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...minor omission in the CRIMSON Review article on Brecht yesterday was the title of the book under discussion. It was Seven Plays by Bertolt Brecht, edited and with an introduction by Eric Bentley; Grove Press, New York, 1961. 537pp...

Author: NO WRITER ATTRIBUTED | Title: Our Crime | 3/11/1961 | See Source »

Asked why he chose to return to the Soviet sector of Germany following the War, Bertolt Brecht retedly explained, "I feel like a etor with just enough penicllin to cure one person of syphilis. Shall se it on the evil old lecher. . or pregnant young prostitute?" hat trenchant disenchantment! was he simply humoring his stern friends...

Author: By Frederick H. Gardner, | Title: Bertolt Brecht's Communist Writings: The Poetry and Politics of Disillusion | 3/10/1961 | See Source »

Rarest item on the program was Sessions' 72-minute, one-act opera, The Trial of Lucullus, with a libretto originally written as a radio play by Germany's Bertolt Brecht. The unrelievedly dissonant work has to do with the plea of the Roman general Lucullus, for admission to the Elysian fields before a jury of citizens. Although it had several appealing orchestral passages and at least one rousing chorus, the opera for the most part is in what Sessions calls his "linear and severe" mood, with many of the vocal parts written in droning monotone...

Author: /time Magazine | Title: Music: Composer for Titans | 2/3/1961 | See Source »

Despite the ideological, artistic, and legal disputes which confused and nearly stopped the making of the film version of Bertolt Brecht's Die Dreigroschenoper, the movie is a brilliant success. It was Brecht himself who nearly ruined the film, for between 1928, when he wrote the play, and 1931, when G. W. Pabst commissioned him to work on the film script, Brecht's interest in Marxism had become a strong conviction, and he wanted the film turned into an anti-capitalist diatribe...

Author: By Allan Katz, | Title: The Threepenny Opera | 12/7/1960 | See Source »

...working relationship between the playwright and the adaptor followed immediately on the heels of their first encounter in 1941. Few people in America had heard of, let alone wanted to translate, Bertolt Brecht. Bentley, then an instructor at U.C.L.A., was introduced to him in Hollywood as a man who could translate German. Brecht read some of his tentative translations and then produced some original material. "Line by line, I would translate and he would tell me what was wrong with my translation," Bentley now recalls with a smile that insinuates the nature of the criticism. "It wasn't that...

Author: By Frederick H. Gardner, | Title: Eric Bentley | 11/4/1960 | See Source »

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