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Los horacios y los curiacios /Terror y miseria del Tercer Reich / Los fúsiles de la señora Carrar
Madrid. 18 cm. 197 p. Encuadernación en tapa blanda de editorial ilustrada. Colección 'Teatro completo', numero coleccion(6). Brecht, Bertolt 1898-1956. Teatro. Sáenz, Miguel. 1932-. traductor. Terror y miseria del Tercer Reich. Los fusiles de la señora Carrar. 1987. numero coleccion( 6) .. Este libro es de segunda mano y tiene o puede tener marcas y señales de su anterior propietario. 9788420606859; 8420606855
190 pages, Paperback
First published January 1, 1994
About the author
Bertolt Brecht
1,727 books1,999 followersEugen Berthold Friedrich Brecht was a German poet, playwright, and theatre director. A seminal theatre practitioner of the twentieth century, Brecht made equally significant contributions to dramaturgy and theatrical production, the latter particularly through the seismic impact of the tours undertaken by the Berliner Ensemble—the post-war theatre company operated by Brecht and his wife and long-time collaborator, the actress Helene Weigel—with its internationally acclaimed productions.
From his late twenties Brecht remained a life-long committed Marxist who, in developing the combined theory and practice of his 'epic theatre', synthesized and extended the experiments of Piscator and Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism. Brecht's modernist concern with drama-as-a-medium led to his refinement of the 'epic form' of the drama (which constitutes that medium's rendering of 'autonomization' or the 'non-organic work of art'—related in kind to the strategy of divergent chapters in Joyce's novel Ulysses, to Eisenstein's evolution of a constructivist 'montage' in the cinema, and to Picasso's introduction of cubist 'collage' in the visual arts). In contrast to many other avant-garde approaches, however, Brecht had no desire to destroy art as an institution; rather, he hoped to 're-function' the apparatus of theatrical production to a new social use. In this regard he was a vital participant in the aesthetic debates of his era—particularly over the 'high art/popular culture' dichotomy—vying with the likes of Adorno, Lukács, Bloch, and developing a close friendship with Benjamin. Brechtian theatre articulated popular themes and forms with avant-garde formal experimentation to create a modernist realism that stood in sharp contrast both to its psychological and socialist varieties. "Brecht's work is the most important and original in European drama since Ibsen and Strindberg," Raymond Williams argues, while Peter Bürger insists that he is "the most important materialist writer of our time."
As Jameson among others has stressed, "Brecht is also ‘Brecht’"—collective and collaborative working methods were inherent to his approach. This 'Brecht' was a collective subject that "certainly seemed to have a distinctive style (the one we now call 'Brechtian') but was no longer personal in the bourgeois or individualistic sense." During the course of his career, Brecht sustained many long-lasting creative relationships with other writers, composers, scenographers, directors, dramaturgs and actors; the list includes: Elisabeth Hauptmann, Margarete Steffin, Ruth Berlau, Slatan Dudow, Kurt Weill, Hanns Eisler, Paul Dessau, Caspar Neher, Teo Otto, Karl von Appen, Ernst Busch, Lotte Lenya, Peter Lorre, Therese Giehse, Angelika Hurwicz, and Helene Weigel herself. This is "theatre as collective experiment [...] as something radically different from theatre as expression or as experience."
There are few areas of modern theatrical culture that have not felt the impact or influence of Brecht's ideas and practices; dramatists and directors in whom one may trace a clear Brechtian legacy include: Dario Fo, Augusto Boal, Joan Littlewood, Peter Brook, Peter Weiss, Heiner Müller, Pina Bausch, Tony Kushner and Caryl Churchill. In addition to the theatre, Brechtian theories and techniques have exerted considerable sway over certain strands of film theory and cinematic practice; Brecht's influence may be detected in the films of Joseph Losey, Jean-Luc Godard, Lindsay Anderson, Rainer Werner Fassbinder, Nagisa Oshima, Ritwik Ghatak, Lars von Trier, Jan Bucquoy and Hal Hartley.
