Brecht's series of twenty-four interconnected playlets describe events which took place in ordinary German households in the 1930s. They dramatise with clinical precision the suspicion and anxiety experienced by ordinary people, particularly Jewish citizens, as the power of Hitler grew. Written in exile in Denmark and first staged in 1938 it was inspired in part by his recent trip to Moscow where he had been researching tasks for the anti-Nazi effort. This Student Edition features an extensive introduction and commentary and includes: a chronology of the Brecht's life and work; a synopsis of each playlet; an introduction to the context of the play; commentary on themes, characters, style and language; a review of the play in performance; notes on individual words and phrases in the text, and questions for further study.
These six plays represent the best and most humorous of Brecht's shorter works. The Jewish Wife is from the Fear and Misery in the Third Reich cycle of one-act plays, which, along with In Search of Justice and The Informer, chromicles the hardships of life in Nazi Germany. The Exception and the Rule, one of Brecht's most popular short works, grimly depicts the consequences of the mutually dependent -- yet inevitable inequitable -- relationship between the priviledged and the poor; it is included here with The Measures Taken and The Elephant Calf. Though all of these ales of horror, ad Eric Bentley calls them, have tragic undertones, they are also infused with farcical absurdities and cosmic irony so characteristic of Brecht's work.
Based on John Gay's eighteenth century Beggar's Opera, The Threepenny Opera, first staged in 1928 at the Theater am Schiffbauerdamm in Berlin, is a vicious satire on the bourgeois capitalist society of the Weimar Republic, but set in a mock-Victorian Soho. It focuses on the feud between Macheaf - an amoral criminal - and his father in law, a racketeer who controls and exploits London's beggars and is intent on having Macheaf hanged. Despite the resistance by Macheaf's friend the Chief of Police, Macheaf is eventually condemned to hang until in a comic reversal the queen pardons him and grants him a title and land. With Kurt Weill's unforgettable music - one of the earliest and most successful attempts to introduce jazz to the theatre - it became a popular hit throughout the western world. Published in Methuen Drama's Modern Classics series in a trusted translation by Ralph Manheim and John Willett, this edition features extensive notes and commentary including an introduction to the play, Brecht's own notes on the play, a full appendix of textual variants, a note by composer Kurt Weill, a transcript of a discussion about the play between Brecht and a theatre director, plus editorial notes on the genesis of the play.
Staging History analyzes the commitment to social change present in the theatrical and theoretical writings of Bertolt Brecht. Challenging previous notions, Astrid Oesmann argues that Brecht's work was less dependent on Marxist ideology than is often assumed and that his work should be seen as a coherent whole. Brecht used the stage to release political ideas into experimental spaces in which actors and spectators could explore the relationships between abstract thought and concrete social life. Oesmann places Brecht within the context of the major leftist theorists of the twentieth century, particularly Adorno, Benjamin, and Lukàcs, focusing on their discussions of realism, aesthetics, natural history, and mimesis. Oesmann elaborates upon the vision of a "counter-public sphere" in a number of Brecht's theoretical texts and plays—especially The Three Penny Trial and Fear and Misery of the Third Reich—that present the emergence of such a sphere in the face of fascism. By exploring Brecht's theoretical writings, selected plays, and recently published theatrical fragments, Oesmann reveals unpredictable constructions of history and surprising distinctions among various political ideologies, while also proving that Brecht remains vitally relevant to a "post-communist" world.
“This thoroughly researched and superbly written study” examines the final days of WWII combat within Germany during the occupation of Franconia (WWII History). At the end of World War II, Gen. Dwight D. Eisenhower turned US forces toward the Franconian region of Germany, ordering them to cut off and destroy German units before they could escape into the Alps. Opposing this advance were German forces headed by SS-Gruppenführer Max Simon, a committed National Socialist who advocated merciless resistance. Caught in the middle were the people of Franconia. Historians have largely overlooked this period of violence and terror, but it provides insight into the chaotic nature of life while the Nazi regime was crumbling. Neither German civilians nor foreign refugees acted simply as passive victims caught between two fronts. Throughout the region people pressured local authorities to end the senseless resistance. Others sought revenge for their tribulations in the “liberation” that followed. Stephen G. Fritz examines the predicament and perspective of American GI's, German soldiers and officials, and the civilian population. Endkampf is a gripping portrait of the collapse of a society and how it affected those involved, whether they were soldiers or civilians, victors or vanquished, perpetrators or victims.
