The Zelda syndrome: Brecht and Elisabeth Hauptmann

Füegi, John; Thomson, Peter; Sacks, Glendyr

doi:10.1017/ccol0521414466.008

Cited by 3 publications

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“…17 Neither Brecht nor Eisler's position in East Germany was as secure as their official positions and accolades may suggest, and Brecht specifically was suspect for his openness to non-doctrinaire Marxists like Trotsky and Karl Korsch and for his sympathies towards the Chinese Communist Party. 18 As we will see, connecting Die Maßnahme to specific events in China draws the work into the machinations of Stalin's power struggle with Trotsky and the rise of Mao Zedong. The former was subject to continual reinterpretation and played a prominent role in purges from the late 1920s to the show trials of the late 1930s.…”

Section: Political Inspirations and Lessonsmentioning

confidence: 99%

“What Exactly Is China” in Bertolt Brecht and Hanns Eisler’s Die Maßnahme (The Measures Taken)

Gabriel

2021

Sino-German Encounters and Entanglements

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Section: Political Inspirations and Lessonsmentioning

confidence: 99%

“What Exactly Is China” in Bertolt Brecht and Hanns Eisler’s Die Maßnahme (The Measures Taken)

Gabriel

2021

Sino-German Encounters and Entanglements

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“…For instance, The Threepenny Opera was not a product of 'single consciousness' but out of 'collaborative efforts' of many individuals or forces. For instance, John Fuegi (1994) in "The Zelda syndrome: Brecht and Elisabeth Hauptmann" pinpoints the imperative role in conceiving dramatic work as Brecht himself confessed in his "own dairies" about his inability to work alone. He states:…”

Section: Introductionmentioning

confidence: 99%

Politics of Staging Capitalist Society in Transcultural Adaptations of Brecht’s The Threepenny Opera by Ajoka Theatre in Pakistan

Kayani

Termizi

Yahya

et al. 2018

Int. J. Appl. Linguist. Engl. Lit.

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Brecht’s canonical literary work’s indigenization in Pakistan can offer a valuable transcultural adaptation study because it was performed through a radical theatre with a distinct dramaturgy and political philosophy in two different cultural contexts and historical frame of references. As the foremost representative of Brecht’s radical dramaturgy, philosophy and literary works in Pakistan since 1983, Ajoka theatre utilized these adaptations as a platform for airing a critique on capitalism in Pakistan. Prior researches focused on the formal criticism: visual and aural elements. No contextual reading is conducted to explore its political and cultural dimensions of these transcultural adaptations in providing descriptive critique on capitalist society of Pakistan. Realizing the paucity of indigenous academic work in this area this article takes this initiative and addresses this ‘research gap’ by first conducting a new historicist study of Brecht selected work and its transcultural adaptations in Pakistan. This article also investigates the theatrical and cultural factors which contributed to the enormous success of these transcultural adaptations of Brecht’s selected work in Pakistan in light of Hutcheon’s theory of adaptation.

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"Kaliko-Welt" : The Grosstadte of Lang's Metropolis and Brecht's Dreigroschenoper

Pike¹

2004

mln

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The Zelda syndrome: Brecht and Elisabeth Hauptmann

Cited by 3 publications

References 0 publications

“What Exactly Is China” in Bertolt Brecht and Hanns Eisler’s Die Maßnahme (The Measures Taken)

“What Exactly Is China” in Bertolt Brecht and Hanns Eisler’s Die Maßnahme (The Measures Taken)

Politics of Staging Capitalist Society in Transcultural Adaptations of Brecht’s The Threepenny Opera by Ajoka Theatre in Pakistan

"Kaliko-Welt" : The Grosstadte of Lang's Metropolis and Brecht's Dreigroschenoper

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