Titlebook: Engaging with Brecht; Making Theatre in th Bill Gelber Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusive license t

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https://doi.org/10.1007/978-3-658-02765-0cement of elements on the stage, in this case, the actors, to reveal narrative and gestus. It was an important step in “visually highlighting” the .. He differentiated between the Bühnenbildner, the scene designer who created stage pictures, and the Bühnenbauer, or scenographer, who collaborates wit

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https://doi.org/10.1007/978-3-662-24984-0ments in theatrical craft with Brecht as our guide. It was important, despite the amount of material available to us for pursuing a form of “Brechtian” production, we create our own work, a twenty-first-century version of those ideas which would lead us to new ways of encouraging social change throu

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https://doi.org/10.1007/978-3-031-20394-7Theatre in Education; Brecht; Theatre Pedagogy; Directing; German Studies; Stanislavsky; Mother Courage; Th

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Five Productions of ,: 1941, 1949, 1950, 1951, and 2015,to the East German public and leading to the establishment of the Berliner Ensemble; Brecht’s 1950 Munich production using the 1949 production as a model; Brecht’s restaging of . at the BE in 1951, the production that, in Paris and then London, established Brecht as a world-famous theatre director;

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Collaborative Analysis,s collaborative process, shifting the emphasis from the director’s role as the imposer of an overarching, pre-conceived concept to a figure who encouraged dramaturgical work from all members, whatever their primary roles on the production as actors, designers, assistant directors, or stage managers.

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