Word: brechtã
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...over a century. Mamet seems to have no problem unabashedly denouncing his predecessors, but Stanislavsky unequivocally bears most of the criticism in Mamet’s book. “Stanislavsky’s trilogy is a bunch of useless gack,” he writes, “Brecht??s gibberish about the alienation effect is, as proved by a lot of Joe Papp’s oeuvre in the seventies, unimplementable...
...It’s not until Oppenheimer and history return to view that Hell makes sense, with a line slyly borrowed and modified from Bertolt Brecht??s “Life of Galileo”: “August 6, 1945: Heaven abolished.”The show doesn’t so much end as dissolve, which is meant as praise. Too often artists use History to de-fang the past—think “Schindler’s List”—but Videt finds resonance in events which remain indeterminate, unknown...
...evolution over the past few years.Elizabeth Bergmann, the Dance Program’s director and the founder of the “Dancers’ Viewpointe” tradition back in 2001, choreographed the third piece of the performance to Kurt Weill’s and Bertolt Brecht??s “The Threepenny Opera.” The music for the piece was performed by The Harvard Wind Ensemble, which was able to accompany the dancers due to the New College Theatre’s large orchestral pit.Bergmann found this first collaboration with a large-scale live...
Eggleston most recently produced the Lowell House Opera’s (LHO) revival of Kurt Weill and Bertolt Brecht??s “Threepenny Opera,” which premiered on Wednesday night. She has worked with the LHO, the Dunster House Opera, and the Harvard Early Music Society, among other student music groups. She first took an interest in opera as a member of the Boston Children’s Opera, an after-school program for young singers...
...withstanding some weaknesses in execution, Broadwater’s Ba’al is an innovative production that maximizes the emotional potential of Brecht??s play. It portrays humanity in all its stark, shocking and terrifying guises, and then abruptly leaves the audience to contemplate the emotional aftermath of their experience...