Brecht

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Brecht

(brĕkt, brĕKHt), Bertolt 1898-1956.

German poet and playwright who developed a politicized form of theater he called "epic drama," a style that relies on the audience's reflective detachment rather than emotional involvement. His works include The Threepenny Opera (1928) and The Caucasian Chalk Circle (1948).

Brecht′i·an adj.

American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

Brecht

(German brɛçt)

(Biography) Bertolt (ˈbɛrtɔlt). 1898–1956, German dramatist, theatrical producer, and poet, who developed a new style of "epic" theatre and a new theory of theatrical alienation, notable also for his wit and compassion. His early works include The Threepenny Opera (1928) and Rise and Fall of the City of Mahagonny (1930) (both with music by Kurt Weill). His later plays are concerned with moral and political dilemmas and include Mother Courage and her Children (1941), The Good Woman of Setzuan (1943), and The Caucasian Chalk Circle (1955)

ˈBrechtian adj, n

Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014

Brecht

(brɛkt, brɛxt)

n.

Ber•tolt (ˈbɛr tɔlt) 1898–1956, German playwright and poet.

Brecht′i•an, adj.

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Noun

Brecht - German dramatist and poet who developed a style of epic theater (1898-1956)

Bertolt Brecht

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References in periodicals archive ?

Schlamme's rendition of Brechtian women throwing themselves away for the wrong man, of German war widows who never stopped to think what war means until their husbands were killed--these performances were at once rueful, angry, ironic, sexy, bitter, tragic.

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This is a dramatization in the Brechtian sense, based not on emotional shock but rather on rational engagement, yet it carries all the more impact for that.

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Such lineage authenticates her endearingly quirky debunking of popular Brechtian stereotypes.

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Here, the Vladimir and Estragon of scatalogical badinage embark on a Brechtian deconstruction of their characters as inadequately played by Adrian Edmondson and Rik Mayall, punctuated by fisticuffs and impromptu heckler-baiting (Kevin Turvey makes a welcome cameo appearance).

Bottom returns to the stage

Wada keeps upping the Brechtian ante, adding more and more preposterous elements -- such as patently hokey conversations with God following what appears to be the complete destruction of the world -- and daring the viewer to stay interested in the straight human drama of it all.

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Amazingly enough, however, several new texts and some pertinent changes, or rearrangements, do await the general reader as well as the specialist in volume 26 of the Gro[Beta]e kommentierte Berliner und Frankfurter Ausgabe of the Brechtian oeuvre.

Werke: Grosse kommentiere Berliner und Frankfurt Augabe. 26 Journale 1 (1913-1941)

In an interview with Martin Gostner in 2002, Udo Kittelmann cited the Brechtian figure of Herr K., who, when asked what he was doing at the moment, said that he was having a hard time planning his next mistake.

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The six modules have, in a Brechtian sense, alienated some audiences.

The art of CompuPlay

Unwin uses an eccentric Brechtian approach to avoid audience empathy.

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Film owes much of its strength to exceptional ensemble acting, particularly the bad boys and girls and their Brechtian perfs.

FALLEN ANGELS' PARADISE

There are altogether three such Brechtian "theatrical models," all of which were published separately some forty- or thirty-odd years ago.

Grosse kommentierte Berliner und Frankfurter Ausgabe

Like the props, Brechtian strategies appear as historical relics: They too are in parentheses, deployed as formal elements divorced from the politics that defined their historical urgency.