A history of the Berliner Ensemble by David Barnett

By David Barnett

The Berliner Ensemble used to be based by means of Bertolt Brecht and his spouse Helene Weigel in 1949. the corporate quickly won foreign prominence, and its productions and philosophy prompted the paintings of theatre-makers all over the world. David Barnett's publication is the 1st examine of the corporate in any language. in response to large archival examine, it uncovers Brecht's operating tools and people of the company's most vital administrators after his dying. The booklet considers the boon and burden of Brecht's legacy and gives new insights into battles waged backstage for the renovation of the Brechtian culture. The Berliner Ensemble used to be additionally the German Democratic Republic's so much prestigious cultural export, attracting realization from the top circles of presidency, and from the Stasi, prior to it privatised itself after German reunification in 1990. Barnett items jointly a fancy historical past that sheds gentle on either the company's groundbreaking productions and their turbulent occasions

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Wolfgang Bomelburg, unpublished interview with John Rouse, 24 May 1988, p. II-17. An opportunity to establish a new type of theatre 25 The ‘social’ structure of the BE also helped to perpetuate the demands for commitment. While families had run theatres before, they had never been so well supported by subsidy. Brecht and Weigel were able to ‘domesticate’ the work with the BE due to their position at the company’s head. The charismatic yet boisterous father and the nurturing yet firm mother served to transform working relationships into senses of obligation, underpinned by support and encouragement.

1984 in ihrer Berliner Wohnung [with Matthias Braun]’, ¨ undated, 38 pages (36), HWA FH 70. I have and will be talking of ‘Rulicke’ in the text when referring to her experiences at the BE before she married Fritz Weiler. James K. Lyon, ‘Brecht in Postwar Germany: Dissident Conformist, Cultural Icon, Literary Dictator’, in James K. ), Brecht Unbound: Presented at the International Bertolt Brecht Symposium held at the University of Delaware February 1992 (Newark: University of Delaware Press, 1995), pp.

Note that information in square brackets indicates that no information was supplied at source, but was added by me, based on contextual evidence. The inclusion of a question mark where necessary indicates that the information I have provided is merely likely. An opportunity to establish a new type of theatre 21 notes taken in a rehearsal is ‘Notizen’. Brecht coined this term as a way of describing a special kind of note. 51 Notate, when properly taken, were not slavish records of rehearsals, but selective analyses and reflections.

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