Brecht and Company. *, Politics, and the Making of the Modern Drama.
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Von Händler/Antiquariat, Chapter 2 Used Books & More [55653045], Salina, KS, U.S.A.
Cream boards with rust spine with gold lettering on spine. Small stains on cover with some wear on spine. Speckling on top edge. Dust jacket has minor creasing. Previous owner's name on front end page. Tight binding. No markings. Heavy book will require extra shipping.

Lieferung aus: Vereinigte Staaten von Amerika, Versandkosten nach: DEU.
Von Händler/Antiquariat, Ground Zero Books.
New York: Grove Press, 1994. First edition. First edition [stated]. First printing [stated]. Hardcover. Very good in very good dust jacket. Signed by previous owner. DJ has slight wear and soiling.. xx, 732 p. Illustrations. Notes. Photo Credits. Index. The result of 25 years of research on three continents, here is a revolutionary portrait of Bertolt Brecht, one of the world's greatest theater artists--and the people upon whom he built his reputation. Fuegi traces the evolution of Brecht's parasitic relationships as he documents the genius of this great writer/director. From Wikipedia: "Bertolt Brecht; born Eugen Berthold Friedrich Brecht; (10 February 1898 14 August 1956) was a German poet, playwright, and theatre director. An influential theatre practitioner of the 20th century, Brecht made equally significant contributions to dramaturgy and theatrical production, the latter particularly through the huge impact of the tours undertaken by the Berliner Ensemble the post-war theatre company operated by Brecht and his wife, long-time collaborator and actress Helene Weigel....Fearing persecution, Brecht left Germany in February 1933, when Hitler took power. After brief spells in Prague, Zurich and Paris he and Weigel accepted an invitation from journalist and author Karin Michaelis to move to Denmark, where they settled in a house in Svendborg on the island of Funen. This became the residence of the Brecht family for the next six years, where they often received guests including Walter Benjamin, Hanns Eisler and Ruth Berlau. During this period Brecht also travelled frequently to Copenhagen, Paris, Moscow, New York and London for various projects and collaborations. When war seemed imminent in April 1939, he moved to Stockholm, Sweden, where he remained for a year. Then Hitler invaded Norway and Denmark, and Brecht was forced to leave Sweden for Helsinki in Finland, where he waited for his visa for the United States until 3 May 1941. During the war years, Brecht became a prominent writer of the Exilliteratur. He expressed his opposition to the National Socialist and Fascist movements in his most famous plays: Life of Galileo, Mother Courage and Her Children, The Good Person of Szechwan, The Resistible Rise of Arturo Ui, The Caucasian Chalk Circle, Fear and Misery of the Third Reich, and many others. Brecht also wrote the screenplay for the Fritz Lang-directed film Hangmen Also Die! which was loosely based on the 1942 assassination of Reinhard Heydrich, the Nazi Reich Protector of German-occupied Prague, number-two man in the SS, and a chief architect of the Holocaust, who was known as "The Hangman of Prague." It was Brecht's only script for a Hollywood film: the money he earned from the project enabled him to write The Visions of Simone Machard, Schweik in the Second World War and an adaptation of Webster's The Duchess of Malfi. Hanns Eisler was nominated for an Academy Award for his musical score. The collaboration of three prominent refugees from Nazi Germany Lang, Brecht and Eisler is an example of the influence this generation of German exiles had on American culture. Brecht and Weigel on the roof of the Berliner Ensemble during the International Workers' Day demonstrations in 1954. In the years of the Cold War and "Red Scare", Brecht was blacklisted by movie studio bosses and interrogated by the House Un-American Activities Committee. Along with about 41 other Hollywood writers, directors, actors and producers, he was subpoenaed to appear before the HUAC in September 1947. Although he was one of 19 witnesses who declared that they would refuse to appear, Brecht eventually decided to testify. He later explained that he had followed the advice of attorneys and had not wanted to delay a planned trip to Europe. Dressed in overalls and smoking an acrid cigar that made some of the committee members feel slightly ill, on 30 October 1947 Brecht testified that he had never been a member of the Communist Party. [56] He made wry jokes throughout the proceedings, punctuating his inability to speak English well with continuous references to the translators present, who transformed his German statements into English ones unintelligible to himself. HUAC Vice Chairman Karl Mundt thanked.

Von Händler/Antiquariat, Once Upon A Time Books [195705], Tontitown, AR, U.S.A.
This is a used book. It may contain highlighting/underlining and/or the book may show heavier signs of wear . It may also be ex-library or without dustjacket. All orders are shipped the same or the next day.

