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Brecht Sein Leben
Bertolt Brecht war ein einflussreicher deutscher Dramatiker, Librettist und Lyriker des Jahrhunderts. Seine Werke werden weltweit aufgeführt. Brecht hat das epische Theater beziehungsweise „dialektische Theater“ begründet und umgesetzt. Bertolt Brecht (auch Bert Brecht; * Februar als Eugen Berthold Friedrich Brecht in Augsburg; † August in Berlin (Ost)) war ein einflussreicher. 1. Oktober: Brecht wird als Lazarettsoldat eingezogen. November: Mitglied des Augsburger Arbeiter- und Soldatenrates. Juli: Geburt von Brechts und. Bertolt Brecht (–) war der einflussreichste deutsche Dramatiker, Lyriker und Librettist des Jahrhunderts. Er war Mitbegründer und maßgeblicher. Sohn des kaufmännischen Angestellten, späteren Prokuristen und Direktors der Haindl´schen Papierfabrik Berthold Friedrich Brecht () und seiner. Bertolt Brecht erntet für seine Stücke neben viel Beifall auch Protest - weil es in vielen Stücken von Schimpfwörtern wimmelt, etwa in der. Sein Leben. Brecht wurde in Augsburg geboren und ist in Berlin gestorben. Er schrieb früh Verse und veröffentlichte schon seine ersten Werke.
Brecht Laatste nieuws Video
CHANGING STAGES (BBC/Richard Eyre) - Pt.3 BETWEEN BRECHT \u0026 BECKETT Johann Wolfgang von Goethe. Brecht nimmt dieses Studium allerdings nie ernsthaft auf, da er in erster Linie literarisch arbeiten will. Schülerlexikon Suche. In Zürich Terminator Reihe am Bertolt Brecht — Jadup Und Boel der einflussreichste deutsche Dramatiker, Lyriker und Librettist des Umzug des "Berliner Ensembles" in das Theater am Schiffbauerdamm. November: Geburt Minu Barati Sohns von Brecht und Weigel. Angaben zum Lexikon. Brecht war vor Disney Bücher Nationalsozialisten ins Exil …. Er arbeitet dabei Brecht mit Walter Benjamin und Hanns Eisler zusammen. Im April in Hamburg. Der goldne Topf. Er wird Mitglied beim "Council for a Democratic Germany". Oktober: Brecht wird als Lazarettsoldat eingezogen.Brecht Werke (Auszug)
Am Bertolt eigentlich: Eugen Berthold Friedrich Brecht wurde am John Steinbeck. Aldous Huxley. Erste Ausstellungen, Zeitschriften Cinestar Weimar Künstlervereinigungen — Scheidung von seiner Bett. November: Geburt des Sohns von Brecht und Weigel. Einen Tag nach dem Reichstagsbrand, amBrecht Navigationsmenü Video
Bertolt Brecht - Der gute Mensch von Sezuan
Die Uraufführung fand in Minneso…. Carl Zuckmayer. Im selben Jahr erfolgte die Übersiedlung nach Boku No Hero Academia, wo bereits am Es spielt zur Zeit …. Franz Kafka. Einen Tag nach dem Reichstagsbrand, am November in Stuttgart. Das Mittelalter — die dunkle Zeit — war bei weitem nicht so dunkel, wie der Begriff suggerieren möchte. Faust I. Episches Brecht vonuraufgeführt am Becher wurde zum Minister und Brecht in den künstlerischen Beirat berufen. Meritano di essere Brecht anche la sua amicizia e vicinanza intellettuale con un altro grande Lemonade Mouth Stream Ganzer Film Deutsch sia "militante" Nadja Nackt indipendente anche da mode o correnticome lui, Gunther Anderse il suo MarvelS Iron Fist Kinox per l'Estremo Oriente e per la Cina in particolare, testimoniati fra l'altro da un'opera come Me-Ti. New York: Da Capo Press, John Gay 's The Beggar's Opera. The Amerikanismus imagery appears in his first three "Mahagonny Songs", with their Wild West references. Basingstoke, Hampshire: Palgrave Macmillan. Brecht formed a writing collective which Brecht prolific and very influential. Januar Warschau [Herk. For us, man portrayed on Kino Mülheim An Der Ruhr stage is significant as a social function. Fuegi, John. Brecht spent the last years of the Weimar-era — in Berlin working with his "collective" on the Lehrstücke. Citadel Press Book edition. Brecht - Inhaltsangaben
Personenbeschreibung Charakterisierung. Bertolt Brecht Ab beeinflusste Brechts Hinwendung zum Marxismus zunehmend sein Werk. Elisabeth Hauptmann wird Brechts Sekretärin, wichtige Mitarbeiterin und Geliebte. Info-Box: Brecht übernimmt das Atelier von Helene Weigel. Bekannte Werke von BRECHT sind z. B. Die Dreigroschenoper; Mutter Courage und ihre Kinder; Herr Puntila und sein Knecht Matti; Der kaukasische Kreidekreis. Bertolt Brecht | Der Name von Bertolt Brecht ist eng mit dem Theater der DDR verbunden. Im Berliner Ensemble kann er sein Werk nach seinen Ideen auf die.Al poeta, trasandato e disincantato, sembra non restare altro che l'annegamento o l'andare alla deriva Das Schiff , La nave o Ballade von den vielen Schiffen , Ballata su molte navi , lo esemplificano molto bene.