During the war years, Brecht became a prominent writer of the Exilliteratur. He expressed his opposition to the National Socialist and Fascist movements in his most famous plays.
From his late twenties Brecht remained a life-long committed Marxist who, in developing the combined theory and practice of his 'epic theatre', synthesized and extended the experiments of Piscator and Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism. Brecht's modernist concern with drama-as-a-medium led to his refinement of the 'epic form' of the drama (which constitutes that medium's rendering of 'autonomization' or the 'non-organic work of art'—related in kind to the strategy of divergent chapters in Joyce's novel Ulysses, to Eisenstein's evolution of a constructivist 'montage' in the cinema, and to Picasso's introduction of cubist 'collage' in the visual arts). In contrast to many other avant-garde approaches, however, Brecht had no desire to destroy art as an institution; rather, he hoped to 're-function' the apparatus of theatrical production to a new social use. In this regard he was a vital participant in the aesthetic debates of his era—particularly over the 'high art/popular culture' dichotomy—vying with the likes of Adorno, Lukács, Bloch, and developing a close friendship with Benjamin. Brechtian theatre articulated popular themes and forms with avant-garde formal experimentation to create a modernist realism that stood in sharp contrast both to its psychological and socialist varieties. "Brecht's work is the most important and original in European drama since Ibsen and Strindberg," Raymond Williams argues, while Peter Bürger insists that he is "the most important materialist writer of our time."
As Jameson among others has stressed, "Brecht is also ‘Brecht’"—collective and collaborative working methods were inherent to his approach. This 'Brecht' was a collective subject that "certainly seemed to have a distinctive style (the one we now call 'Brechtian') but was no longer personal in the bourgeois or individualistic sense." During the course of his career, Brecht sustained many long-lasting creative relationships with other writers, composers, scenographers, directors, dramaturgs and actors; the list includes: Elisabeth Hauptmann, Margarete Steffin, Ruth Berlau, Slatan Dudow, Kurt Weill, Hanns Eisler, Paul Dessau, Caspar Neher, Teo Otto, Karl von Appen, Ernst Busch, Lotte Lenya, Peter Lorre, Therese Giehse, Angelika Hurwicz, and Helene Weigel herself. This is "theatre as collective experiment [...] as something radically different from theatre as expression or as experience."
There are few areas of modern theatrical culture that have not felt the impact or influence of Brecht's ideas and practices; dramatists and directors in whom one may trace a clear Brechtian legacy include: Dario Fo, Augusto Boal, Joan Littlewood, Peter Brook, Peter Weiss, Heiner Müller, Pina Bausch, Tony Kushner and Caryl Churchill. In addition to the theatre, Brechtian theories and techniques have exerted considerable sway over certain strands of film theory and cinematic practice; Brecht's influence may be detected in the films of Joseph Losey, Jean-Luc Godard, Lindsay Anderson, Rainer Werner Fassbinder, Nagisa Oshima, Ritwik Ghatak, Lars von Trier, Jan Bucquoy and Hal Hartley.
During the war years, Brecht became a prominent writer of the Exilliteratur. He expressed his opposition to the National Socialist and Fascist movements in his most famous plays.
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Displaying 1 - 4 of 4 reviews
November 30, 2021
'Terror y miserias del Tercer Reich' es como uno de esos cuadros flamencos con muchas escenas ejemplificativas de una hostia, que justifica por sí mismo las cinco estrellas para todo el volumen con partes como 'la cruz de tiza' o 'la búsqueda del derecho' que son de seis estrellas.
March 12, 2024
Todo el mundo que aprecie el teatro debe de pasar por Bertolt Brecht. Sobre todo, leer "Terror y miseria del Tercer Reich". Sus obras políticas te hacen levantar de la butaca contra las injusticias y la miseria.
El gran precursor del teatro épico, al que tuve la oportunidad de llevar en un taller sobre el teatro político y social además de recitar algunos de sus textos. Fue un orgullo, sin duda.
Mi preferencia en este volumen:
- Terror y miseria del Tercer Reich.
