It is wrong to see Brecht as the gratuitous literary firebrand and revolutionary iconoclast of the popular image; a feature of his work, from the first to the last plays and theoretical writings, is his concern with a literary tradition; many of his own dramas are stimulated by existing models or are counterpoints to them. Brecht's quarrel is seldom with his literary ancestors, but he does not spare his scorn for the traditional ways of performing the classics and makes virulent attacks on the misappropriation of past drama by society.
This book, originally published in paperback in 1975 under the ISBN 978-0-900547-37-9, was made Open Access in 2024 as part of the MHRA Revivals programme.
To see how to cite this article in standard MHRA style, follow this link.
To see how to cite this article in author-date MHRA style, follow this link.
1-14
Chapter I: Bertolt Brecht and the Dialectic of Tradition Arrigo Subiotto doi:10.59860/td.c0583fe
Brecht's lifelong efforts to evolve a consistently new approach to the theatre seem to have created the erroneous impression that he was therefore a contemptuous arch-enemy of the classics, especially of German classical plays. But it is wrong to see Brecht as the gratuitous literary firebrand and revolutionary iconoclast of the popular image; a feature of his work, from the first to the last plays and theoretical writings, is his concern with a literary tradition; many of his own dramas are stimulated by existing models or are counterpoints to them. Brecht's quarrel is seldom with his literary ancestors (Shakespeare, Urfaust, Die Räuber are frequently cited as admirable past models of playwriting technique and involvement outside literature), but he does not spare his scorn for the traditional ways of performing the classics and makes virulent attacks on the misappropriation of past drama by society.
To see how to cite this article in standard MHRA style, follow this link.
To see how to cite this article in author-date MHRA style, follow this link.
44-74
Chapter III: Der Biberpelz and Der Rote Hahn: Corruption and imperial grandeur Arrigo Subiotto doi:10.59860/td.c276c8c
Brecht's attitude to Naturalism - Hauptmann's social conscience - Hauptmann and the relativity of values - Double morality - Changes: structure and text - Class consciousness: Rauert - Final act: synthesis of themes - Notes
To see how to cite this article in standard MHRA style, follow this link.
To see how to cite this article in author-date MHRA style, follow this link.
75-107
Chapter IV: Don Juan: The seductive exploiter in the feudal regime Arrigo Subiotto doi:10.59860/td.c38606f
The Don Juan tradition and Molière - Molière's background: court culture, 'honnête homme' - Brecht's attitude to his material - Brecht's conception of Don Juan - The master/servant theme - Formal characteristics - Conclusion - Notes
To see how to cite this article in standard MHRA style, follow this link.
To see how to cite this article in author-date MHRA style, follow this link.
108-45
Chapter V: Pauken und Trompeten: Coercion and colonialism Arrigo Subiotto doi:10.59860/td.c47ce16
Brecht's structural changes - Farquhar's 'Discourse upon Comedy' and the 'Epistle Dedicatory - Brecht's omissions and divergent assessments - Historical background - The recruiting theme: Justice Balance, Captain Plume - The lower classes: Simpkins, Mike, Der Breitschultrige - Final scene tableau - Notes
The sources and Brecht's approach - Shakespeare' background - Political or private theme - History: event or reflection - Modern consciousness: class struggle - 'Specialty of rule' - Coriolanus: Icarus syndrome; the Royal Occupation; the motif of irreplaceability - The Plebeians - The Tribunes - Reassessment of the 'classical hero' - Notes
No critical assessment of an adaptation can afford to lose sight of the fact that two poles are constantly involved - the adaptor (a contemporary of ours) and the author (usually a 'classic'). A variety of sociological and cultural factors have helped to perpetuate the public image of the classics as sacrosanct monuments, never more strongly perhaps than in the nineteenth century, when the post-Romantic concept of the creative artist as inspired but bohemian became firmly embedded in the general consciousness.
To see how to cite this article in standard MHRA style, follow this link.
To see how to cite this article in author-date MHRA style, follow this link.
Bibliography entry:
Subiotto, Arrigo, Bertolt Brecht's Adaptations for the Berliner Ensemble, MHRA Texts and Dissertations, 8 (MHRA, 1975)
First footnote reference:35 Arrigo Subiotto, Bertolt Brecht's Adaptations for the Berliner Ensemble, MHRA Texts and Dissertations, 8 (MHRA, 1975), p. 21.
This title is distributed on behalf of MHRA by Ingram’s. Booksellers and libraries can order direct from Ingram by setting up an ipage Account: click here for more.
