#Bertolt Brecht opere

[pier-carlo-universe]

“Prima di tutto vennero…” di Bertolt Brecht: un grido contro l’indifferenza e il pericolo dell’apatia sociale. Recensione di Alessandria today

Bertolt Brecht fu uno degli intellettuali più prolifici e influenti del XX secolo, lasciando un'impronta indelebile nella letteratura, nel teatro e nella poesia. Oltre a Prima di tutto vennero..., ecco alcune delle sue opere più celebri:

Bertolt Brecht fu uno degli intellettuali più prolifici e influenti del XX secolo, lasciando un’impronta indelebile nella letteratura, nel teatro e nella poesia. Oltre a Prima di tutto vennero…, ecco alcune delle sue opere più celebri: Opere teatrali “L’Opera da tre soldi” (Die Dreigroschenoper, 1928)Una delle sue opere più famose, una critica alla società capitalista attraverso la storia di…

[derekjarman]

Die 3 Groschen-Oper (G. W. Pabst, 1931)

[afpwestcoast]

Bearsville Theater, Bearsville, NY, 10/27/24

If the prevailing emotion underpinning last night’s show was sad, tonight’s was definitely mad. That turned out to be a good thing for all concerned. Amanda released a good deal of anger in a productive fashion, and the crowd was treated to a high-octane performance for the ages.

There were shenanigans — particularly during Missed Me — the set list was shredded (always the hallmark of a great Dresden Dolls performance), and the songs were not so much performed as exorcised with face-melting intensity. If these shows were meant as a warm-up for their triumphant return to Boston next weekend I would say they are ready!

After the show Amanda somewhat sheepishly admitted that they had simply forgotten to do Coin-Operated Boy. It was on the set list; they just forgot to do it. She marveled that they could do a show that awesome without even playing their most popular song. “We’re not a one-hit wonder,” she concluded. I gave her a big hug and commiserated about her ongoing … family crisis, is how I believe she put it to Rey. “I wish there were something I could do to help,” I told her. “You’re doing it,” she replied. A number of us retired to a cabin in the woods for a bonfire to reflect on what we’d just witnessed. I went around the fire and asked each person what their favorite song had been and why. I was expecting some consensus, but everyone selected a different song - no two were the same! And the reasons given were all valid and strong; there was no “Aw c’mon you must be joking!” That’s how good a show it was.

Annotated Set List:

Good Day

Backstabber

Sex Changes

Gravity

My Alcoholic Friends

Missed Me Whenever Brian leaves his drum set during Missed Me you know shenanigans are afoot. He started out on all fours fetching a drumstick, and things just got weirder from there “Brian Viglione,” Amanda proclaimed afterwards, “as the dog, the magician with a rabbit in a hat, and the rabbit itself!” As you do.

The Kill

Mrs. O Lyrics modified slightly to There is no Hitler and no Donald Trump #vote

Pirate Jenny (Kurt Weill, music; Bertolt Brecht, lyrics - but lyrics translated from the original German by Amanda Fucking Palmer herself)

Whakanewha

“We have begun (sorry Crew!) to completely depart from the set list. We were so good last night! Dave has crumpled up his set list!” At this Brian led the crowd in a chant of “DAVE! DAVE! DAVE! DAVE!” in honor of their long-suffering sound guy. Another Christmas (Brian on guitar, Amanda on jingle bells)

Mein Herr (from ‘Cabaret’ by John Kander and Fred Ebb) (Brian on guitar)

Mandy Goes to Med School The prolonged jazzy interlude that they often do during this song was particularly prolonged, particularly jazzy, and heavy on the drums, almost approaching solo status.

<crew intros and thanks>

“There is one more person I would really like to thank. My favorite ever fucking in the world of eight billion years of doing shows I think my favorite security person ever: REY!” The band improvised some uptempo circus music while the crowd chanted “REY! REY! REY! REY!”

“Rey made me cry at the first show yesterday and I told the story last night, but you had to be here, which is why you should come to both.”

“We are now going to play you what we’ve been calling the Boston Trifecta. … We haven’t played shows in our hometown of Boston in like seven years, I think? It’s a little scary! And we thought that we would drag out like the most Bostony songs that we could possibly Bostony play. This is a song from the Dresden Dolls very very first album.”

The Jeep Song

“We were thinking of Boston songs and I was like oh FUUUUUUUCK! This is like the Bostonest Boston song and it is also basically the sequel to The Jeep Song. The Jeep Song is the song about the haunted ex car, and this is the ENTIRE STREET.”

Massachusetts Avenue (Grand Theft Orchestra cover)

Boston

Half Jack Typically the prolonged instrumental intro to Half Jack serves to build tension and anticipation. It’s improvisational, sure, but it’s more designed to set a tone than highlight the band’s musical chops. But tonight? Tonight Brian went OFF. It was essentially a prolonged drum solo during which Brian made his case for Best Drummer in the World. He generally shies away from this sort of naked display of massive talent, but tonight he was apparently all out of fucks and dared the crowd to keep up. It was breathtaking. Girl Anachronism They segued directly from Half Jack into Girl A without so much as a pause for breath. The result was chaotic frenzy. HERE was the manic energy that had been absent last night. This was a sonic firehose aimed directly at your ear holes. The crowd was left gasping for air, begging for mercy, and cheering for more all at the same time.

— —

Truce

Photo Gallery:

I attended my first Dresden Dolls show in August of 2004, so this year marks my 20th anniversary following Amanda. I got her a present to celebrate and gave it to her before the show.

Soundcheck! Those lights are really going to make it difficult to get good shots.

Shenanigans!

Due to a poor choice of location tonight most of my pix of Brian looked like this:

Still not quite clear on the concept of hats.

This is what happens when Brian sees me taking a picture of him.

Those fucking lights, man.

Up close and personal with Amanda Palmer

Shenanigans!

That’s a wrap!

