Word: bertolt
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...play, Grass's first, depicts a caricatured Bertolt Brecht -- The Boss -- rehearsing an adaptation of Coriolanus in East Berlin, June, 1953. Brecht, and here Plebeians tells no lies, has transfigured Shakespeare's tragedy into a didactic tract for revolution. Shakespeare's silly tribunes of the people become radical ideologues; Coriolanus -- the "colossal" as he is described in Plebeians -- is reduced to a despot with a certain knack for winning battles. And quite as much as Brecht tampered with Shakespeare, Grass has tampered with Brecht. He has made him a patronizing, cynical esthete resigned to the failure of revolution...
...Galileo. Bertolt Brecht believed that historical forces rendered the individual obsolete and, paradoxically, wrote plays in which flawed, split, and roguishly tenacious personalities like Mother Courage and Galileo exhibit a passion for survival that dwarfs history and dominates the stage. Galileo, offered last week at Manhattan's Lincoln Center, is like a formal ballet of the mind in which the prince of science and the princes of the church dance out their accustomed roles. But for Western civilized man, Galileo's recantation before the Cardinal Inquisitor (Shepperd Strudwick) has the power and poignance of Socrates drinking hemlock...
Grosz, the sardonic sadomasochism of Bertolt Brecht, the tinkling melancholic musical style of Kurt Weill, and the plumpish, thigh-bared, black-gartered allure of Marlene Dietrich in The Blue Angel. Add a living link to the period in Weill's widow, Actress Lotte Lenya, with her cynical eyes and big-city-scarred voice. Set this musical by committee in a chic-sleazy nightspot called the Kit Kat Klub, supply a rouged M.C. played with androgynous guile by Joel Grey, bring on hip-roiling, braless chorines with soft-boiled smiles and any kind of love for sale, orchestrate...
Lotte Lenya. The name conjures up visions of the Berlin Theatre Ensemble, of the plays of Bertolt Brecht and the music of Kurt Weill...
...lady's new lease on life originated as a fragile short story by Bertolt Brecht, and Writer-Director Rene Allio sketches it on film with the ease and delicacy of an artist who knows the value of priceless old things. Insurance against the occasional pangs of creeping senility is provided by French Stage Star Sylvie, a clear-eyed, quick-stepping, 81-year-old charmer who plays the title role with no pauses for sentimental nonsense. Whether cruising serenely up and down an escalator or boldly offering a well-weathered wrist to a perfume saleslady, Sylvie exudes the quiet...