History Creator / BertoltBrecht

5th May '16 4:40:46 PM nombretomado
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* ''Baal'' (1982 TV film by Alan Clarke starring Creator/DavidBowie).

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* ''Baal'' (1982 TV film by Alan Clarke starring Creator/DavidBowie).Music/DavidBowie).
7th Feb '16 1:38:15 AM JulianLapostat
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Brecht had a wide influence on various mediums of Theatre, Literature, Film and especially popular music. Several of the songs from his plays, and the style of his songwriting itself, have been covered by many popular musicians. His songs with Weill have been frequently covered by the likes of Music/BobbyDarin, Music/FrankSinatra, Music/TheDoors, Music/DavidBowie, Music/AmandaPalmer, Music/MarianneFaithfull, Music/TomWaits and Music/NinaSimone, among many many others. His works have in turn influenced artists such as Creator/DouglasSirk, Creator/JeanLucGodard, Creator/PierPaoloPasolini, Creator/RainerWernerFassbinder, Creator/AlanMoore and [[{{Dogville}} Lars von Trier]].

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Brecht had a wide influence on various mediums of Theatre, Literature, Film and especially popular music. Several of the songs from his plays, and the style of his songwriting itself, have been covered by has influenced many popular musicians. His songs with Weill have been frequently covered by the likes of Music/BobbyDarin, Music/FrankSinatra, Music/TheDoors, Music/DavidBowie, Music/AmandaPalmer, Music/MarianneFaithfull, Music/TomWaits and Music/NinaSimone, among many many others. His works have in turn influenced artists such as Music/BobDylan, Creator/DouglasSirk, Creator/JeanLucGodard, Creator/PierPaoloPasolini, Creator/RainerWernerFassbinder, Creator/AlanMoore and [[{{Dogville}} Lars von Trier]].
7th Feb '16 1:37:10 AM JulianLapostat
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He collaborated often with Creator/FritzLang, Music/KurtWeill, Walter Benjamin, Creator/PeterLorre, G. W. Pabst, and Miss Creator/LotteLenya. His works have in turn influenced artists such as Creator/DouglasSirk, Creator/JeanLucGodard, Creator/PierPaoloPasolini, Creator/RainerWernerFassbinder, Music/BobDylan, Music/DavidBowie, Creator/AlanMoore and [[{{Dogville}} Lars von Trier]].

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He collaborated often with Creator/FritzLang, Music/KurtWeill, Walter Benjamin, Creator/PeterLorre, G. W. Pabst, and Miss Creator/LotteLenya.

Brecht had a wide influence on various mediums of Theatre, Literature, Film and especially popular music. Several of the songs from his plays, and the style of his songwriting itself, have been covered by many popular musicians. His songs with Weill have been frequently covered by the likes of Music/BobbyDarin, Music/FrankSinatra, Music/TheDoors, Music/DavidBowie, Music/AmandaPalmer, Music/MarianneFaithfull, Music/TomWaits and Music/NinaSimone, among many many others.
His works have in turn influenced artists such as Creator/DouglasSirk, Creator/JeanLucGodard, Creator/PierPaoloPasolini, Creator/RainerWernerFassbinder, Music/BobDylan, Music/DavidBowie, Creator/AlanMoore and [[{{Dogville}} Lars von Trier]].



* CoveredUp: His songs with Weill have been frequently covered by the likes of Music/BobbyDarin, Music/FrankSinatra, Music/TheDoors, Music/DavidBowie, Music/AmandaPalmer, Music/MarianneFaithfull, Music/TomWaits and Music/NinaSimone, among many many others.
7th Feb '16 1:34:06 AM JulianLapostat
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Very few of his works have an explicit moral, instead relying on {{Applicability}}. His characters typically don't learn a thing, and end up perpetuating social repression and/or dying miserably. If a moral is stated at all, it's usually blatantly wrong. This way, Brecht encouraged his audience to make their own reality better than that of the characters, by learning from each story what the characters refuse to learn.

Typical features of his work include proud prostitutes, dead sailors, corrupt businessmen on the verge of bankruptcy, headstrong young women who are ''too'' headstrong to actually become independent in society, hopeful young soldiers who keep themselves blind to the real horrors of war, and what has been described as a genre of "water corpse poetry" (''[[Music/PirateJenny Wasserleichenpoesie]]'') - imagery which has been enthusiastically adapted by authors as diverse as BobDylan, [[{{Dogville}} Lars von Trier]] and Creator/AlanMoore.