Post show hug (photo by Michael McComiskey (probably))

[genloss-confessions]

brecht anon here so german playwright bertolt brecht thought that generally people who watched plays would engage only in the emotional aspect of the play and the characters and not interact with the political or artistic statement s that the writer was actually trying to communicate. he founded the concept of epic theater around using the medium of the play and the theater to estrange audiences from their empathetic reactions to characters and instead make them have an objective reflection on the play's contents and allegories for real world issues. this would appear as deliberately low-budget scenery, printing stage directions on the scenery, having actors speak directly to the audience, perform musical numbers, or play multiple parts in the same show, essentially always reminding the audience that they are watching a play, removing their ability to become immersed in its reality. this estrangement or alienation effect is what the word Verfremdunseffekt refers to. (real brecht-heads, feel free to yell at me for being reductive)

for episodes one and two, tse uses these same ideas to create a barrier between the audience and its characters: the linear cabin set that doesn't resemble a house, the fight scenes, the moment where you can see the aluminum baking dish the patient's slime-guts are being kept in. in the very creation of these scenes, we as an audience are primed to not care about anyone in them, since we are reminded all times of the falsity of the reality we are being presented. we are separated from the characters (especially the carousel actors!) as whole empathetic beings by the fact that we are not shown the characters as whole three-dimensional beings, but as tools to serve an allegorical frame work.

arguably this also appears in episode three, in the scenes where we are shown the camera operators, and especially in the founders cut with its use of adr for hetch and the interstitial cuts to the in universe slmccl stream. even in these moments of purported reality, the bones of the show itself estrange us from the characters.

until the final scene, where we see the truth for the only time.

of course, tse is definitiely not intentionally brechtian, since the finale centers around our empathy for the blight of the main character. additionally, brecht's theories were often not successful in their execution, as playwatchers still found the plights of the characters emotionally moving despite this efforts to distance them from the audience. still, tse's focus on the space between the audience and the characters, use of "flat" characters in service of its larger allegorical message and deliberately low-quality set design in service of alienation mean that i can say with confidence it's at least a bit brechtian. now if you'll excuse me the pretentious police are putting out extradition orders.

.

[agrpress-blog]

Tre anni fa, il 2 novembre 2020, moriva (nel giorno del suo ottantesimo compleanno) il grande attore, cabarettista, doppiatore, conduttore e regista, interprete di film quali La mortadella di Mario Monicelli, La Tosca di Luigi Magni, L’eredità Ferramonti di Mauro Bolognini, Febbre da cavallo di Steno, Casotto di Sergio Citti, Un matrimonio di Robert Altman ed altri. Nato a Roma nel 1940, grandissimo attore di teatro, dove spazia dai monologhi alle commedie musicali, incontra un grande successo in televisione, riproponendo sul piccolo schermo i suoi spettacoli più riusciti. Fin da ragazzo suona vari strumenti (chitarra, pianoforte, fisarmonica, contrabbasso) e canta nelle feste studentesche e nei bar all’aperto. Si iscrive al Centro Teatro Ateneo, in cui insegnano attori quali Giancarlo Sbragia e Arnoldo Foà, e in seguito frequenta il corso di mimica di Giancarlo Cobelli, che nota le sue qualità e lo scrittura per un suo spettacolo d’avanguardia, Can Can degli Italiani (1963), che segnerà il debutto teatrale del giovane Proietti. Negli anni successivi lo troviamo in ruoli secondari con vari gruppi teatrali: in Il mercante di Venezia (1966) di Ettore Giannini, e, con il Gruppo Sperimentale 101 Le mammelle di Tiresia (1968) di Guillaume Apollinaire; Nella giungla delle città (1968) di Bertolt Brecht, Coriolano (1969) di William Shakespeare, Il dio Kurt (1969) di Alberto Moravia, e altre opere, fino al primo grande successo, quando viene inaspettatamente chiamato a sostituire Domenico Modugno nella commedia musicale di Garinei e Giovannini Alleluja brava gente. A seguire il dramma di Sam Benelli La cena delle beffe (1974), con Carmelo Bene; nel ’76 A me gli occhi, please, considerata una fra le sue prove teatrali più riuscite, e che sarà riportata in scena con grande successo nel ’93, ’96 e, nel 2000, al Teatro Olimpico. Nel ’78, con Sandro Merli, diventa direttore artistico del Teatro Brancaccio di Roma, dove crea un suo Laboratorio di Esercitazioni Sceniche per i giovani attori che rappresenterà un vero trampolino per volti noti dello spettacolo (Flavio Insinna, Enrico Brignano, Giorgio Tirabassi, Francesca Reggiani e molti altri). Segue una serie di performances, fra cui Il bugiardo di Carlo Goldoni (1980, regia di Ugo Gregoretti), Edipo re di Sofocle (1981, regia di Vittorio Gassman), I sette re di Roma di Luigi Magni (1989, regia di Pietro Garinei), e altre per le quali, oltre a recitare, cura anche la regia, come Caro Petrolini (1979), Cyrano de Bergerac (1985), Liolà di Luigi Pirandello (1988), Guardami negli occhi (1989) e La pulce nell’orecchio (1991) di Georges Feydeau, Socrate (2000, adattamento di Vincenzo Cerami dai Dialoghi di Platone), Full Monty (2001, versione teatrale del film omonimo del ’97), Io, Toto e gli altri (2002, ripreso quattro anni dopo), e molti altri. A partire dagli anni Ottanta ha diretto anche alcune opere liriche: Tosca di Giacomo Puccini nel 1983, Don Pasquale di Gaetano Donizetti nel 1985, Falstaff e Nabucco di Giuseppe Verdi (rispettivamente nel 1985 e nel 2009), Le nozze di Figaro e Don Giovanni (nel 1986 e nel 2002) di Wolfgang Amadeus Mozart, Carmen di Georges Bizet nel 2010. Istrionico, grande improvvisatore, dotato di un’ottima voce e molto audace negli sperimentalismi, al cinema lo ricordiamo nel ruolo del fidanzato di Sophia Loren nel farsesco La mortadella (1971) di Mario Monicelli, ironico protagonista del musicale Tosca (1973) di Luigi Magni, in cui recita con Monica Vitti, interprete del giovane Pippo nel calligrafico L’eredità Ferramonti (1976) di Mauro Bolognini, stallone da quattro soldi nel cinico Casotto (1977) di Sergio Citti, fanfarone nel satirico Un matrimonio (1978) di Robert Altman, in cui recita con Vittorio Gassman. A partire dalla fine degli anni Ottanta dirada notevolmente le sue apparizioni cinematografiche per proseguire l’attività teatrale e quella televisiva, dove ottiene grande successo con le serie Il Maresciallo Rocca (1996-2004) e L’avvocato Porta (1997-98).

