Brecht's relevance: Highs and lows

New Left Review

Volumn , Issue 57, 2009, Pages 85-104

  Schwarz, Roberto ^a  

^a NONE

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EID: 67650021613     PISSN: 00286060     EISSN: None     Source Type: Journal    
DOI: None     Document Type: Article

References (11)

1. This essay is adapted from 'Altos e baixos da atualidade de Brecht', first presented as a talk following a public reading of Saint Joan of the Stockyards by the Companhia do Latão in São Paulo in 1998, and published in Roberto Schwarz, Seqüências brasileiras: ensaios, Sao Paulo 1999.
2. For a full translation of the original by Emilio Sauri, see the online journal Mediations, Dossier. Brazil, vol. 23, no. 1, 2007.
3. Commenting on the conditions of existence of a real political theatre, Brecht notes with sardonic parsimony: 'After World War One, there was theatre in four countries: the first had endured a complete social cataclysm; the second, half of a cataclysm; the third, 1/4; the last, 1/8. - The third was Czechoslovakia, and the fourth the United States, after the great crisis.' Needless to say, the first had been Russia, and the second Germany. See Brecht, Arbeitsjournal, vol. 1, Frankfurt 1974, p. 315.
4. Brecht, Arbeitsjournal, vol. 1, p. 270.
5. Iná Camargo Costa, Sinta o drama, Petrópolis 1998, pp. 19-26;
6. Anatol Rosenfeld, Teatro alemão, São Paulo 1968, pp. 120-3.
7. Brecht, The Exception and the Rule, in The Measures Taken and Other Lehrstücke, Ralph Mannheim and John Willett eds, New York 2001.
8. Theodor Adorno, 'Commitment', NLR 1/87-88, Sept-Dec. 1974;
9. also on Brecht' s position, see Adorno, Aesthetic Theory, Minneapolis 1997, p. 247.
10. Brecht, Saint Joan of the Stockyards, trans. Ralph Mannheim, Bloomington, IN 1969. Some translations modified.
11. Fredric Jameson, Brecht and Method, London and New York 1998, pp. 13, 154-5.