Considering himself a true communist, he stated that ''all'' art should belong to the people, to be constantly rewritten and re-interpreted as the political circumstances demanded. In practice, this meant that he refused to spend time even thinking about copyright, often drawing accusations of plagiarism. The reality of it was that he considered the circumstances in which a work of art was created more important than the source, and he actively encouraged others to adapt his works into new performances, without wanting credit for it.

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Very few of his works have an explicit moral, instead relying in the conventional sense. His plays relied heavily on {{Applicability}}.{{Applicability}}, on foregrounding the social/economic and political factors of the narrative, shifting away from identifying solely with the main character's victory or defeat. His characters typically don't learn a thing, and end up perpetuating social repression and/or dying miserably. If a moral is stated at all, it's usually blatantly wrong. This way, Brecht encouraged his audience to think about the conditions of their characters, to identify with their social and political positions which make his characters too trapped to merit catharsis. This way, the audience, in theory, could use his plays to make their own reality better than that of the characters, by learning from each story what the characters either refuse to learn.

learn or are incapable of learning. Brecht's emphasis on epic theatre, heavy unrealism and his use of period settings rather than contemporary setting departed heavily from the emerging SocialistRealism aesthetic. Brecht felt that by using period and fantastic settings, audiences can get a broader perspective on the events and characters than one from contemporary life while Orthodox Marxists criticized Brecht for indulging in over-aestheticization. This is one reason why Brecht's works tended to have relatively little influence behind the iron curtain and has had far more influence in the West, which suited Brecht perfectly fine since he always felt his plays were for a pre-revolutionary audience.

Typical features of his work include proud prostitutes, dead sailors, corrupt businessmen on the verge of bankruptcy, headstrong young women who are ''too'' headstrong to actually become independent in society, hopeful young soldiers who keep themselves blind to the real horrors of war, and what has been described as a genre of "water corpse poetry" (''[[Music/PirateJenny Wasserleichenpoesie]]'') - imagery which has been enthusiastically adapted by authors as diverse as BobDylan, [[{{Dogville}} Lars von Trier]] and Creator/AlanMoore.

Wasserleichenpoesie]]''). Considering himself a true communist, he stated that ''all'' art should belong to the people, to be constantly rewritten and re-interpreted as the political circumstances demanded. In practice, this meant that he refused to spend time even thinking about copyright, often drawing accusations of plagiarism. The reality of it was that he considered the circumstances in which a work of art was created more important than the source, and he actively encouraged others to adapt his works into new performances, without wanting credit for it.



He collaborated often with Creator/FritzLang, Music/KurtWeill, Walter Benjamin, Creator/PeterLorre, G. W. Pabst, and Miss Creator/LotteLenya.

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He collaborated often with Creator/FritzLang, Music/KurtWeill, Walter Benjamin, Creator/PeterLorre, G. W. Pabst, and Miss Creator/LotteLenya.
Creator/LotteLenya. His works have in turn influenced artists such as Creator/DouglasSirk, Creator/JeanLucGodard, Creator/PierPaoloPasolini, Creator/RainerWernerFassbinder, Music/BobDylan, Music/DavidBowie, Creator/AlanMoore and [[{{Dogville}} Lars von Trier]].


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* CoveredUp: His songs with Weill have been frequently covered by the likes of Music/BobbyDarin, Music/FrankSinatra, Music/TheDoors, Music/DavidBowie, Music/AmandaPalmer, Music/MarianneFaithfull, Music/TomWaits and Music/NinaSimone, among many many others.