Fra gli altri film ricordiamo Se permettete parliamo di donne (1964) di Ettore Scola, Le piacevoli notti (1966) di Armando Crispino e Luciano Lucignani, La ragazza del bersagliere (1967) di Alessandro Blasetti, Lo scatenato (1967) di Franco Indovina, La matriarca (1968) di Pasquale Festa Campanile, Una ragazza piuttosto complicata (1969) di Damiano Damiani, La virtù sdraiata (1969) di Sidney Lumet, tratto dal libro omonimo di Antonio Leonviola ed interpretato da Anouk Aimée, Omar Sharif, Didi Perego, Fausto Tozzi e Lotte Lenya (la grande attrice di teatro austriaca, vedova del musicista e compositore Kurt Weill ed interprete di Jenny nella prima rappresentazione di L’opera da tre soldi – 1929 – di Bertolt Brecht), Brancaleone alle crociate (1970) di Mario Monicelli, Bubù (1971) di Mauro Bolognini, Gli ordini sono ordini (1972) di Franco Giraldi, Meo Patacca (1972) di Marcello Ciorciolini, La proprietà non è più un furto (1973) di Elio Petri, con Flavio Bucci, Daria Nicolodi, Ugo Tognazzi e Salvo Randone, Le farò da padre (1974) di Alberto Lattuada, Musica per la libertà (1975) di Luigi Perelli, Bordella (1976) di Pupi Avati, Chi dice donna dice donna (1976) di Tonino Cervi, Febbre da cavallo (1976) e Mi faccia causa (1985) di Steno, Qualcuno sta uccidendo i più grandi cuochi d’Europa (1978) di Ted Kotcheff (il futuro regista di Rambo), Due pezzi di pane (1979) di Sergio Citti, Non ti conosco più amore (1980) di Sergio Corbucci, Di padre in figlio (1982) di Vittorio Gassman, FF. SS.” – Cioè: “che mi hai portato a fare sopra a Posillipo se non mi vuoi più bene? (1983) di Renzo Arbore, Eloise, la figlia di D’Artagnan (1994) di Bertrand Tavernier, Panni sporchi (1998) di Mario Monicelli, Tutti al mare (2011) di Matteo Cerami, Indovina chi viene a Natale? (2013) di Fausto Brizzi, Alberto il grande (2014) di Carlo e Luca Verdone, Il premio (2017) di Alessandro Gassman, Pinocchio (2019) di Matteo Garrone. Ha doppiato attori quali Marlon Brando - in Riflessi in un occhio d’oro (1967) di John Huston, Richard Burton - Chi ha paura di Virginia Woolf? (1966) di Mike Nichols -, Alex Cord - I cinque disperati duri a morire (1970) di Gordon Flemyng - , Kevin Costner - Attraverso i miei occhi (2019) di Simon Curtis - , Robert De Niro - Mean Streets - Domenica in chiesa, lunedì all’inferno (1972) di Martin Scorsese, Gli ultimi fuochi (1976) di Elia Kazan, Casinò (19959 di M. Scorsese - , Ray Danton - Agente speciale L.K. Operazione Re Mida (1967) di Jesus Franco - , Kirk Douglas - Uomini e cobra (1970) di Joseph L. Mankiewicz -, Henry Fonda - L’ora della furia (1968) di Vincent McEveety -, Richard Harris - Camelot (1967) di Joshua Logan, Un uomo chiamato cavallo (1970) di Elliott Silverstein -, Charlton Heston - 23 pugnali per Cesare (1970) di Stuart Burge, Hamlet (1996) di Kenneth Branagh -, Dustin Hoffman - Lenny (1974) di Bob Fosse -, Anthony Hopkins - Hitchcock (2012) di Sacha Gervasi -, Rock Hudson - I due invincibili (1969) di Andrew V. McLagen -, Dean Jones - Tutti i mercoledì (1966) di Robert Ellis Miller -, Paul Newman - Buffalo Bill e gli indiani (1976) di Robert Altman - , Michael Pate - Il ritorno del pistolero (1966) di James Neilsen -, Gregory Peck - La notte dell’agguato (1969) di Robert Mulligan -, Michel Piccoli - Diabolik (1968) di Mario Bava -, Jean Reno - I visitatori (1993) di Jean-Marie Poiré -, George Segal - Gioco senza fine -, Dick Shawn - Per favore, non toccate le vecchiette (1967) di Mel Brooks - , Robert Stack - Il più grande colpo del secolo (1967) di Jean Delannoy -, Sylvester Stallone - Rocky (1976) di John G. Avildsen, F.I.S.T. (1978) di Norman Jewison -, Benito Stefanelli - I giorni dell’ira (1967) di Tonino Valerii -, Donald Sutherland - Il Casanova di Federico Fellini (1976) di Federico Fellini. A teatro, a partire dagli anni Sessanta, recita in decine di pièces e, dal decennio successivo, dirige varie opere ed opere liriche. In televisione appare anche in vari film tv - La maschera e il volto

