By Simon Gray
Brothers percentage the home they grew up in, after which percentage the lady they either love. they've got a daughter, yet who's the daddy? Spanning thirty years and providing a brand new slant at the everlasting triangle, Simon Gray’s humorous, sardonic new play Japes is pushed through involuntary cruelties, destructive injuries of destiny of the negative ravages of time.
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Extra resources for Japes (Nick Hern Books Drama Classics)
65). 18 Schall confirms that Brecht avoided theory when working with his actors, declaring that during rehearsals Brecht was ‘only a practitioner. 19 Again, that stress on vitality. 37 BRECHT AND THE PERFORMER There was, however, one expression derived from his theory that, according to Schall, Brecht did use in rehearsal, to epicize’ (episieren); and that specially invented Brechtian verb places the emphasis in the actor’s art on story-telling. As Schall says: ‘It’s very simple, you just tell the scene, the text and everything that’s happening – that’s epicizing.
58) Exile in non-German speaking countries meant, of course, that it was virtually impossible for Weigel to exercise her talents as an actor. When Brecht wrote Mother Courage in 1938/9 (while in Scandinavia), he developed the role of dumb Kattrin specifically with Weigel in mind. She did not, however, appear in the play until the two of them returned to Berlin in 1948. Then, as the company’s leading female player, she took the title role. 415), a reminder that an extraordinarily strong face was one of Weigel’s many theatrical ‘weapons’.
In this play the character of Gay is increasingly ‘dehumanised’ by the group of soldiers who force him to change his identity. 156). 53). On the other hand, Lorre’s instinctive way of performing was more realistic, more emotional, a style that led to his success in the cinema. 156). Appropriately, when Brecht was in exile in the United States (at the same time as Lorre), he wrote a film adaptation of Macbeth for him, but the project did not come to fruition. Oskar Homolka, in contrast to Lorre, was ‘a burly, ambitious, temperamental Viennese’ (Hayman, 1983, p.