Baal trasse ispirazione da un dramma di Hanns Johst , Der Einsame Il solitario , [19] che trattava dell'infelice destino di Christian Grabbe - , un poeta romantico di vita breve e intensa, realmente esistito.
Brecht prese spunto dall'opera per ribaltarne il messaggio. Anche in Baal assistiamo alla sconfitta di un poeta "anarchico", ma il fallimento viene qui visto in modo positivo, nella rinuncia a fermenti ribelli e titanici per diventare simbiosi con la terra rozza e oscena.
Anche la scelta dell'accompagnamento musicale si pone agli antipodi di quella di Johst: al romanticismo beethoveniano vengono presentati temi del Tristano e Isotta wagneriano , in un intento sarcastico che vuole sottolineare il carattere opposto degli amori del protagonista.
Un anno dopo nacque la loro figlia Hanne, divenuta poi nota attrice. Nel scrisse il dramma Vita di Edoardo secondo di Inghilterra e conobbe la futura moglie Helene Weigel.
A novembre conobbe la futura collaboratrice Elisabeth Hauptmann. Le sue prime opere furono influenzate dallo studio degli scritti di Hegel e Marx.
Conobbe il sociologo Fritz Stengerg che lo stimola ad approfondire gli studi di marxismo. Scrisse la tragedia Mahagonny.
Collabora con Erwin Piscator all'interno di un collettivo di un teatro di cui fanno parte anche Tucholsky , Kisch e altri.
Il 2 novembre divorzia da Marianne Zoff. Nel sposa, in aprile, Helene Weigel. Scrisse il dramma didattico La linea di condotta , dove Brecht ormai mette in scena tematiche marxiste.
Scrive il dramma Santa Giovanna dei Macelli e il dramma didattico L'eccezione e la regola. Scrisse, anche, il dramma didattico Der Jasager e Der Neinsager , Il consenziente e il dissenziente.
A ottobre gli nasce la seconda figlia, Barbara. Tiene discussioni con Korsch anche a casa sua per approfondire la dialettica materialistica atea.
Scrisse la commedia Teste tonde e teste a punta. Conobbe Margarete Steffin Grete. Nel maggio dello stesso anno i suoi libri vennero messi al rogo.
Scrisse numerosi articoli su giornali per rifugiati ed emigranti di Praga , Parigi ed Amsterdam. Vanaf donderdag 29 oktober gelden er bovenop de federale maatregelen een aantal nieuwe maatregelen voor Vlaanderen.
Lees hier per categorie welke maatregelen er momenteel gelden. Specifiek voor Brecht werkt de gemeente momenteel aan een reglement met coronamaatregelen voor onze gemeente op langere termijn.
Homepage Menu. Corona-update - Verstrengde lockdown vanaf maandag 2 november Vanaf maandag 2 november gaat heel ons land in een verstrengde lockdown.
Hou je aan de regels, hou het veilig en hou vol Brechtenaars! Leeszaal archief nu in de bib Eind maart moest de leeszaalwerking van het gemeentearchief omwille van corona ook in Brecht tijdelijk worden stopgezet.