From the author of To Hell and Back, a fascinating and original exploration of how the Third Reich was willing and able to fight to the bitter end of World War II Countless books have been written about why Nazi Germany lost the Second World War, yet remarkably little attention has been paid to the equally vital questions of how and why the Third Reich did not surrender until Germany had been left in ruins and almost completely occupied. Drawing on prodigious new research, Ian Kershaw, an award-winning historian and the author of Fateful Choices, explores these fascinating questions in a gripping and focused narrative that begins with the failed bomb plot in July 1944 and ends with the death of Adolf Hitler and the German capitulation in 1945. The End paints a harrowing yet enthralling portrait of the Third Reich in its last desperate gasps.
"Examines, one by one, Brecht's many, sometimes contradictory ideas about theatre - and how he put them into practice. Here are explanations of all the famous key terms, such as Alienation Effect, Epic Theatre and Gestus, as well as the many others which go to make up what we think of as 'Brechtian theatre'. There follows a section which looks at the practical application of these theories in Acting, Language, Music, Design and Direction."--P. [4] of cover.
"[G]ripping, immaculately researched . . . In Mr. Ullrich’s account, the murderous behavior of the Reich’s last-ditch loyalists was not a reaction born of rage or of stubbornness in the face of defeat—common enough in war—but of something that had long ago tipped over into the pathological." —Andrew Stuttaford, Wall Street Journal The best-selling author of Hitler: Ascent and Hitler: Downfall reconstructs the chaotic, otherworldly last days of Nazi Germany. In a bunker deep below Berlin’s Old Reich Chancellery, Adolf Hitler and his new bride, Eva Braun, took their own lives just after 3:00 p.m. on April 30, 1945—Hitler by gunshot to the temple, Braun by ingesting cyanide. But the Führer’s suicide did not instantly end either Nazism or the Second World War in Europe. Far from it: the eight days that followed were among the most traumatic in modern history, witnessing not only the final paroxysms of bloodshed and the frantic surrender of the Wehrmacht, but the total disintegration of the once-mighty Third Reich. In Eight Days in May, the award-winning historian and Hitler biographer Volker Ullrich draws on an astonishing variety of sources, including diaries and letters of ordinary Germans, to narrate a society’s descent into Hobbesian chaos. In the town of Demmin in the north, residents succumbed to madness and committed mass suicide. In Berlin, Soviet soldiers raped German civilians on a near-unprecedented scale. In Nazi-occupied Prague, Czech insurgents led an uprising in the hope that General George S. Patton would come to their aid but were brutally put down by German units in the city. Throughout the remains of Third Reich, huge numbers of people were on the move, creating a surrealistic tableau: death marches of concentration-camp inmates crossed paths with retreating Wehrmacht soldiers and groups of refugees; columns of POWs encountered those of liberated slave laborers and bombed-out people returning home. A taut, propulsive narrative, Eight Days in May takes us inside the phantomlike regime of Hitler’s chosen successor, Admiral Karl Dönitz, revealing how the desperate attempt to impose order utterly failed, as frontline soldiers deserted and Nazi Party fanatics called on German civilians to martyr themselves in a last stand against encroaching Allied forces. In truth, however, the post-Hitler government represented continuity more than change: its leaders categorically refused to take responsibility for their crimes against humanity, an attitude typical not just of the Nazi elite but also of large segments of the German populace. The consequences would be severe. Eight Days in May is not only an indispensable account of the Nazi endgame, but a historic work that brilliantly examines the costs of mass delusion.