: 359: 354: 350: 346: 342: 338: 329: 324: 319: 315: 314:Walter Brecht 312: 308: 302: 299: 297: 296:Stefan Brecht 294: 292: 289: 286: 285: 283: 279: 262: 261:Helene Weigel 255: 254: 233: 232:Marianne Zoff 226: 225: 223: 219: 213: 212: 208: 206: 205: 201: 199: 198: 194: 192: 191: 187: 185: 184: 180: 178: 177: 173: 171: 170: 166: 165: 163: 161:Notable works 159: 156: 153: 149: 143: 140: 138: 135: 134: 132: 128: 121: 118: 115: 114: 112: 108: 105: 101: 92: 88: 85: 84:German Empire 81: 77: 63: 59: 52: 47: 40: 37: 33: 19: 9906: 9883:Pirate Jenny 9855: 9847: 9829: 9808: 9800: 9749:Kleist Prize 9739:Goethe Prize 9696:Peter Handke 9691:Herta Müller 9681:Günter Grass 9553:Ingo Schulze 9548:Rafik Schami 9523:Herta Müller 9518:Terézia Mora 9508:Monika Maron 9458:Peter Handke 9424:Contemporary 9415:Stefan Zweig 9405:Christa Wolf 9400:Franz Werfel 9370:Ernst Toller 9360:Anna Seghers 9355:W. G. Sebald 9305:Robert Musil 9300:Adolf Muschg 9290:Erich Mühsam 9250:Kurd Laßwitz 9225:Sarah Kirsch 9220:Irmgard Keun 9200:Ernst Jünger 9185:Peter Huchel 9180:Ricarda Huch 9150:Peter Handke 9145:Günter Grass 9069: 9065:Volker Braun 9030:Hermann Bahr 9013:20th century 8999:Ludwig Tieck 8832:19th century 8750:18th century 8721:Martin Opitz 8691:Paul Fleming 8679:Early modern 8667: 8414:David Yazbek 8408:Marc Shaiman 8379:David Yazbek 8367:David Yazbek 8325:Glen Hansard 8315:Robert Lopez 8283:Steven Sater 8273:Lisa Lambert 8255:Marc Shaiman 8232:2001–present 8177:William Finn 8171:David Zippel 8159:Roger Miller 8141:Maury Yeston 8070: 8004: 7989:Street scene 7976: 7969: 7935: 7928: 7899: 7895:Epic theatre 7886:Theories and 7841:Pirate Jenny 7834:Alabama Song 7819:Poems, songs 7807: 7800: 7793: 7786: 7779: 7772: 7765: 7758: 7751: 7744: 7737: 7730: 7723: 7716: 7709: 7702: 7695: 7688: 7681: 7674: 7667: 7660: 7653: 7646: 7639: 7632: 7625: 7618: 7611: 7604: 7597: 7590: 7585:The Decision 7583: 7576: 7570: 7563: 7556: 7549: 7542: 7535: 7528: 7521: 7514: 7507: 7500: 7493: 7486: 7479: 7472: 7465: 7458: 7442: 7370:East Germany 7321: 7301:(1971–2014)" 7298: 7288: 7223: 7214: 7199:by removing 7186: 7151: 7135: 7120: 7105: 7087: 7073: 7055: 7040: 7025: 7015: 6994: 6975: 6959: 6952: 6941: 6926: 6911: 6908:Pabst, G. 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Retitled 1136:Ruth Berlau 1047:Shakespeare 850:Anglo-Saxon 805:In 1925 in 650:Erich Engel 476:World War I 416:East Berlin 398:During the 345:Bert Brecht 100:East Berlin 9924:Categories 9805:Kurt Weill 9641:Paul Heyse 9588:Jan Wagner 9270:Klaus Mann 9255:Gert Ledig 9240:Karl Kraus 9165:Georg Heym 9135:Max Frisch 9100:Paul Celan 9035:Vicki Baum 8934:Paul Heyse 8726:Hans Sachs 8686:Simon Dach 8357:Benj Pasek 8319:Matt Stone 8239:Mel Brooks 8119:Carol Hall 8083:John Guare 7901:Lehrstücke 7888:techniques 7876:Die Lösung 7781:Coriolanus 7606:The Mother 7137:Cencrastus 7076:13: 63–74. 6970:. 248–259. 6803:. 262–274. 6672:. 128–144. 6262:1808/16482 6226:Man is Man 6052:(review). 5508:Sacks 1994 5222:alienation 4841:Unser Wort 4423:Sacks 1994 4323:Emil Burri 4318:Man is Man 4175:Sacks 1994 4144:Meech 1994 4132:Meech 1994 4027:Quoted in 3974:Sacks 1994 3892:Sacks 1994 3830:Smith 1991 3692:References 3553:Die Lösung 3516:Radio Poem 3233:Coriolanus 2938:Die Mutter 2933:The Mother 2877:He Said No 2655:The Beggar 2533:Kurt Weill 2523:Carl Weber 2453:Fritz Lang 2368:Emil Burri 2271:Kurt Weill 2251:dramaturgs 2072:Strindberg 2017:past tense 1895:arrhythmia 1874:radiograph 1735:Die Lösung 1685:Carl Weber 1598:Karl Mundt 1452:Fritz Lang 1256:Lehrstücke 1252:Lehrstücke 1248:Weimar-era 1224:Happy End' 1167:Kurt Weill 1144:dramaturgy 1121:copyrights 1066:Kurt Weill 1029:Konjunktur 997:Konjunktur 940:Red Terror 938:) and the 872:Eisenstein 756:Pirandello 735:Saint Joan 665:—in which 633:Hanne Hiob 445:Protestant 380:Lehrstücke 367:Kurt Weill 291:Hanne Hiob 116:Playwright 110:Occupation 69:1898-02-10 8808:Jean Paul 8696:Hans Folz 8608:Minnesang 8398:Lucy Moss 8267:Eric Idle 8054:1969–2000 7953:Not / But 7760:The Tutor 7558:Happy End 7502:Edward II 7474:A Wedding 7358:Biography 7283:Libraries 7217:June 2021 7201:excessive 7146:0264-0856 7066:. 98–112. 6948:. 99–107. 6302:191590706 6180:193991810 5953:. 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