Brecht On Theatre

List of Illustrations

General Introduction and Acknowledgements

Part One - A New Theatre

Introduction to Part One

Frank Wedekind (1918)

Me in the Theatre (1920)

Theatre as Sport (1920)

A Reckoning (1920)

On the Aesthetics of Drama (1920)

On the `Downfall of the Theatre' (1925)

More Good Sport (1926)

Three Cheers for Shaw (1926)

Prologue to Drums (1926)

Shouldn't We Liquidate Aesthetics? (1927)

Epic Theatre and Its Difficulties (1927)

On New Dramatic Writing (1928)

Latest Stage: Oedipus (1929)

Dialogue about Acting (1929)

On Subject-Matter and Form (1929)

On Rehearsing (c. 1930)

Dialectical Dramatic Writing (1930/31)

Notes on the Opera Rise and Fall of the City of Mahagonny (1930)

Notes on the Threepenny Opera (1931)

Notes on the Comedy Man Equals Man (1931/38)

Notes on The Mother (1933/38)

Part Two - Exile Years

Introduction to Part Two

OLD VS. NEW THEATRE

Theatre for Pleasure or Theatre for Instruction (1935)

On Experiments in Epic Theatre (1935)

The German Drama: pre-Hitler (1935)

On the Use of Music in an Epic Theatre (1935)

Short List of the Most Frequent, Common and Boring Misconceptions about Epic Theatre (1937)

The Progressiveness of the Stanislavsky System (1937)

On Experimental Theatre (1939)

A Short Private Lecture for My Friend Max Gorelik (1944)

ON CHINESE THEATRE, VERFREMDUNG AND GESTUS

On the Art of Spectatorship (1935)

Maintaining Gestures over Multiple Generations (1935)

Verfremdung Effects in Chinese Acting (1936)

Three Notes on Verfremdung and the Elder Breughel (1937)

Verfremdung Techniques in the Narrative Pictures of the Elder Brueghel

On the V-effect of the Elder Breughel

V-effects in Some Pictures of the Elder Breughel

On Determining the Zero Point (1936/37)

The Zero Point (1936/37)

Notes on Pointed Heads and Round Heads (1936)

On the Production of the V-effect (1938)

On Gestic Music (1937)

On Rhymeless Verse with Irregular Rhythms (1938)

The Street Scene (1938)

Short Description of a New Technique of Acting that Produces a Verfremdung Effect (1940)

Athletic Training (1940)

On Epic Dramatic Art: Change (1940)

On the Gradual Approach to the Study and Construction of the Figure (1941)

REALISM AND THE PROLETARIAT

The Popular and the Realistic (1938)

Two Essay Fragments on Non-professional (1939)

The Attitude of the Rehearsal Director (in the Inductive Process) (1939)

Notes on the Folk Play (1940)

Part Three - Return to Germany

Introduction to Part Three

SHORT ORGANON

Short Organon for the Theatre (1948)

Appendices to the Short Organon (1954)

THEATRE WORK

Friedrich Wolf - Bert Brecht: Formal Problems Arising from the Theatre's New Content.

A Dialogue (1949)

From a Letter to an Actor (1951)

What Makes an Actor (1951)

Gesture (1951)

Two Notes about Urfaust (1952)

About Our Stagings

The Story

Kurt Palm (1952)

Classical Status as an Intimidating Factor (1954)

ON STANISLAVSKY

Some of the Things That Can Be Learnt from Stanislavsky (1951)

On Stanislavsky (1953)

Stanislavsky Studies [3] (1953)

A Few Thoughts on the Stanislavsky Conference (1953)

DIALECTICAL THEATRE

From Epic to Dialectical Theatre 2 (1954)

Dialectics in the Theatre

Study of the First Scene of Shakespeare's `Coriolanus' (1953/55)

Relative Haste (1955)

A Detour (The Caucasian Chalk Circle) (1955)

Another Case of Applied Dialectic (1953)

Letter to the Actor Playing Young Hoerder in Winter Battle (1954)

Mother Courage Played in Two Ways (1951)

Example of a Scenic Innovation Through the Observation of a Mistake (1953)

Something about Representing Character (1953)

Conversation about Coerced Empathy (1953)

MISCELLANEOUS

Cultural Policy and Academy of Arts (1953)

Socialist Realism in the Theatre (1954)

Can the Present-day World Be Reproduced by Means of Theatre? (1955)

Our London Season (1956)

Select Bibliography

Index