Brecht on Performance

General Introduction and Acknowledgements

Part One â" The Messingkauf, or Buying Brass

Introduction to Buying Brass
Preamble
First Night
(i) Setting the Scene
(ii) Naturalism, Realism, Empathy
(iii) Tragedy; Learning, Science, Marxism
Second Night
(i) Intoxication, Empathy, V-effect
(ii) Acting, Performance
(iii) Science, Social Class, Learning
(iv) Elizabethan Theatre, Shakespeare
(v) The Augsburger, Piscator
Third Night
(i) The Fourth Wall, Emotion; V-effect, Acting
(ii) The Augsburger, Piscator, Weigel
(iii) Social Science and Art
(iv) âExtreme Situationsâ
Fourth Night
(i) The Nature of Art
(ii) Emotion, Critique, Representation
(iii) The Augsburger
(iv) Shakespeare
(v) Finale
Miscellaneous Texts
(i) Illusionism, Realism, Naturalism; Social Function of Theatre; Empathy
(ii) Acting
(iii) Tha«ter, Piscator, Neher
Plans and Appendices
(i) Plans
(ii) Appendices
Practice Pieces for Actors
(i) Parallel Scenes
The Murder in the Porterâs Lodge
(Parallel Scene to Shakespeareâs Macbeth, Act 2, Scene 2)
The Battle of the Fishwives
(Parallel to Schillerâs Maria Stuart, Act 3)
(ii) Intercalary Scenes
Ferry Scene
(To be played between Scenes 3 and 4, Act 4 of Shakespeareâs Hamlet)
The Servants
(To be played between Scenes 1 and 2, Act 2 of Shakespeareâs Romeo and Juliet)
(iii) Circular Poems


Part Two â" Modelbooks

Introduction to the Modelbooks

On Life of Galileo (1947/48) from Constructing a Role: Laughtonâs Galileo
Foreword
A Sequence from Scene One: Rotation of the Earth and Rotation of the Brain
Background to the Performance

On The Antigone of Sophocles (1947/48) from Antigone Model 1948
Foreword
Ruth Berlauâs Prefatory Note
Prelude and Bridge to Scene One
Neherâs Second Design for the Antigone Stage

On Mother Courage and Her Children (1949/50/51) from Courage Model 1949
Opening Remarks
Notes and Scene-Photos for the Prologue, Scenes One and Two
Details from Scene Three
Variations in Berlin and Munich
Concluding Texts from the Model: Scene Twelve

From Theatre Work (1952)
Some Remarks on My Discipline
Bertolt Brechtâs Stage Direction
Phases of a Stage Direction
Five Notes on Acting
The Berliner Ensemble Models
Theatre Photography
Does Use of the Model Restrict Artistic Freedom
How Erich Engel Uses the Model
How the Director Brecht Uses His Own Model
From the Correspondence of the Berliner Ensemble about the Model
Creative Evaluation of Models

From Katzgraben Notes 1953
Epic Theatre
Rehearsal Methods
Scenery
Crises and Conflicts
Politics in the Theatre
III,2 Constructing a Hero
Is Katzgraben a Proselytizing Play?
The Verse Form
Verfremdung
II, 3 [Revelation and Justification]
Empathy
The New Farmer, the Medium Farmer, the Big Farmer
What Are Our Actors Actually Doing?
The Positive Hero
Second Dress Rehearsal
Criticism of Elli and Criticism of Elli 2
New Content â" New Form

Di Trevis: âActing is Not Theoreticalâ

Select Bibliography

Index of Names and Key Terms