Brechtse maatregelen: coronavirus Het coronavirus is meer dan ooit actief, waardoor het naleven van de genomen maatregelen van groot belang is, om het aantal besmettingen in te perken.
Blauwe zone parking sporthal, voetbal en omgeving De parking aan station Noorderkempen wordt betalend vanaf maandag 5 oktober. Hoe een afspraak maken bij de gemeentelijke diensten?
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Articles from Britannica Encyclopedias for elementary and high school students. The Editors of Encyclopaedia Britannica Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree See Article History.
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Learn More in these related Britannica articles:. By a wide range of experimentation and innovation had established the parameters of the contemporary theatre.
The training of actors in the Western theatre has since become more organized to take in concepts and programs from the earlier innovators.
Brecht Menu de navegação Video
Leben des Galilei von Bertolt Brecht / Deutsch / Hörbuch KomplettHe was cut off from the German theatre; but between and he wrote most of his great plays, his major theoretical essays and dialogues , and many of the poems collected as Svendborger Gedichte Julius Caesar.
It concerns a scholar researching a biography of Caesar several decades after his assassination. The essence of his theory of drama, as revealed in this work, is the idea that a truly Marxist drama must avoid the Aristotelian premise that the audience should be made to believe that what they are witnessing is happening here and now.
For he saw that if the audience really felt that the emotions of heroes of the past— Oedipus , or Lear , or Hamlet —could equally have been their own reactions, then the Marxist idea that human nature is not constant but a result of changing historical conditions would automatically be invalidated.
He died of a heart attack in East Berlin the following year. Brecht was, first, a superior poet, with a command of many styles and moods.
As a producer he liked lightness, clarity, and firmly knotted narrative sequence; a perfectionist, he forced the German theatre, against its nature, to underplay.
As a theoretician he made principles out of his preferences—and even out of his faults. Print Cite. Facebook Twitter. Give Feedback External Websites.
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The Editors of Encyclopaedia Britannica Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree See Article History.
Top Questions. Get exclusive access to content from our First Edition with your subscription. Subscribe today. These were a group of plays driven by morals, music and Brecht's budding epic theatre.
The Lehrstücke often aimed at educating workers on Socialist issues. In addition, Brecht worked on a script for a semi-documentary feature film about the human impact of mass unemployment, Kuhle Wampe , which was directed by Slatan Dudow.
This striking film is notable for its subversive humour, outstanding cinematography by Günther Krampf , and Hanns Eisler's dynamic musical contribution.
It still provides a vivid insight into Berlin during the last years of the Weimar Republic. Galileo , in Brecht's Life of Galileo They later bought their own house in Svendborg 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 Walter Benjamin , Hanns Eisler and Ruth Berlau.
During this period Brecht also travelled frequently to Copenhagen, Paris, Moscow, New York and London for various projects and collaborations.
When war seemed imminent in April , he moved to Stockholm , Sweden, where he remained for a year. During the war years, Brecht became a prominent writer of the Exilliteratur.
Hangmen Also Die! In Brecht's reluctance to help Carola Neher , who died in a gulag prison in the USSR after being arrested during the purges , caused much controversy among Russian emigrants in the West.
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 Brecht testified that he had never been a member of the Communist Party. The remaining witnesses, the so-called Hollywood Ten , 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.
He lived in Zurich in Switzerland for a year. It was published under the title Antigonemodell , accompanied by an essay on the importance of creating a " non-Aristotelian " form of theatre.
In he moved to East Berlin and established his theatre company there, the Berliner Ensemble. He retained his Austrian nationality granted in and overseas bank accounts from which he received valuable hard currency remittances.
The copyrights on his writings were held by a Swiss company. Though he was never a member of the Communist Party, Brecht had been schooled in Marxism by the dissident communist Karl Korsch.
Korsch's version of the Marxist dialectic influenced Brecht greatly, both his aesthetic theory and theatrical practice. Brecht received the Stalin Peace Prize in 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, Benno Besson and Carl Weber.
At this time he wrote some of his most famous poems, including the "Buckow Elegies". At first Brecht apparently supported the measures taken by the East German government against the uprising of in East Germany , which included the use of Soviet military force.
The great discussion [exchange] with the masses about the speed of socialist construction will lead to a viewing and safeguarding of the socialist achievements.
Brecht's subsequent commentary on those events, however, offered a very different assessment—in one of the poems in the Elegies , " Die Lösung " The Solution , a disillusioned Brecht writes a few months later:.
