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- Bibliography:
- Benjamin, Walter (1973),’What is Epic Theatre?: first version’, trans. Bolstock, A; in Understanding Brecht, NLB, London, pp1-13.
- Brandt, Thomas O (1964), ‘Brecht und die Bibel’, Vol. 79, No. 1, March, PMLA, pp. 171-176.
- Brecht, Bertolt (1928), ‘The Threepenny Opera’, in Brecht – Collected Plays: Two, edited by Willet, John & Mannheim, Ralph (1994), Methuen Drama, London.
- Brecht, Bertolt (1940), ‘On Experimental Theatre’, pp. 130-135.
- Brecht, Bertolt (1944), ‘The Caucasian Chalk Circle’, in Bertotlt Brecht: Parables for the Theatre, edited by Bentley, Eric (1948), Penguin Plays, Australia.
- Brecht, Bertolt (1950), ‘The Modern Theatre is the Epic Theatre: Notes to the opera Aufstieg und Fall der Stadt Mahagonny’, Brecht on Theatre: The Development of an Aesthetic, ed. and trans. Willett, John (1964); Methuen, London, pp. 33-42.
- Brecht, Bertolt (1964), ‘A Short Organum for the Theatre’, Brecht on Theatre: The Development of an Aesthetic, Hill and Wand, New York, pp. 179-205.
- Brecht, Bertolt (1994), ‘Life of Galileo: The Resistible Rise of Arturo Ui ; The Caucasian Chalk Circle’, Arcade Publishing, University of California, pp. xv-xxxviii.
- Brecht, Bertolt (2007), ‘On Everyday Theatre: Poems of The Crisis Years 1929-1933’, in Physical Theatres: A Critical Reader, ed. Keefe, John & Murray, Simon David, Routledge, pp. 209-212
- Brooker, Peter (2006), ‘Key words in Brecht’s theory and practice of theatre’, The Cambridge Companion to Brecht: Second Edition. ed. Thomson, Peter & Sacks, Glendyr, Cambridge University Press.
- Carney, Sean (2005), ‘Brecht and Critical Theory: Dialectics and Contemporary Aesthetics’, Taylor & Francis Group, Routledge, London.
- Cody, Gabrielle H. & Sprinchorn, Evert (2007), ‘The Columbia Encyclopedia of Modern Drama’, Vol. 1, Publisher Columbia University Press.
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- Fortier, Mark (2002), ‘Theory/Theatre: An Introduction’, 2nd Ed, Routledge, Oxon.
- Garner, S. B (1994), ‘Post-Brechtian Anatomies: The Politics of Embodiment’, in Bodied Spaces: Phenomenology and Performance in Contemporary Drama, Cornell University Press, Ithaca, NY, pp. 159-185.
- Gay, John (1728), ‘The Beggar’s Opera: As it is Acted at the Theatre-Royal in Lincolns-Inn-Fields’, in ‘The Beggar’s Opera and other Eighteenth-Century Plays, repub. 1975, Everyman’s Library, London.
- Greenberg, Clement & O'Brian, John (1939), ‘The Collected Essays and Criticism, Volume 1: Perceptions and Judgements’, 1939-1944, University of Chicago Press.
- Holy Bible (n.d.), ‘King James Holy Bible’, 1 Kings, 3:1-28.
- Kerz, Leo (1968), ‘Educational Theatre Journal’, Vol. 20, No. 3 October, The Johns Hopkins University Press, pp. 363-369.
- Kitching, G. N (1988), ‘Karl Marx and the Philosophy of Praxis’, Vol. 984, University Paperbacks, Taylor Francis Group.
- Kowalke, Kim H (1993), ‘Singing Brecht vs. Brecht Singing: Performance in Theory and Practice’, Cambridge Opera Journal, Vol. 5, No. 1, March, Cambridge University Press, pp. 55-78.
- Krutch, Joseph W (1933), ‘The Nation’, May 3rd.
- Martin, Carol & Bial, Henry (2000), ‘Brecht Sourcebook: Worlds of Performance’, Routledge.
- Marx , Karl (1845), ‘Theses on Feuerbach’, repub. 2009 in Feuerbach, by Engels, Friedrich, trans. Lewis, Austin, Mondial.
- Miranker, Emily (2008), ‘An Infinity of Questions: Dramatising Science on Stage’, OhioLink, USA, pp. 1-41.
- Mumford, Meg (2009), ‘Bertolt Brecht’, Routledge, Taylor Francis Group, Oxon.
- Munk, Erika (1967), ‘The Relevance of Brecht’, TDR (1967-1968), Vol. 12, No. 1, Bertolt Brecht (Autumn), The MIT Press, pp. 20-21.
- Murphy, Shane (n.d.), ‘Petroleum Resists the Five-Act Form: Brecht’s Anti-Naturalism’, University of Aberdeen, pp.1-2.
- Schubart, Christian (1806), ‘Ideen zu einer Aesthetik der Tonkunst’, edited by Schubart, Ludwig; translated by Steblin, Rita; Vienna: JV Degen, pp. 315-17.
- Shepherd, David G (1993), ‘Bakhtin: Carnival and Other Subjects: Selected Papers from the Fifth International Bakhtin Conference, University of Manchester, July 1991’, Vol. 4, Issue 2, Rodopi.
- Uchino, Tadashi (2000), ‘Political displacements: Toward Historicizing Brecht in Japan 1932-1998’, in Brecht Sourcebook Worlds of Performance, Routledge, pp. 185-204.
- Viertel, Bertold (1945), ‘Kenyon Review’, VII, Ohio.
- Weber, Carl & Munk, Erika (1967), ‘Brecht as Director’, TDR (1967-1968), Vol. 12, No. 1, Bertolt Brecht, Autumn, The MIT Press pp. 101-107.
- Weisstein, Ulrich (1963), ‘Brecht in America: A Preliminary Survey’, MLN, Vol. 78, No. 4, German Issue, October, The Johns Hopkins University Press, pp. 373-396.
- Wekwerth, Manfred; Nicolaus, Martin; Munk, Erika (1967), ‘From Brecht Today’, TDR, The MIT Press.
- White, E.W (1935), ‘Life and Letters Today’, September, London.
- Willet, John & Mannheim, Ralph (1994), ‘Brecht – Collected Plays: Two’, Methuen Drama, London.
- Xingdao, Li (c 14th Cent.), ‘Circle of Chalk’, Eng trans. James Laver, 1929, Heinemann Publishing House, London.
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