Word: bertolt
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Dates: during 1950-1959
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Though Mr. Miller has expressed admiration for Bertolt Brecht, he is unwilling to follow him into the openly, almost abstractly, political drama. His play centers on three carefully humanized beings--a triangle, in fact. One would not expect adultery to be vitally involved with a matter so superficially asexual as the Salem witch trials, especially in the works of so high-minded an author. But the fact that his hero John Proctor has in times recently past "sweated like a stallion" after the slut who is now crying "Witch!" at his wife, adds to the play's intensity without detracting...
...Good Woman is a preposterous "parable" that demonstrates you can't reconcile good and evil. The flame of goodness, however flickering, never expires. Yet evil is everywhere; so pervasive is evil that it lurks in goodness itself--in the blundering unwittingness of goodness. Specifically, Bertolt Brecht has written the story of an angelic prostitute (you never meet any other kind, on the stage, at least) who finds the wordly threats to her integrity so great she must mask herself as a loud-mouthed male. Thus better equipped to operate amid the avarice and lecheries of people, she can more effectively...
Over 100 Harvard and Radcliffe students tried out for parts in the Harvard Dramatic Club's 50th anniversary production of Bertolt Brecht's Good Woman of Setuzan...
...Wilhelm Bruckner-Ruggeberg; Colum-bia, 2 LPs). Composer Weill's widow Lotte Lenya (TIME, Aug. n) went to Berlin last winter to handpick and train singers, direct a 30th anniversary recording of the complete score (including some lusty, gutsy sections never before performed) for the first time in Bertolt Brecht's inimitable original German. The result is by far the best recorded recreation of Kurt Weill's jazzy, bitterly ironic score, with Singer Lenya herself heading a first-rate cast. Every sardonic, vulgar accent is in place, and despite the music's familiarity, it sounds...
...Weill renaissance is a strange phenomenon, for in many of his scores he simply echoed himself. Moreover, the lyrics by the late Marxist poet Bertolt Brecht, while brilliant in their own guttersnipe way, carry little of their original meaning for the U.S. in 1958: harsh cynicism can date as easily as gaslight sentimentality. Yet there is in the music-and in Lenya-a quality that defies time. "Threepenny Opera," she says, "will be good a hundred years from now. Corruption and poverty don't go out of fashion...