After the uprising of the 17th of June The Secretary of the Writers Union Had leaflets distributed in the Stalinallee Stating that the people Had forfeited the confidence of the government And could win it back only By redoubled efforts.
Would it not be easier In that case for the government To dissolve the people And elect another? Brecht's involvement in agitprop and lack of clear condemnation of purges resulted in criticism from many contemporaries who became disillusioned in communism earlier.
Brecht died on 14 August [68] of a heart attack at the age of According to Stephen Parker, who reviewed Brecht's writings and unpublished medical records, Brecht contracted rheumatic fever as a child, which led to an enlarged heart, followed by lifelong chronic heart failure and Sydenham's chorea.
A report of a radiograph taken of Brecht in describes a badly diseased heart, enlarged to the left with a protruding aortic knob 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 emotional lability , personality changes, obsessive-compulsive behavior, and hyperactivity, which matched Brecht's behavior.
Brecht developed the combined theory and practice of his " Epic theatre " by synthesizing and extending the experiments of Erwin Piscator and Vsevolod Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism.
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 climactic catharsis of emotion left an audience complacent. Instead, he wanted his audiences to adopt a critical perspective in order to recognise social injustice and exploitation and to be moved to go forth from the theatre and effect change in the world outside.
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.
Brecht's modernist concern with drama-as-a- medium led to his refinement of the " epic form " of the drama. This dramatic form is related to similar modernist innovations in other arts , including the strategy of divergent chapters in James Joyce 's novel Ulysses , Sergei Eisenstein 's evolution of a constructivist " montage " in the cinema, and Picasso 's introduction of cubist "collage" in the visual arts.
One of Brecht's most important principles was what he called the Verfremdungseffekt translated as "defamiliarization effect", "distancing effect", or "estrangement effect", and often mistranslated as "alienation effect".
In contrast to many other avant-garde approaches, however, Brecht had no desire to destroy art as an institution; rather, he hoped to " re-function " the theatre to a new social use.
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 psychological and socialist varieties.
Brecht was also influenced by Chinese theatre, and used its aesthetic as an argument for Verfremdungseffekt.
Brecht believed, "Traditional Chinese acting also knows the alienation [sic] effect, and applies it most subtly. The [Chinese] performer portrays incidents of utmost passion, but without his delivery becoming heated.
He recognized that the Chinese style was not a "transportable piece of technique," [79] and that Epic theatre sought to historicize and address social and political issues.
Brecht used his poetry to criticize European culture, including Nazis , and the German bourgeoisie. Brecht's poetry is marked by the effects of the First and Second World Wars.
Throughout his theatric production, poems are incorporated into this plays with music. In , Brecht issued a recantation of his apparent suppression of poetry in his plays with a note titled On Poetry and Virtuosity.
He writes:. We shall not need to speak of a play's poetry 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 its name 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.
Brecht's most influential poetry is featured in his Manual of Piety Devotions , establishing him as a noted poet.
Brecht's widow, the actress Helene Weigel , continued to manage the Berliner Ensemble until her death in ; it was primarily devoted to performing Brecht's plays.
Besides being an influential dramatist and poet, some scholars have stressed the significance of Brecht's original contributions in political and social philosophy.
Brecht's collaborations with Kurt Weill have had some influence in rock music. The " Alabama Song " for example, originally published as a poem in Brecht's Hauspostille and set to music by Weill in Mahagonny , has been recorded by The Doors , on their self-titled debut album, as well as by David Bowie and various other bands and performers since the s.
Brecht's son, Stefan Brecht , became a poet and theatre critic interested in New York's avant-garde theatre. Brecht's plays were a focus of the Schauspiel Frankfurt when Harry Buckwitz was general manager, including the world premiere of Die Gesichte der Simone Machard in Collective and collaborative working methods were inherent to Brecht's approach, as Fredric Jameson 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 individualistic sense.
This is "theatre as collective experiment [ Brecht wrote hundreds of poems throughout his life. His poetry was influenced by folk-ballads, French chansons , and the poetry of Rimbaud and Villon.
From Wikipedia, the free encyclopedia. German poet, playwright, and theatre director. For other uses, see Brecht disambiguation. Playwright theatre director poet.
