Word: brecht
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Dates: during 1960-1969
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CAMERA 3 (CBS, 11-11:30 a.m.). Bertolt Brecht's dramatic exercises for Shakespearean actors are presented for the first time on television. Lotte Lenya demonstrates the exercise for Romeo and Juliet...
...times E.S.T. achieves a catharsis hardly to be believed of a musical. The hand that guides it is Joan Littlewood's; the guiding spirit is Bertolt Brecht...
...open its new season the Theatre Company of Boston is, as usual, presenting a pair of expertly staged modern plays. With works by Camus, cummings, Brecht, and Ibsen in prospect for the fall and winter, the Hotel Bostonian Playhouse should continue to offer the liveliest and most interesting drama in town...
...firm hand that guides Lovely War is Joan Littlewood's, the musical's voice and mind are often Bertolt Brecht's. By decking her men and women in Pierrot and Pierrette outfits, she puts commedia dell'arte garb on the Brechtian notion that in the 20th century the individual is no longer a meaningful entity. It was Brecht, too, who recognized that a nostalgic song put in a satirical context could then be savored for its sentimentality even while it was being bitterly spoofed. Songs like Pack Up Your Troubles and Keep the Home Fires Burning...
Eyes of Anguish. The musical crowningly succeeds, just as Brecht did, by failing to observe two pet Brechtian laws: Do not let the audience indulge in an emotional binge. And teach it a lesson. The intended lessons of Mother Courage and Oh What a Lovely War are virtually identical. Brecht and Littlewood both argue that wars are engineered by knaves, fought and suffered by fools, and exploited by profiteers. But playgoers get a different message. They come away instead with heightened respect for the indomitability of the human spirit in adversity...