- Los fusiles de la señora Carrar.
- Los horacios y los curacios.
El gran precursor del teatro épico, al que tuve la oportunidad de llevar en un taller sobre el teatro político y social además de recitar algunos de sus textos. Fue un orgullo, sin duda.
Mi preferencia en este volumen:
- Terror y miseria del Tercer Reich.
- Los fusiles de la señora Carrar.
- Los horacios y los curacios.
March 2, 2022
"Terror y miseria del Tercer Reich" tiene unas escenas increíbles, Brecht monta unos diálogos que te meten de lleno el debate ético que plantea.
November 10, 2014
Una de las piezas más inteligentes que he visto, en especial "Terror y miseria del Tercer Reich", basadas en hechos reales todas las escenas. Especialmente buenas son La Cruz de Tiza y La búsqueda del derecho.
Brecht logra exponer conflictos éticos, incluso temas de teoría de juegos, como nadie o como muy pocos, en los diálogos de su teatro, sin adoctrinar, simplemente reflejando.
EL HOMBRE DE LA SA: La forma de pensar estar bien. ¿Por qué¿ ¿No está usted de acuerdo?
OBRERO: Sí, pero creo que nadie dice lo que piensa.
EL HOMBRE DE LA SA: ¿Qué nadie lo dice? ¿Por qué? A mí sí que me lo dicen.
[poco después]
EL OBRERO: Por eso no voy a ponerme a decir sandeces. a pesar del chiste, usted podría ser un soplón.
LA MUCHACHA: Eso es verdad, Theo
EL HOMBRE DE LA SA: ¡Sois unos mierdas! ¡A veces me pongo furioso! Nadie se atreve a decir esta boca es mía.
Por no hablar de "A la fuerza por la alegría"...
EL JUEZ, agotado: Yo esty dispuesto a todo, Dios Santo, ¡compréndeme! Tú has cambiado mucho. Resolveré esto o aquello, lo que quieran, pero tengo que saber lo que quieren. Si no se puede saber, es que no hay ya Justicia.
La última pieza, Los fusiles de la señora Carrar, ambientada en la España de comienzos de la guerra civil, en Almería, es también genial. Buen acercamiento al dilema: pacifismo vs. defenderse de un ataque (o defender una causa en la que creemos)
A very very inspiring book, and also downhearting, because of the crudity of how human can get to be... El título es realmente apropiado: terror y miseria.
Brecht logra exponer conflictos éticos, incluso temas de teoría de juegos, como nadie o como muy pocos, en los diálogos de su teatro, sin adoctrinar, simplemente reflejando.
EL HOMBRE DE LA SA: La forma de pensar estar bien. ¿Por qué¿ ¿No está usted de acuerdo?
OBRERO: Sí, pero creo que nadie dice lo que piensa.
EL HOMBRE DE LA SA: ¿Qué nadie lo dice? ¿Por qué? A mí sí que me lo dicen.
[poco después]
EL OBRERO: Por eso no voy a ponerme a decir sandeces. a pesar del chiste, usted podría ser un soplón.
LA MUCHACHA: Eso es verdad, Theo
EL HOMBRE DE LA SA: ¡Sois unos mierdas! ¡A veces me pongo furioso! Nadie se atreve a decir esta boca es mía.
Por no hablar de "A la fuerza por la alegría"...
EL JUEZ, agotado: Yo esty dispuesto a todo, Dios Santo, ¡compréndeme! Tú has cambiado mucho. Resolveré esto o aquello, lo que quieran, pero tengo que saber lo que quieren. Si no se puede saber, es que no hay ya Justicia.
La última pieza, Los fusiles de la señora Carrar, ambientada en la España de comienzos de la guerra civil, en Almería, es también genial. Buen acercamiento al dilema: pacifismo vs. defenderse de un ataque (o defender una causa en la que creemos)
A very very inspiring book, and also downhearting, because of the crudity of how human can get to be... El título es realmente apropiado: terror y miseria.
Displaying 1 - 4 of 4 reviews