Brechtian Theatre of Contradictions: Providing Moral Strength under Conditions of Dictatorship » książka
Brechtian Theatre of Contradictions: Providing Moral Strength under Conditions of Dictatorship
ISBN-13: 9781847184252 / Angielski / Twarda / 2008 / 330 str.
Brechtian Theatre of Contradictions: Providing Moral Strength under Conditions of Dictatorship
ISBN-13: 9781847184252 / Angielski / Twarda / 2008 / 330 str.
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Heinz-Uwe Haus (b. 1942), trained in the former German Democratic Republic as an actor and theatre director, among others as master disciple with some of Brecht’s immediate students and collaborators. He directed at the Deutsches Theater Berlin and became the leader of the Academy founded in the GDR to train theatre directors. A passionate opponent of the totalitarian regime, he developed his theatre practice as an active device to provide moral strength, under conditions of dictatorship, for himself, those who worked with him, and those who saw his productions. He was involved politically in the movement that led to the collapse of the GDR.Altogether, the material collected in this book, Haus’s own work, as well as commentaries by others from a range of perspectives, should serve not only as a documentation of the work of one major German theatre artist: it should support efforts to alert the present about aspects of the past that are all too easily and conveniently (both for all the wrong reasons), misrepresented, covered or hushed up, brushed aside and in due course forgotten. Theatre for Haus, during GDR times, was a means to survive, not only metaphorically. After liberation, post 1989, post GDR, theatre has lost nothing of its importance, quite the contrary. The book hopes to help understand both.
Heinz-Uwe Haus (b. 1942), trained in the former German Democratic Republic as an actor and theatre director, among others as master disciple with some of Brecht’s immediate students and collaborators. He directed at the Deutsches Theater Berlin and became the leader of the Academy founded in the GDR to train theatre directors. A passionate opponent of the totalitarian regime, he developed his theatre practice as an active device to provide moral strength, under conditions of dictatorship, for himself, those who worked with him, and those who saw his productions. He was involved politically in the movement that led to the collapse of the GDR.Altogether, the material collected in this book, Haus’s own work, as well as commentaries by others from a range of perspectives, should serve not only as a documentation of the work of one major German theatre artist: it should support efforts to alert the present about aspects of the past that are all too easily and conveniently (both for all the wrong reasons), misrepresented, covered or hushed up, brushed aside and in due course forgotten. Theatre for Haus, during GDR times, was a means to survive, not only metaphorically. After liberation, post 1989, post GDR, theatre has lost nothing of its importance, quite the contrary. The book hopes to help understand both.
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