Andere Kunden interessierten sich auch für
![Shakespeare and Chekhov in Production and Reception: Theatrical Events and Their Audiences]( "Shakespeare and Chekhov in Production and Reception: Theatrical Events and Their Audiences")
Shakespeare and Chekhov in Production and Reception: Theatrical Events and Their Audiences39,99 €![The Tempest]( "The Tempest")
The Tempest36,99 €![Plays And Players In Modern Italy: Being A Study Of The Italian Stage As Affected By The Political And Social Life, Manners, And Character Of To-day]( "Plays And Players In Modern Italy: Being A Study Of The Italian Stage As Affected By The Political And Social Life, Manners, And Character Of To-day")
Plays And Players In Modern Italy: Being A Study Of The Italian Stage As Affected By The Political And Social Life, Manners, And Character Of To-day37,99 €![Modern Drama and Opera]( "Modern Drama and Opera")
Modern Drama and Opera27,99 €![John Lacy's Sauny the Scot: Eine Bearbeitung Von Shakespeare's the Taming of the Shrew, Aus Der Restaurationszeit. (1667)]( "John Lacy's Sauny the Scot: Eine Bearbeitung Von Shakespeare's the Taming of the Shrew, Aus Der Restaurationszeit. (1667)")
John Lacy's Sauny the Scot: Eine Bearbeitung Von Shakespeare's the Taming of the Shrew, Aus Der Restaurationszeit. (1667)28,99 €![Shakespeare From Betterton to Irving; Volume 1]( "Shakespeare From Betterton to Irving; Volume 1")
Shakespeare From Betterton to Irving; Volume 137,99 €![Theory/Theatre]( "Theory/Theatre")
Theory/Theatre173,99 €
This book examines Brecht's theory and method of adaptation. It first reconstructs it into a single framework using four key Brechtian concepts: Fabel, gestus, estrangement effects, and historicizing. It then uses that framework to analyse four Brechtian adaptations: The Tutor, Don Juan, "Socrates Wounded," and Kriegsfibel. It argues that adaptation occupies a previously unrealised central place in Brecht's thought, demonstrating that he provides us with a unique way to think about adaptation--as material transformation. It concludes by describing how Brecht is useful for anti-capitalist aesthetics today because through him one can foster a new consciousness which enables better social conditions to be created. This book is practical for both theatre practitioners and artists as well as theorists.