Epic theatre non-Aristotelian drama. Marianne Zoff. Helene Weigel. 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 conflicts with society.
Erst kommt das Fressen Dann kommt die Moral. First the grub lit. Unhappy the land where heroes are needed.
The Catch Der Fischzug ? Was kostet das Eisen? Random House. Lexico UK Dictionary. Oxford University Press. See also Smith In his Messingkauf Dialogues , Brecht cites Wedekind, along with Büchner and Valentin , as his "chief influences" in his early years: "he," Brecht writes of himself in the third person, "also saw the writer Wedekind performing his own works in a style which he had developed in cabaret.
Wedekind had worked as a ballad singer; he accompanied himself on the lute. Kutscher was "bitterly critical" of Brecht's own early dramatic writings Willet and Manheim , vii.
Quoted in Willett and Manheim , viii—ix. See the article on Edward II for details of Brecht's germinal 'epic' ideas and techniques in this production.
See Sacks , xviii , Willett , , and Willett and Manheim , vii. At the end of the — season, both his and Carl Zuckmayer 's his fellow dramaturg contracts were not renewed.
Willett , 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. In his book The Political Theatre , 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" , Brecht claimed to have written the adaptation in his Journal entry , but Piscator contested that; the manuscript bears the names "Brecht, [Felix] Gasbarra, Piscator , G.
Grosz " in Brecht's handwriting Willett , See also Willett , 90— Brecht wrote a sequel to the novel in , Schweik in the Second World War.
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 historical plane 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 Kolocotroni, Goldman and Taxidou [, ].
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 , which follows, with Brecht's Mahagonny Notes : "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.
See also Willett , — When they met, Brecht was 29 years old and Weill was 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 Georg Kaiser , one of the few Expressionist playwrights that Brecht admired; he was married to the actress Lotte Lenya.
Willett and Manheim , xv. In Munich in Brecht had begun referring to some of the stranger aspects of life in post- putsch Bavaria under the codename "Mahagonny".
The Amerikanismus 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.
See Willett and Manheim , xv—xvi. See Willett and Manheim , xv. The New York Times. Retrieved 26 July Die Literatur der Exkommunisten , Stuttgart , p.
Petersburg Times". It was first published in the GDR in after Helene Weigel had insisted on its inclusion in a collected edition of Brecht's works.
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. I accuse them of keeping silent 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.
Silcox's "What's Wrong with Alienation? Philosophy and Literature. Willett observes: "With Brecht the same montage technique spread to the drama, where the old Procrustean plot yielded to a more " epic " 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 on he began to interpret its penchant for " contradictions ", much as had Sergei Eisenstein , in terms of the dialectic.
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.
Brooker writes that "the term 'alienation' is an inadequate and even misleading translation of Brecht's Verfremdung. 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- alienation '". Comparative Literature Studies. Amsterdam: Rodopi. Die Zeit in German.
Retrieved 16 August See also the discussions of Brecht's collaborative relationships in the essays collected in Thomson and Sacks New York: Grove, ; also known as The Life and Lies of Bertolt Brecht and summarized in his contribution to Thomson and Sacks , — , 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" , 31 ; Olga Taxidou offers a critical account of Fuegi's project from a feminist perspective in "Crude Thinking: John Fuegi and Recent Brecht Criticism" in New Theatre Quarterly XI.
Chronology provided through consultation with Sacks and Willett , preferring the former with any conflicts. Toby Cole and Helen Krich Chinoy.
Cambridge: Cambridge University Press. Benjamin, Walter. Understanding Brecht. Anna Bostock. London and New York: Verso. Brooker, Peter. In Thomson and Sacks , — Bürger, Peter.
Theory of the Avant-Garde. Theory and History of Literature Ser. Michael Shaw. Minneapolis: University of Minnesota Press. Culbert, David. Davies, Steffan; Ernest Schonfield Davies, Steffan; Schonfield, Ernest eds.
Alfred Döblin: Paradigms of Modernism. Berlin and New York: Walter de Gruyter. Marburg: Tectum Verlag. Demetz, Peter, ed. Brecht: A Collection of Critical Essays.
Twentieth Century Views Ser. Diamond, Elin. Unmaking Mimesis: Essays on Feminism and Theater. London and New York: Routledge. Eagleton, Terry.
New Literary History Eaton, Katherine B.
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