(1965) di Flaminio Bollini, La fantastica storia di Don Chisciotte della Mancha (1970) di Carlo Quartucci, Romanzo popolare italiano (1975) e Viaggio a Goldonia (1982) di Ugo Gregoretti, Fregoli (1981) di Paolo Cavara, Gli innocenti vanno all’estero (1983) di Luciano Salce, La bella Otero (1984) di José Maria Sanchez, Io a modo mio (1985) di Eros Macchi, Sogni e bisogni (1987) di Sergio Citti, Un figlio a metà (1992) e Un figlio a metà - Un anno dopo (1994) di Giorgio Capitani, Mai storie d’amore in cucina (2004) di G. Capitani e Fabio Jephcott, Il veterinario (2004) di J. M. Sanchez - ed in sceneggiati, serie e miniserie - I grandi camaleonti (1964) di Edmo Fenoglio, Il circolo Pickwick (19669 e Le tigri di Mompracem (1974) di Ugo Gregoretti, Il viaggio di Astolfo (1972) di Vito Molinari, Facciaffittasi (1987), Italian Restaurant (1994), Il signore della truffa (2011) di Luis Prieto, L’ultimo papa re (2013) di Luca Manfredi, Una pallottola nel cuore (2014-18). Nel 2018-19 ha partecipato a due puntate del programma documentaristico Ulisse - Il piacere della scoperta di Piero e Alberto Angela, e ad una puntata di Meraviglie - La penisola dei tesori di A. Angela.

[letterful]

here be two decidedly incomprehensive lists based on highly arbitrary criteria — off the top of my head and in no particular order:

rattling like a bag of bones:

"gretel, from a sudden clearing" & "the promise" & "what the silence says" & "calvary" by marie howe,

"i watched you disappear” by anya krugovoy silver,

"song of the hen's head" & "a sad child" & "the saints" by margaret atwood,

"bruise ghazal" & "i go back to may 1937" by sharon olds,

"harold's leap" & "do take muriel out" & "the orphan reformed" & "not waving but drowning" by stevie smith,

"we who are your closest friends" by phillip lopate,

"the loft" by richard jones,

"eating together" & "death poem" & "party" & "the numbers" by kim addonizio,

"thanks" by w. s. merwin,

"the bee meeting" & "lady lazarus" & "daddy" & "sheep in fog" & "fever 103" by sylvia plath,

"yesterday he still looked in my eyes" by marina tsvetaeva,

"we don't know how to say goodbye" & "the last toast" by anna akhmatova,

"unknown girl in the maternity ward" & "lessons in hunger" & "the truth the dead know" by anne sexton,

"anne sexton’s last letter to god" by tracey herd,

"aubade" & "the mower" by philip larkin,

"the blue bowl" by jane kenyon,

"her long illness" by donald hall,

"myth" by natasha trethewey,

"in bertram's garden" by donald justice,

"the drowned girl" & "the leavetaking" by bertolt brecht,

"ovid in the third reich" by geoffrey hill,

"musee des beaux arts" by w. h. auden,

"report from a besieged city" by zbigniew herbert,

"napoleon" by miroslav holub,

"to a poor old woman" by william carlos williams,

"the emperor of ice-cream" by wallace stevens,

"me up at does" by e.e. cummings,

"snow line" by john berryman,

"the hollow men" by t. s. eliot,

"dedication" & "in warsaw" & "a song on the end of the world" by czesław miłosz—

resonating like a bright bell:

"what the living do" & "my dead friends" & "magdalene, afterwards" by marie howe,

"funny" & "a prayer that will be answered" by anna kamieńska,

"woman unborn & "i'll open the window" & "i am panting" & “tomorrow they’ll cut me open” by anna świrszczyńska,

"the book of hours" by b. h. fairchild,

"there is a gold light in certain old paintings" by donald justice,

"when eurydice saw him..." (an excerpt) by gregory orr,

"sometimes, when the light" & "the blind leading the blind" & "there are mornings" & "monet refuses the operation" by lisel mueller,

"try to praise the mutilated world" by adam zagajewski,

"the end and the beginning" & "the tower of babel" & "discovery" & "thank-you note" by wisława szymborska,

"while eating a pear" & "the dead" by billy collins,

"never again would the birds' song be the same" by robert frost,

"a meeting" by wendell berry,

"death at daybreak" by anne reeve aldrich,

"next time" by joyce sutphen,

"the god abandons antony" by c. p. cavafy,

"goodtime jesus" by james tate,

"lana turner has collapsed" by frank o'hara,

"all my friends are finding new beliefs" by christian wiman,

"angels" by maurya simon,

"dirge without music" by edna st. vincent millay,

"i’m glad your sickness" by marina tsvetaeva,

"you will hear thunder" by anna akhmatova,

"do not go gentle into that good night" & "and death shall have no dominion" by dylan thomas,

"an arundel tomb" & "love, we must part now" & "high windows" by philip larkin,

"please read" by mary ruefle,

"men made out of words" by wallace stevens,

"ash wednesday" by t. s. eliot,

"on angels" & "this world" & "if there is no god" & "encounter" by czesław miłosz.

i do love listmaking…

[creativemorningsmilwaukee]

Photo credit: Linda Smallpage

Event details 🗓️ Date: Friday, September 20th ⏰ Time: 8:30 – 10:00 AM 📍 Location: The Bindery – 347 E Ward St; Milwaukee, WI 53207

REGISTER NOW

Learn about Nydia Maurás-Jones

Since 2014, Nydia Maurás-Jones has been a Founding Partner and the Director of Strategy for Odvant Creative, a local branding and design studio. Nydia is an intuitive, collaborative designer who delivers transformative strategies and designs that help small businesses and nonprofits stay aligned with their purpose. She specializes in identity design, brand strategy, messaging development, and untangling complex problems.

Prior to being a designer, Nydia was a Special Education teacher working in Brooklyn, NY, Chicago, IL, and Milwaukee, WI. Unknowingly, she first applied design thinking skills while creating specialized teaching tools for her neurodiverse students. The materials were often improvised with minimal supplies. She learned that observing, asking questions, and being brave enough to try new things are the best problem solving tools.  

Nydia received a Bachelor's degree in Education with Moderate Special Needs from Boston College and another Bachelor’s degree in Graphic Design from the University of Wisconsin-Milwaukee. She graduated with honors and student loans from both programs.

