By David Barnett
The Berliner Ensemble used to be based via Bertolt Brecht and his spouse Helene Weigel in 1949. the corporate quickly won foreign prominence, and its productions and philosophy stimulated the paintings of theatre-makers around the globe. David Barnett's publication is the 1st research of the corporate in any language. in keeping with huge archival learn, it uncovers Brecht's operating equipment and people of the company's most crucial administrators after his dying. The publication considers the boon and burden of Brecht's legacy and gives new insights into battles waged behind the curtain for the maintenance of the Brechtian culture. The Berliner Ensemble was once additionally the German Democratic Republic's such a lot prestigious cultural export, attracting consciousness from the top circles of presidency, and from the Stasi, sooner than it privatised itself after German reunification in 1990. Barnett items jointly a fancy background that sheds gentle on either the company's groundbreaking productions and their turbulent occasions
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Additional resources for A history of the Berliner Ensemble
The actor emphasizes certain physical postures and gestures as a way of pointing to connections that lie beyond the scope of naturalistic representation. Gestus, however, is quite a slippery term whose meaning Brecht never firmly established. 86 Mindful of these slippages, I will refer to Gestus in the context of the actor’s overall posture only. That is, the Gestus of, say, a postman, might reveal something about his class 82 83 84 85 86 Eric Bentley, The Brecht Memoir (Evanston, IL: Northwestern University Press, 1989), p.
65 It is clear, however, that Brecht’s theatre was not aesthetically extreme like that of the expressionists or the surrealists, so here one may identify a different method of folding art into life. Brecht forged this link first and foremost in the BE itself: only when his collaborators viewed their work as essential, rather than merely as a means of earning a wage, might their art itself attain the centrality in the spectators’ lives for which Brecht strove. Such complete dedication affected what it meant to be in the employ of the BE.
Berlau, in Hans Bunge, Brechts Lai-Tu: Erinnerungen und Notate von Ruth Berlau (Darmstadt: Luchterhand, 1985), p. 288. See Besson, in Thomas Irmer and Matthias Schmidt, Die B¨uhnenrepublik. Theater in der DDR, ed. by Wolfgang Bergmann (Berlin: Alexander, 2003), p. 39; and Claus ¨ ¨ Kuchenmeister, in Ditte Buchmann, Wera and Claus Kuchenmeister, ‘Eine Begabung muß man entmutigen . . ’ (Berlin: Henschel, 1986), p. 39. See Reichel, in Lang and Hillesheim, ‘Denken heißt ver¨andern . . ’, p. 142. , BEA File 13.
A history of the Berliner Ensemble by David Barnett