Montage in Brecht

Mueller, Roswitha

doi:10.2307/3208249

Cited by 7 publications

(2 citation statements)

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“…65 Mueller describes this distinction through a reference to montage in Brecht, claiming that "montage" in modern art is used as a reactionary aesthetic technique against the traditional forms; however, Soviet artists abused the technique as a means of political propaganda, removing it from its original purpose. 66 Obviously, Burak's use of Mehmet Zeki Giritli montage technique did not aim to serve political propaganda as the author declared on various occasions, including her letters that she was against the use of art for political purposes. As Güngörmüş also puts it "Underneath her sentence-cutting, her sliding of lines one on top of another, her inversion of familiar stretches of time, lies a very important quest that is almost a life and death issue.…”

Section: Sevim Burak and "Culture Industry"mentioning

confidence: 99%

Sevim Burak’s Protest Theatre: Understanding Sevim Burak Through Adorno

Giritli¹

2021

JTCD

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The purpose of this article is to explore Sevim Burak's theatre through Adorno's "negative dialectics" and "culture industry" theories. The article claims that Burak's theatre is revolutionary in the sense that it challenges the traditional norms of theatre based on representation of real life. Burak, in contrast to traditional theatrical forms, creates a form negating real life and resisting against any form of mimetic representation. However, this does not turn her theatre into an apolitical, anti-social, or extremely individualistic one as Burak's form is rooted in the social and parental background of the playwright. However, her unique form was expelled from the literary circles and has long been neglected by scholars, which the article claims is the result of the reflections of Adorno's "culture industry" on the literary scene in Turkey. Thus, the final claim of the article is that Burak's theatre is revolutionary and a protest not due to its subject matter but to its form.

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Section: Sevim Burak and "Culture Industry"mentioning

confidence: 99%

Sevim Burak’s Protest Theatre: Understanding Sevim Burak Through Adorno

Giritli¹

2021

JTCD

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“…Con ello, cobran importancia los elementos diversos de significación que, hasta ese momento, eran secundarios o prescindibles, debido a la supremacía del texto y del hiperrealismo. En ese nuevo paradigma también cobra especial relevancia la idea de montaje (Mueller, 1987). Esto implica una estructura episódica no causal, que busca, entre otras cosas, la activación del espectador como sujeto de la recepción, o como señala Pitches (2003), "a thinking audience, putting together the meaning by itself [un público pensante, que creaba el significado por sí mismo]" (2003, p. 75), lo que también implicaba su formación (Scheinin, 2009, p. 45).…”

Section: El Teatro De La Convención Consciente Y El Espectadorunclassified

Meyerhold: un precursor de la Estética de la recepción

Vieites

2020

ES. Rev. Art.

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En el primer cuarto del siglo XX y frente a las tendencias dominantes del teatro burgués, cobran fuerza dos tendencias artísticas antitéticas que persiguen objetivos antagónicos: la que apuesta por la re-teatralización de la escena y la que opera en la des-teatralización. Meyerhold se sitúa en la primera, y en ella, tanto desde sus espectáculos como en sus escritos teóricos, formula un conjunto de principios fundamentales en la comprensión de la comunicación teatral y en la consideración de las funciones del director de escena que lo convierten en un pionero de las teorías de la recepción. Un aserto que pretendemos probar con este trabajo, elaborado a partir de una revisión de su obra teórica y de literatura científica especialmente relevante. Como conclusión, destacamos la relevancia de las propuestas de Meyerhold para reconstruir un teatro que, asentado en la razón crítica, sirva para la construcción de una recepción igualmente crítica.

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Experimenting with Law: Brecht on Copyright

Bellido

2020

Law Critique

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Can one reject copyright law and be a qualified observer of its dispositives? This question was taken up by Bertolt Brecht in an intriguing essay concerning the litigation surrounding the film adaptation of The Threepenny Opera (1928). Brecht here develops an experimental observation around the nature of film adaptation and cultural production in copyright. While an experimental approach to law was in itself a subversive gesture, the specific legal process enabled him to expose the paradoxical ways in which the copyright system worked.Keywords Brecht · Copyright · Experimental knowledge · Film · History of copyright law · Law · Mass media I have always needed the spur of contradiction (Bertolt Brecht)

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Montage in Brecht

Cited by 7 publications

References 0 publications

Sevim Burak’s Protest Theatre: Understanding Sevim Burak Through Adorno

Sevim Burak’s Protest Theatre: Understanding Sevim Burak Through Adorno

Meyerhold: un precursor de la Estética de la recepción

Experimenting with Law: Brecht on Copyright

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