In 2019, Nydia co-founded Rev Collective with Dena Nord, Kate Pociask and Angela Damiani. Rev Collective focused on connecting women and nonbinary individuals to help them find a safe space to be vulnerable about their professional and personal lives. Although Rev Collective closed, the mission of connecting people remains important to Nydia. 

When she is not working, Nydia serves on the Board of Directors for Islands of Brilliance, Milwaukee Diaper Mission and on the Advisory Board for Teens Grow Greens. She has also worked closely on several local political campaigns, and often volunteers at her kids’ schools. 

Our theme for September is REFLECTION.

It was chosen by our Oklahoma City chapter in Oklahoma and illustrated by Aditi Heins.

Just like an echo is a reflection of sound… and how a camera lens focuses reflected light to form a photograph… our subconscious reflects on our experiences to form our beliefs.

Without reflection, there can be no personal growth. Learning from our past yields greater wisdom and happiness. But don’t let self-awareness turn into self-absorption. Take heed of the Greek myth of Narcissus, who fell in love with his own handsome reflection in a pool of water. 

Reflecting on difficult moments can be painful but also healing. When our Oklahoma City chapter selected this theme, they mentioned a reflecting pool at the site of the 1995 Oklahoma City bombing that was designed to help people reflect on how they were changed by that tragic event. 

Pondering the world around us and following our curiosity adds depth to our creative work. As William Shakespeare wrote in Hamlet, the purpose of acting is “to hold as 'twere the mirror up to nature.” While George Bernard Shaw said, “you use a glass mirror to see your face; you use works of art to see your soul.” (Although Bertolt Brecht countered, “Art is not a mirror held up to reality, but a hammer with which to shape it.”)

Reflection turns our traumas and triumphs into lessons. It’s how we can create a vision for a brighter future.

Photo by John December

About The Bindery

The Bindery is a multifaceted creative venue in Milwaukee, Wisconsin. Our small team designs and engineers new book and print-media from scratch (and repairs books from the past). We work with authors and artists who want quality, unique creations built by hand from the finest materials.

We operate out of a repurposed, heritage book factory that we share with a core group of creative tenants. Modern, private office space, and a 2,000 sq/ft events venue are available to the public within our unique, historic establishment.

Click here to schedule a tour!

Did you know the #1 way people learn about CreativeMornings/Milwaukee is through their friends? 

This month, we invite you to forward this email to a friend. Invite them to sign-up for our newsletter & register for this event with you!

We can’t wait to see you and your buds, pour out some more coffee, and expand our circle of morning people.

[ulibeudgen]

GEW Münster lädt zur Kulturveranstaltung am 26. Januar: „Die Gewehre der Frau Carrar“ von Bertolt Brecht ein.

Münster. Die Gewerkschaft Erziehung und Wissenschaft (GEW) lädt zur Kulturveranstaltung „Die Gewehre der Frau Carrar“ am Freitag, den 26. Januar, um … GEW Münster lädt zur Kulturveranstaltung am 26. Januar: „Die Gewehre der Frau Carrar“ von Bertolt Brecht ein. Bisher war mir eigentlich nur die Drei Groschen Oper von Berthold Brecht ein Begriff, aber ich denke, daß das heutzutage eine gute Aktion…

[bak3r]

Further Research - Psychology

After presenting my initial ideas, I was able to establish that the philosophical side I wanted to incorporate into my project was severely lacking. This was something that I struggled with quite a lot, as I really didn't know where to start and didn't want to create work that was based around something I didn't care for / believe in. However through doing further research on video games, I started to understand a larger underlying ethos that these games have. There was a really heavy focus on morality with an audience, resurfacing childhood tendencies and subvert expectations. These served as great starting points into the philosophers and philosophies I would go onto researching:

Bertolt Brecht (Playwright and Theatre Practitioner) - Brecht’s approach to theatre was highly political. He wanted his works to spark an interest in his audiences’ perception of the world - wanting his audience to not sit passively and get lost in a show’s story, but to make them think and question the world they live in. His work was often mischievous, provocative and ironic, interested in facts and reality rather than the escapism of traditional theatre. Brecht refuses the attempt to lay down a tidy plot and story, leaving issues unresolved and confronting the audience with sometimes uncomfortable questions.

(from: https://www.dramaclasses.biz/bertolt-brecht-techniques-and-factsbertolt-brecht-techniques-and-facts)

Sigmund Freud - an Austrian neurologist and the founder of psychoanalysis, a clinical method for evaluating and treating pathologies seen as originating from conflicts in the psyche, through dialogue between patient and psychoanalyst, and the distinctive theory of mind and human agency derived from it. His theory is that human behaviour is influenced by unconscious memories, thoughts, and urges. Also proposing that the psyche comprises three aspects: the id, ego, and superego. The id is entirely unconscious, while the ego operates in the conscious mind.

Carl Jung - a Swiss psychiatrist and psychoanalyst who founded analytical psychology. Many trace the concept of an inner child to psychiatrist Carl Jung, who described a child archetype in his work. He linked this internal child to past experiences and memories of innocence, playfulness, and creativity, along with hope for the future.

[n4tural1]

This is just give you an idea of how it looks. Transcription under the cut:

Epic Theatre and why it is relevant in today's society.

German playwright and performer Bertolt Brecht, born 10th of february, was intrigued by Stanislavsky’s use of theatre for a political voice, as well as sharing his view on theatre and melodrama. However, Brecht viewed Stanislavky’s use of immersion as a form of escapism, which harmed his message, as the audience would believe it just a fantastical part of the fiction, rather than a commentary on the wider world. Brecht took the basis of Stanislavski's style, and merged it with some of the ideas from surrealist theatre, in order to birth a style that viscerally confronted his audience with the political message that he was portraying. From the age of 20, he served in an army hospital, and there he wrote his first play, and first success “Baal” - 1923. Unfortunately, political commentary was dangerous to pursue during the reign of the Nazi regime, so in 1933, he fled germany to bring his style to the United States of America, during this trip, he wrote many of his famous works such as “Mother Courage and Her Children'' and “The Good Person of Setzuan''. Many of his plays focused upon the leftist ideologies of the time, such as: the “wild theory” that the Nazi’s were bad, the entirety of the second world war, the following “Great Depression” and the onset of commercialism/capitalism. During 1947; the beginning of the Red-Scare, he was brought before the House Un-American Activities Committee under investigation for supporting communist ideologies. After being forced to provide evidence against this claim, he left and re-settled in East Germany not long after. Brecht’s views upon being forced to constantly travel due to views upon his plays being forced by the commonality of war can be summarised by a famous quote of his: “Society cannot share a common communication system so long as it is split into warring factions.”

