From an award-winning author, the first thorough examination of the important influence of opera on Brecht’s writings.Brecht at the Opera looks at the German playwright’s lifelong ambivalent engagement with opera. An ardent opera lover in his youth, Brecht later denounced the genre as decadent and irrelevant to modern society even as he continued to work on opera projects throughout his career. He completed three operas and attempted two dozen more with composers such as Kurt Weill, Paul Hindemith, Hanns Eisler, and Paul Dessau. Joy H. Calico argues that Brecht’s simultaneous work on opera and Lehrstück in the 1920s generated the new concept of audience experience that would come to define epic theater, and that his revisions to the theory of Gestus in the mid-1930s are reminiscent of nineteenth-century opera performance practices of mimesis.
From an award-winning author, the first thorough examination of the important influence of opera on Brecht’s writings.Brecht at the Opera looks at the German playwright’s lifelong ambivalent engagement with opera. An ardent opera lover in his youth, Brech
Table des matières
List of Illustrations
Acknowledgments
Introduction
1. Lehrstück, Opera, and the New Audience Contract of the Epic Theater
2. The Operatic Roots of Gestus in
The Mother and
Round Heads and Pointed Heads
3. Fragments of Opera in American Exile
4.
Lucullus: Opera and National Identity
5. Brecht’s Legacy for Opera: Estrangement and the Canon
Notes
Bibliography
Index
A propos de l’auteur
Joy H. Calico is Cornelius Vanderbilt Professor of Musicology and Professor of German Studies at Vanderbilt University. She is the author of Arnold Schoenberg's 'A Survivor from Warsaw' in Postwar Europe.
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