Word: brecht
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Dates: during 2000-2009
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...called “Longswords” in that film version of Romeo and Juliet? Let Professor Marjorie Garber take your understanding of past and present one step further with a course that explores the interaction of Shakespeare’s plays with “Freud and Marx, Brecht and Beckett, film, contemporary politics, and American popular culture.” And you thought Henry V had nothing to do with the war in Iraq...
...knew that he was changing everything. First he updated Woody Guthrie's notion of the topical folk song and made it his own, creating anthems that were the sound track to the early-'60s Civil Rights movement. Then he smartly ransacked the tropes of every hip lyricist from Bertolt Brecht to the Beat Generation poets Allen Ginsberg and Lawrence Ferlinghetti. Then adapted his righteous belligerence to the standard love song, upending it into airs of bitter, knowing rejection. When he tired of being the preeminent folkie, and the poster boy for political causes, he plugged himself in, merging the Beats...
...Village folk clubs like Cafe Wha? and Gerde's Folk City, hoovering the great American folk-song book and the performing styles of the day. He also got an instant education from his first New York girlfriend Suze Rotolo, a political activist who took Dylan to an evening of Brecht songs in the Village...
Give directorScott Elliot credit. The Brecht-Weill classic has lost some of its power to offend the bourgeoisie, but this audacious new production managed to outrage nearly every theater critic in New York City. Wallace Shawn's new translation goes a bit overboard in its ostentatious crudeness, but the show seems reinvigorated in every way, from the decadent-chic Isaac Mizrahi costumes to a terrific cast of singing actors--among them Jim Dale, Alan Cumming, Ana Gasteyer and Cyndi Lauper--who make the great, astringent score sizzle again...
...Threepenny Opera” is, more or less, everything it should be. Stage director Kate D. Greenhalgh ’05 and producer Sarah S. Eggleston ’07 put on a dangerously modern interpretation of a dangerously modern opera, originally written by Bertolt Brecht and translated into English by Marc Blitzstein. LHO’s show will run March 8, 10, 11, 15, 17, and 18, 2006 at 8:30 p.m. in the Lowell House Dining Hall.Set in mid-eighteenth century Soho, London, the opera nonetheless captures the moral ambiguity and social insecurity of Weimar Republic-era Germany...