The most common, and consequently the most known trope is alienation, also known as the “Verfremdungseffekt” (as coined by Brecht). Alienation is achieved through frequently reminding the audience that they are watching a performance, and that it is just a story. Alienation is used to break the immersion that the audience finds comfort in, in order to make them really pay attention to the moral and meaning of the story presented and present its allegory to real-world issues. For example, most audiences don’t understand that “The Empire” in “Star Wars” represented real-world totalitarian dictatorships, specifically the Nazi’s.

Now more than ever can Epic theatre be used as a literary device, especially when today’s society has become so desensitised to the ridiculousness of the world as a whole. For example, during the Covid-19 pandemic, specifically when Donald Trump was elected, World War 3 could’ve started and no one would’ve batted an eye. Covid-19 still exists, and still claims lives, but people just ignore its existence because the worst of it has passed. One of the largest international issues that will dictate the earth’s future, is the advent of global warming, of which is still being ignored to this day because there are “more relevant issues” and there is money to be made by ignoring it. Most incredulously, there were allegations being held against the social media platform “Tik-Tok” after United States national secrets pertaining to the identities of special-operative agents became public knowledge. It came to light that these leaks were committed by a 23 year-old “man-child" in a racist “Minecraft Discord server" in response to being called a “liar” and a “cuck” when bragging about having high-level military clearance. This was talked about for 2 days. 

The “Oh, it might as well happen” mindset today’s society has towards the next most unbelievable thing to happen is just waiting to be revealed to the isolated incredibility of it all.

Society will not wake up to their issues unless someone reveals to them the stupidity of how their situation came to be.

Bibliography:

Britannica.com: Epic theatre - Multiple editors, Konstantin Stanislavsky - Sonia Moore, Bertolt Brecht - Multiple editors, HUAC - Multiple editors, Red Scare - Roland martin, visited 26/01

Weebly.com: Overview, Contextual relevance & Conventions - multiple editors, visited 27/01

Bertolt Brecht and Epic Theater: Crash Course Theater #44 2019, youtube video, unknown, CrashCourse.

You guys want an article on Epic theatre and how it can be used in today's society I wrote on a whim?

I can't stop showing people I'm genuinely really proud of it and I'm almost never proud of any of my work.

Also it references The Lorax if it interests you.

[sesiondemadrugada]

The 3 Penny Opera (G.W. Pabst, 1931).

[if-you-fan-a-fire]

“The Germans went that way” says a Sicilian peasant to First Division’s Brig. Gen. Theodore Roosevelt “Alas, our overlords have fallen out. Over our country, waterless and blighted Three foreign armies now are in dispute. Only against us are all three united.” - from Bertolt Brecht’s War Primer (1955)

[weltenfluesterin]

Jetzt erkenne ich: als ich diese Stadt betrat, um mir mit Geld Freude zu kaufen, war mein Untergang besiegelt. Jetzt sitze ich hier und habe doch nichts gehabt. Ich war es, der sagte: Jeder muß sich ein Stück Fleisch herausschneiden, mit jedem Messer. Da war das Fleisch faul! Die Freude, die ich kaufte, war keine Freunde, und die Freiheit für Geld war keine Freiheit. Ich aß und wurde nicht satt, ich trank und wurde durstig. Gebt mir doch ein Glas Wasser!

Paul Ackermann’s last words bevor he was electrocuted - Aufstieg und Fall der Stadt Mahagonny, Bertolt Brecht.

[perennialessays]

Modern Literary Movements

MODERN LITERARY MOVEMENTS 2018-19

Lectures: Friday: 3-4pm

Seminar: Friday: 4-6pm

WEEK 1

WEEK ONE Transition to Modernism                                                                                                  Chris Baldick

Seminar: Franz Kafka, ‘Metamorphosis’, James Joyce, ‘Calypso’.

Virginia Woolf

, ‘Modern Fiction’, ‘Mr Bennett and Mrs Brown’

Week 2

Memory and Bergsonism                                                                                                                    Chris Baldick

Seminar: Marcel Proust, The Way by Swann’s; James Joyce, ‘Penelope’

Henri Bergson, excerpt from Time and Free Will * Walter Benjamin, ‘On the image of Proust’*

Seminar Questions

W

e will focus on reading Proust Joyce via Bergson

whose notion of

durée

or duration allows a simultaneous layering of consciousness which Proust says allows the revelation ‘

the secret language of things’

and the ‘

inextinguishable substance

’ of things (254); time regained by the application of the intellect or voluntary memory;

INTUITION

allowing permeation of conscious states.

Wyndham Lewis said  Bergson ‘

more than any other figure … was responsible for the main intellectual characteristics of the world we live in, and the immensity of debt of almost all contemporary philosophy to him is immense’

(

Time and Western Man

, 166)

Genette in

Narrative Discourse

(1972)  notes

‘f

or Proust, lost time is not, as is widely but mistakenly believed, ‘past’ time, but time in its pure state, which is really to say, through the fusion of a present moment and a past moment, the contrary of passing time: the extra-temporal, eternity”’( 40 n. 4; 226, n. 7).

‘If he rejects’ so-called realistic “art, the ‘literature of description,’ which ‘contents itself with 'describing things,' with giving of them merely a miserable abstract of lines and surfaces’ it is because, for him, this kind of literature ignores true reality, which is to be found in essences ...´(Genette, 39; 203).