Lieferung aus: Deutschland, Versandart: STD, Versand nach: DE.
Von Händler/Antiquariat, Fundus-Online GbR, [18].
Umschlag leicht berieben, sonst gutes Exemplar. - $32.50 [The result of twenty-five years of research on I three continents, Brecht and Company is a revo-1 lutionary portrait of one of the world's greatest theater artists-and the people upon whom he built his reputation. Bertolt Brecht is regarded by many as the most influential figure in twentieth-century theater; the director Peter Brook has argued that "all theater work today at some point starts with or returns to his achievement." In this first full biography of the Brecht circle, John Fuegi confirms Brecht's rank as a world-class theater director, but also shows why much of the writing can no longer be attributed to Brecht alone. Brecht's first violent, homo*** plays, though noisily provocative failures at the box office, brought him praise from adventurous critics. In Berlin in the 1 920s, Brecht found someone who would change not only his life but world theater: Elisabeth Hauptmann, who wrote over 80 percent of The Threepenny Opera in exchange for time in Brecht's life and in his bed. Yet her name often disappeared from the printed text, as well as from other plays and poems. Disappointed and disaffected, Hauptmann was supplanted by the passionate, tubercular Margarete Steffin, who contributed crucially to such classics as Mother Courage and The Good Woman of Setzuan. With Steffin's death in 1941, Brecht's career as a playwright virtually ended, though other works, begun with her, were finished with the aid of the uninhibited and politically committed Danish director and author Ruth Berlau. Fuegi traces the evolution of Brecht's parasitic relationships and aggressive ambition through close analysis of diaries, letters, and drafts of the literary works, revealing a man who was personally dazzling, a genius at assembling and directing the plays created in his workshop, but ultimately lacking in literary stamina, for which he depended on his lovers. His need for control and fame led him to ***te-and betray-nearly everyone supported and loved him. The story of Brecht's artistic thefts is told against a backdrop of his equivocal politics through turbulent times: from the 1932 New Year's party with members of Germany's virulent right wing, to his refusal to acknowledge Stalin's murderous purges, to his shocking break before the H< Un-American Activities Committee, to his freq anti-Semitism, to the privilege and ease he enjoyed in a repressive East Germany. ISBN 0802115292, XX, 732 S. Originalhalbleinen mit Schutzumschlag.

Lieferung aus: Deutschland, Versandkosten in die BRD.
Von Händler/Antiquariat, Fundus-Online GbR Borkert, Schwarz, Zerfaß, 10785 Berlin.
XX, 732 S. Originalhalbleinen mit Schutzumschlag. Umschlag leicht berieben, sonst gutes Exemplar. - $32.50 [The result of twenty-five years of research on I three continents, Brecht and Company is a revo-1 lutionary portrait of one of the world's greatest theater artists-and the people upon whom he built his reputation. Bertolt Brecht is regarded by many as the most influential figure in twentieth-century theater; the director Peter Brook has argued that "all theater work today at some point starts with or returns to his achievement." In this first full biography of the Brecht circle, John Fuegi confirms Brecht's rank as a world-class theater director, but also shows why much of the writing can no longer be attributed to Brecht alone. Brecht's first violent, homoerotic plays, though noisily provocative failures at the box office, brought him praise from adventurous critics. In Berlin in the 1 920s, Brecht found someone who would change not only his life but world theater: Elisabeth Hauptmann, who wrote over 80 percent of The Threepenny Opera in exchange for time in Brecht's life and in his bed. Yet her name often disappeared from the printed text, as well as from other plays and poems. Disappointed and disaffected, Hauptmann was supplanted by the passionate, tubercular Margarete Steffin, who contributed crucially to such classics as Mother Courage and The Good Woman of Setzuan. With Steffin's death in 1941, Brecht's career as a playwright virtually ended, though other works, begun with her, were finished with the aid of the uninhibited and politically committed Danish director and author Ruth Berlau. Fuegi traces the evolution of Brecht's parasitic relationships and aggressive ambition through close analysis of diaries, letters, and drafts of the literary works, revealing a man who was personally dazzling, a genius at assembling and directing the plays created in his workshop, but ultimately lacking in literary stamina, for which he depended on his lovers. His need for control and fame led him to dominate-and betray-nearly everyone supported and loved him. The story of Brecht's artistic thefts is told against a backdrop of his equivocal politics through turbulent times: from the 1932 New Year's party with members of Germany's virulent right wing, to his refusal to acknowledge Stalin's murderous purges, to his shocking break before the H( Un-American Activities Committee, to his freq anti-Semitism, to the privilege and ease he enjoyed in a repressive East Germany. ISBN 0802115292 Versand D: 5,50 EUR.

Lieferung aus: Vereinigte Staaten von Amerika, Lagernd, zzgl. Versandkosten.
arts and literature,authors,biographies,british and irish,drama,entertainers,humor and entertainment,literature and fiction,theatre,world literature, The result of twenty-five years of research on three continents, Brecht and Company is a revolutionary portrait of one of the world's greatest theater artists - and the people upon whom he built his reputation. Bertolt Brecht is regarded by many as the most influential figure in twentieth-century theater; the director Peter Brook has argued that "all theater work today at some point starts with or returns to his achievement." In this first full biography of the Brecht circle, John Fuegi confirms Brecht's rank as a world-class theater director, but also shows why much of the writing can no longer be attributed to Brecht alone. Brecht's first violent, homoerotic plays, though noisily provocative failures at the box office, brought him praise from adventurous critics. In Berlin in the 1920s, Brecht found someone who would change not only his life but world theater: Elisabeth Hauptmann, who wrote over 80 percent of The Threepenny Opera in exchange for time in Brecht's life and in his bed. Yet her name often disappeared from the printed text, as well as from other plays and poems. Disappointed and disaffected, Hauptmann was supplanted by the passionate, tubercular Margarete Steffin, who contributed crucially to such classics as Mother Courage and The Good Woman of Setzuan. With Steffin's death in 1941, Brecht's career as a playwright virtually ended, though other works, begun with her, were finished with the aid of the uninhibited and politically committed Danish director and auth.

Von Händler/Antiquariat, Fundus-Online GbR.
XX, 732 S. Originalhalbleinen mit Schutzumschlag.