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Full Description
TThe Brecht Yearbook, published by Camden House on behalf of the International Brecht Society, is the central scholarly forum for the study of Brecht's life and work and of topics relevant to him. Embracing a variety of perspectives and approaches, it is committed to the concept of the use-value of literature, art, performance, and theory in a global context. Volume 50 begins with a conversation about the first major collection of interviews with Brecht and a chronicle of the publication history of the 30-volume edition of Brecht's works. The contributions featuring new research cover a wide range of topics related to Brecht, including his use of "pastology," racialization in his early plays, the 1932 production of The Mother as a campaign against Nazi misogyny, the first English-language productions of Señora Carrar's Rifles in 1938, and an unrealized African-American production of The Threepenny Opera in the early 1940s. This section also includes articles about the Brecht circle involved in the French chanson of the 1930s, the first French translation of the Short Organon for the Theatre in 1955, Brechtian aspects of Navid Kermani's interreligious dialogues, Mark Fisher's concept of "capitalist realism," and the connection of Brecht's ideas to a pedagogy of revolution.
Contents
Editorial
List of Abbreviations
Interview
Noah Willumsen (Berlin) und Torben Ibs (Leipzig)
Brecht im Interview? Ein Gespräch über seine Interviews
Chronicle
Jan Knopf (Karlsruhe)
"Phui, böser Hecht!" Vom "Jahrhundertunternehmen" (1985) zur Schmierenwissenschaft (2024): Absteigende Chronik der Großen Brecht-Ausgabe (GBA)
New Brecht Research
Sabrina Kanthak (Munich)
Durch "Ver-Anderung" zu einer neuen Öffentlichkeit: Rezeption und Differenz bei Trommeln in der Nacht und Im Dickicht
Sean Larson (New York)
Brecht's Fatzer Fragments and the Pedagogy of Revolution: A Historical View
Hanife Schulte (London)
Responding to Election-Time Misogyny: The Adaptation, Production, and Performances of The Mother in Weimar Berlin (1930-1932)
Sabine Kebir (Berlin)
Kulturelle Aneignung: Ethnizität und Universalität in Brechts hegelianisch-globalisiertem Theater
Laura Ginters (Sydney)
Singing Back to Brecht: The Early Production History of Señora Carrar's Rifles in Australia and the United States
Robert Cohen (New York)
Das französische Chanson der 1930er Jahre und der Brechtkreis
Liam Johnston-McCondach (Oxford)
Theoretical Translations: The Short Organon in France
Vera Stegmann (Bethlehem, PA)
Wonder Beyond Belief: Strategies of Estrangement in Navid Kermani's Interreligious Dialogues
Martin Brady (London) and Helen Hughes (Guildford)
Brecht's Pastology and Its Afterlife in the GDR
Jakob Ribič (Ljubljana)
Dialectical Theater at the End of History
Book Reviews
Robert Cohen (New York)
Historisch-kritisches Wörterbuch des Marxismus, Bd. 9/II.
Hrsg. von Wolfgang Fritz Haug, Frigga Haug, Peter Jehle, Wolfgang Küttler und Oliver Walkenhorst
Curtis Swope (San Antonio)
Todd Cronan. Red Aesthetics: Rodchenko, Brecht, Eisenstein
Benedetta Bronzini(Modena)
Heiner-Müller-Jahrbuch 1. Hrsg. von Norbert Otto Eke, Janine Ludwig und Florian Vaßen
Jasper Schagerl (Bremen)
Thomas Irmer. René Pollesch-Arbeit. Brecht. Cinema. Interviews und Gespräche
Marten Weise (Berlin)
David Barnett. Theatricality, Playtexts and Society
Notes on the Contributors