How does time in Proust compare to Joyce's time in 'Penelope'.

Week 3

Post-Nietzschean Fiction                                                                                                                  Frank Krause

Seminar: Andre Gide, The Immoralist; Thomas Mann, Death in Venice

Friedrich Nietzsche, The Birth of Tragedy

Seminar Questions

In  The Birth of Tragedy 1872) Nietzsche suggests that the metaphysical will operates through both Apollonian drive, which seeks  finite form and the  Dionysian drive which dissolves form. What are the implications of this insight for literature?

Is modern literature attracted to the transgressive dissolution of the self?

Nietzsche writes, 'Art is not an imitation of nature but its metaphorical  supplement' (142). How does this resonate  with what we were discussing last week regarding the differences and similarities between realism and modernism?

Nietzsche suggest that a loss of myth and myth-making (mythopoesis) in a culture leads to a  loss of vitalism and creativity? is this true?

What does N. mean when he talks of 'metaphysical consolation' of art (41)

Week 4

Epic Theatre                                                                                                                                       Frank Krause

Seminar: Bertolt Brecht, St Joan of the Stockyards.

Walter Benjamin, ‘What is Epic Theatre?’; ‘Theses on Philosophy of History’

In addition to the text of the play, we will discuss Brecht's 'Short Organum for the Theatre' (see below)  as well as Walter Benjamin's  'What is Epic Theatre?' and 'Theses on the Philosophy of History' .

things to consider

1. what does B's concept  the 'estrangement effect' mean for our discussions of realism in art? why do readers/ audiences need to be estranged ?

2. what is Brecht doing with history in his plays? think about Benjamin here. Is this still relevant for art today ?

3. think about Nietzsche again here --the consolatory aspect of art, the role of the Greek chorus and gestus.

4. Think about the historical contexts in which Brecht politicised theatre.

Week 5

Prophetic Voice in Modern Poetry                                                                                                                                                                Chris Baldick        

              Seminar: T.S. Eliot, The Waste Land

              W.B. Yeats, ‘The Second Coming’; ‘Sailing to Byzantium’; ‘Leda & the Swan’; ‘Among          

              School Children’ *; W.H. Auden, ‘O What is that Sound?’ ; ‘A Summer Night’ (‘Out on

              the lawn I lie in bed’); ‘September 1. 1939’; ‘The Fall of Rome.’*

   T.S. Eliot, ‘Ulysses, Order and Myth’* Tradition and The Individual Talent’* (VLE)

WEEK 6 READING WEEK

Week 7

Modernist Narrative                                                                                                                                                                             Lucia Boldrini

Seminar: William Faulkner, The Sound & The Fury; James Joyce, ‘Nausicaa’, ‘Sirens’, ‘Circe’.

Jean-Paul Sartre, ‘On The Sound and the Fury: Time in the Work of Faulkner’, *

Please read the seminar question for  this  week (in doc below): we will try to make links between Joyce, Faulkner, Bergson, Nietzsche, Eliot  and Proust in terms of temporality and narrative:

‘To see existence in 1929 as a presence of fragments often moving to no particular end or recognisable rationale, required of course no special originality of thought. It was becoming clear, through the work of Conrad, Joyce, Woolf, Eliot, as well as the “process” philosophy of Bergson, that the unbroken continuity of most eighteenth and nineteenth century literature—its leisurely Aristotelian movement thought paraphrasable plot pointedly marked with beginning, middle, and end, to a completed or controlling mythos; or the ordered motion of its lyrics, private and dramatic—must be replaced by the broken verse of The Waste Land and the shifting narrators and shattered time sequence of Nostromo’ (Donald Kartiganer, 1970) p. 614.

Week 8

Existentialism and the Absurd                                                                                                       Carole Sweeney

Seminar: Albert Camus, The Outsider, Jean Paul Sartre, Nausea.

Jean-Paul Sartre, ''Why Write?', from What is Literature

What is Literature?File

Adorno 'Commitment'File

Existentialism notesFile

The Myth of Sisyphus (extract)File

Week 9

Modern to Postmodern                                                                                                         Derval Tubridy

Seminar: Samuel Beckett, The Trilogy: Molloy, Malone Dies, The Unnamable (we will focus on the last section in the seminar but you are encouraged to read the whole trilogy)

Beckett bibliographyFile

Barnett Newman paintingURL

The Trilogy-seminar notesFile

Week 10

Post-Holocaust Writing                                                                                                                                                                                                                                                        Rick Crownshaw

Seminar: Primo Levi, If This is a Man, W.G. Sebald, The Emigrants, we will focus on ‘Max Ferber’.

Marianne Hirsch, ‘Surviving Images: Holocaust Photography and the Work of Postmemory’, The Yale Journal of Criticism 12.1 (Spring 2001), 5-38. (VLE)

Postmemory articleFile

reading of If This is a manURL

Holocaust writing lecture notes PPFile

Week 11

Postmodern Fiction                                                                                                                                Tim Parnell

     Seminar: Italo Calvino, If on a Winter’s Night a Traveller

     Jacques Derrida,  Structure, Sign and Play’*;

Roland Barthes, ‘The Death of the Author’ *

Roland Barthes- The Death of the AuthorFile

'Structure, Sign and Play'File

useful article on John BarthFile

'The Literature of Replenishment', John BarthFile

Calvino PP lecture notesFile

[howlinhobbit]

Digital Ukulele Lessons

Lesson #1 is Mack The Knife by Kurt Weill and Bertolt Brecht. I call this version 2 Fingered Mack because it uses no chords that take more than 2 fingers to play. It’s based on a version I heard Sting do. The lyrics are a more accurate translation from the original German than the more famous Bobby Darin version and it doesn’t change keys with each verse.

Lesson #2 is Honeysuckle Rose by Fats Waller. It’s mostly easy chords and for the few that aren't, I've tried to come up with workarounds that still sound good.

Lesson #3 is Ain’t Misbhavin’ by Fats Waller, Harry Brooks, and Andy Razaf. It’s a bit more complex in the chords department but still not terribly difficult.