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!! Adaptations of his works:
* ''The Threepenny Opera'' (1931 film by G. W. Pabst with a screenplay written by Brecht himself)[[note]]Brecht got into a dispute with the movie's producers and disowned the adaptation, though years later, as per Lotte Lenya on TheCriterionCollection dvd, he came around ot it and liked the film. Since it has most of the opera's original cast, its considered to be a highly faithful film if only being "traditional" in staging, rather than Brechtian[[/note]]
* ''Galileo'' (1975 film by Joseph Losey, starring Topol as Galileo).
* ''Baal'' (1982 TV film by Alan Clarke starring Creator/DavidBowie).
* ''ComicBook/TheLeagueOfExtraordinaryGentlemen'' by Creator/AlanMoore. The third part of the comic adapts Theatre/TheThreepennyOpera.
31st Jan '16 12:59:44 AM JulianLapostat
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* TheRevolutionWillNotBeCivilized: Brecht being a Marxist explored the concept of revolutionary violence in many of his plays.
** His most controversial was his Lehrstruckes ("Teaching Plays"), one of which is ''The Measures Taken'', the plot consists of a Revolutionary cell executing one of their own when the latter becomes a liability. The victim himself realizes that his death is necessary for the greater good and accepts it with stoicism. This was so controversial that at his [=HUAC=] hearing, Brecht was interrogated specifically about it.
** His play ''Theatre/TheGoodPersonOfSzechwan'' has a protagonist Shen Te invent a violent AlterEgo Shui Ta to protect herself from exploitation and harm. Shen Te is normally pacifist and meek, Shui Ta is not. Shui Ta finally says, in typically pithy Brecht-style:
--> ''"You can only help one of your luckless brothers/By trampling down a dozen others."''
26th Jan '16 1:08:21 AM aye_amber
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[[caption-width-right:350:''"In me you behold a man upon whom absolutely you can't rely"'']]

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[[caption-width-right:350:''"In [[caption-width-right:350: ''"In me you behold a man upon whom absolutely you can't rely"'']]
25th Feb '15 10:53:36 PM JulianLapostat
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* AnAesop: His plays drew their form on parables and fables. Certain plays, the "Lehrstrucke"(Teaching Plays) were intended to serve as entirely didactic. Brecht being Brecht, the Aesop and the conclusions drawn at the end veer towards SpoofAesop, AlternateAesopInterpretation, SpaceWhaleAesop and above all FamilyUnfriendlyAesop. [[invoked]]
25th Feb '15 10:25:59 PM JulianLapostat
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* HoldingOutForAHero: The main critique Brecht directed towards Aristoleian and conventional naturalist drama was the emphasis on special individuals whose tragedy invited audiences towards catharsis and thereby annul their own heroic initiative.
** Brecht frequently challenged and questioned audiences looking for heroes by emphasizing amoral, villainous and indifferent individuals as his protagonists or in his play ''Saint Joan of the Stockyards'' showing how a heroic modern day Joan of Arc figure is manipulated/exploited by capitalists.
** His play ''Galileo'' was an ironic {{Deconstruction}} of the Galileo case, informed by the horrors of the Atomic Age, with Galileo seen not as a persecuted scientist but a cowardly intellectual who refused to become a martyr out of self-interest and self-preservation.
--> '''Andrea''': ''"Unhappy is the land that breeds no hero."''
--> '''Galileo''': ''"No. Unhappy is the land that needs a hero."''
11th Feb '15 6:06:46 AM JulianLapostat
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* ViewersAreGeniuses: [[invoked]] The main purpose of Brecht's plays was to appeal to the audience's reason, to make them think about the characters rather than simply relate to their emotional condition and participate in their outcome and CharacterDevelopment. His insistence on stylistic experimentation made him controversial among orthodox Marxists and advocates of Socialist Realism who wanted simplistic anti-capitalist propaganda.
11th Feb '15 6:01:51 AM JulianLapostat
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[[quoteright:350:http://static.tvtropes.org/pmwiki/pub/images/f63a2a4a845274e783702c330c56cf25.jpg]]
[[caption-width-right:350:''"In me you behold a man upon whom absolutely you can't rely"'']]


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* ProductionPosse: Brecht was a highly collaborative artist, who worked in a highly collaborative fashion. This includes Music/KurtWeill and Hans Eisler, art director and designer Lion Feuchtwanger, actors Ernst Busch, Creator/PeterLorre, Carola Neher and Helene Wiegel (who he later married). He also had "co-writers" Elisabeth Hauptmann, Margarethe Steffin and Ruth Berlau, who actually located source material of earlier dramas and made translations which he either modified or fully sampled. This has led some commentators to regard Brecht as a plagiarist who took credit for other people's work. Eric Bentley has however noted that this was part of the exigency of theatre production more than anything else. Some Brecht productions such as ''Happy End'' were largely authored by Hauptmann (though Brecht did ''write'' Surabaya Johnny, the famous song from the play).
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