By Margaret Eddershaw
Performing Brecht is an unheard of heritage of the productions of Brecht's performs in Britain over 40 years. Margaret Eddershaw surveys all elements of Brecht in functionality, from his methodologies to his position in postmodernist theatre and beyond.
She specializes in key productions by way of administrators together with George Devine, Sam Wanamaker, William Gaskill, Howard Davies, John Dexter and Richard Eyre. Eddershaw additionally presents 3 in-depth case stories of productions within the Nineties, incorporating her personal specific entry to the rehearsals and in-depth interviews with administrators and performers. The case experiences are:
* The reliable individual of Sechuan, directed by way of Deborah Warner and starring Fiona Shaw;
* Mother Courage, directed through Philip Prowse and starring Glenda Jackson;
* The Resistable upward push of Arturo Ui, directed via Di Trevis and starring Antony Sher
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Additional info for Performing Brecht: Forty Years of British Performances
There is also something attractive about the idea of a theatre group, in which individual performances count for less than does the joint effort. 152) Theatre Workshop was very soon, in fact, to play its part in bringing Brecht to British audiences, but we shall return to that later. First a look at the preparations for Brecht’s reception in Britain. PREPARING FOR BRECHT Knowledge of Brecht’s work began to filter into Britain in the 1930s. Professional theatre of that time was struggling to retain its audiences in the face of the competition from the cinema, but there was a tremendous upsurge in the development of amateur theatre, drawing for its active personnel on the large numbers of unemployed people.
He especially tried to ensure that they avoided treating the audience as ‘a single emotional lump’ by asking them to think of their audience as a divided group of friends and enemies, rich and poor, and to divide their audience accordingly by addressing themselves to one part of the audience now, to another part the next moment. 5 The American actor/director Joseph Chaikin agreed and saw the implications of this for the actor’s focus: 22 BRECHT AND THE PERFORMER The actor’s attention, which might otherwise be on the character, is here connected to the spectator.
As if all who love and are loved were beautiful. As if all good speakers had a fine voice. . It is pure folly to allot parts according to physical characteristics. 87) Busch may not, as Willett said, have been the obvious casting for an academic, but his preparation for the role of Galileo included thorough research into history, physics and astronomy, subjects on which Brecht encouraged the actor to ‘lecture’ the company during rehearsals. This serves to emphasise, of course, that the character of Galileo, as conceived by Brecht, is in no sense a caricature, despite his obvious sensual enjoyment of eating and drinking.