Lesson #4 is Everybody Wants To Be A Cat, a very cool and easy to play jazzy tune from The Aristocats. I know #4 was supposed to be All Of Me, but it took longer to work out the fiddly bits than I expected. It’s still on the way!

There are two ways to get these lessons, the Full Meal Deal and the A La Carte Special.

Here's the step-by-step on how to get the Full Meal Deal.

You need to have the Zoom video conferencing application installed on your computer (or tablet). It's free and is available for most operating systems. Or we can do the video part on my Discord server. This requires a Discord account, but you can use your browser and avoid having to install new software.

The cost for the lesson is $35. Send it to me via my Ko-fi link. I'll be back to you in 24 hours or less.

Once I see the money has been sent I'll send you an email with both the document (a pdf file) and the demo mp3 attached. We'll then set up a date and time for the video portion of the lesson. (The video sessions are 25 minutes long.)

We have the live lesson, and you go on to master the tune and make it your own.

I suggest holding the live video session at least a couple days after you get the files. This will give you a chance to look the song over, maybe play a bit with the chords and, most importantly, you can come into the live part with some questions ready.

Here's how to order the A La Carte Special.

Many, if not most, of you can learn the tune from the demo mp3 and the documentation. I know that if someone else had made these, I would be able to learn from them without the live lesson part.

So...

You can buy the documentation and demo mp3 package for $15. Once your money hits my account, I'll email you the two files and Bob's yer uncle!

If you decide later that you want the live lesson part, you can send $20 and we'll arrange a live session. Again I point out that you'll need either Zoom installed or a Discord account for this part.

Also please note that if we don't use up the whole live video session with your questions that are specific to this lesson, I'll be happy to answer any other ukulele questions I'm able to.

As with the Full Meal Deal, all payments are via my Ko-fi link.

Please spread this post around to any fellow ukulele phreaks you might know!

I look forward to hearing from you!

Howlin' Hobbit — Ukulele Ace

[postpunkindustrial]

(via FM Модуль #5 | Resistance)

FM Einheits radio show - 

Resistance is brought to you from the hidden composer in residence FM модуль

Our guests tonight are Andreas Ammer Abwärts, Jörg Bochow, Bertold Brecht, Rica Blunck, Casper Brötzmann, William Burroughs, Chor der Oper Bonn, Marcel Duchamp, En Esch, Volker Kamp, Saskia von Klitzing, Jamie Lidell,  David Link, Heiner Müller, Andy Müller-Maguhn, Mona Mur, Genesis Breyer P - Orridge,  Susan Stenger, Mika Vainio, Ilpo Väisänen, Siegfried Zielinski

1. Aus einem Lesebuch für Städtebewohner (Text: Bertolt Brecht, Musik:EEM* Stimme: En Esch ) 2. Radio Kebab takes over the airwaves (Radio Kebab, Flyer, ca. 1980 Stimme: Siegfried Zielinski) Türkenblues (Abwärts, 1980) WB: …a word of warning 3. OTKAS: STEP BACK AND LOOK DEEPER (Text:Jörg Bochow Musik:VVE* Stimme: Erika Stucky) PM: To do so one must first make a late will 4. Rowa Axis (Caspar Brötzmann/FM Einheit from the album Merry Christmas) HM: Ich hatte einen Traum. Einen Albtraum. Ich wachte auf und alles war in Ordnung 5. FM (Text: Poetry Machine* Musik: FM Einheit  Stimmen: Rica Blunck/FM Einheit) WB: I can feel the heat closing in 6. I am electric (Musik & Gesang: FM Einheit, Text: Siegfried Zielinski) GPO: Who is that?  codes. When you record them and than you record them again they’ll keep changing. To much DNS not enough RNS 7. alchemy    art = resistance *    (Musik & Gesang: FM Einheit, Text: Siegfried Zielinski) 8. 6 versus 60 Millionen (Ammer/Einheit from the Opera  Alzheimer 2000 - Toter Trakt Oper Bonn 2000) 9. aus einem Lesebuch für Städtebewohner (Text: Berthold Brecht Musik: EEM Stimme Mona Mur) GPO: Information is like a bank. Some of us are rich, some of us are poor with information. All of us can be rich. Our job, your job is to rob the bank. to kill the guards  go out there and destroy power. 10. Fahndungsplakat (Ammer/Einheit from the Opera  Alzheimer 2000 - Toter Trakt Oper Bonn 2000) WB: I’m evidently he is an idea of a character 11. Disobey (Text: David Link Musik: FM Einheit Stimme: Jamie Lidell  live @ ZKM 9.11.2004 for the Album Echohce) HM: Neue Lieder aus dem Kessel 12. Audience squated factory Bochum 16.08.1981 @ Einstürzende Neubauten concert The audience was louder than the band 13. Resistance against Escaping from Reality (Text: Andy Müller-Maguhn Musik: Brötzmann/Einheit)     1 - What shall that be, Reality?     2 - Internet: original hope and todays status     3 - Associal Media     4 - Plattform Realities     5 - Pandemic Realitiy     6 - How trust was lost     7 - Scalable Implication of lack of trust     8 - Resistance

14. An/Aus (FM Einheit/David Link excerpt from „Weibel Tribute“)   WB: But we will survive. we will increase both in size and in numbers. And we will continue to dominate  this planet as we have done for 300 Million years, Bigger is better and Biggest is best 15. Blip (Text: Poetry Machine Musik & Stimme: FM Einheit from the song cycle Radar Angel)   16. aus einem Lesebuch für Städtebewohner (Text: Berthold Brecht Musik: EEM Stimme Mona Mur) PM: But then when you have accelerate. 17. new faculties (Musik & Gesang: FM Einheit, Text/Stimme: Siegfried Zielinski) MD: …ready-made intention…

* EEM: FM Einheit En Esch Mona Mur * VVE: Mika Vainio Ilpo Väisänen FM Einheit * Poetry Machine: David Link