What do you think?
Rate this book
ΤΡΙΣΤΙΧΑ ΓΙΑ ΤΗΝ ΑΓΑΠΗ ΚΑΙ ΑΛΛΑ ΠΟΙΗΜΑΤΑ
Για τους μεγάλους επιτρέπονται μεγάλα λόγια. Οι άξιοι λόγου λογοτέχνες και ποιητές είναι με το έργο τους αναστόχαση, συνείδηση και αναπαράσταση της εποχής τους ή τουλάχιστον σημαντικών στοιχείων της και όψεών της. Ωστόσο ελαχίστων μόνον εξ αυτών το έργο είναι στην συνείδησή μας τρόπον τινά και συστατικό ιστορικό της στοιχείο. Ο Μπέρτολτ Μπρεχτ είναι μεγάλος ποιητής. Έχει γράψει μερικά από τα ωραιότερα ποιήματα που έχουν γραφτεί ποτέ. Εν πρώτοις είναι ποιητής και δεν ποιητικίζει ποτέ και πουθενά. Είναι λιγότερο ή περισσότερο ποιητικός, αλλά είναι πάντα ποιητής. Γνωρίσει επίσης τους σημαντικότερους προγόνους του αλλά και τους σύγχρονούς του, την ποιητική ύλη τους και τεχνική. Εξού και το εύρος της δικής του ποιητικής τεχνικής - από την ελεύθερη ποίηση και τα επίπεδα φαινομενικώς στιχουργήματα ως τους ψαλμούς, την μπαλάντα και το σονέτο. Το σημαντικότερο όμως όλων - και αυτό αφορά την ποιητική του ύλη: Είναι ένας ανανεωτής και αναπτερωτής της ποίησης. Στους καιρούς των Steffan George, Reiner Maria Rilke και Gottfried Benn, στους στενόκαρδους δηλαδή καιρούς της ποίησης που γνωρίζουμε και σήμερα, έδειξε με τα ποιήματά του ότι υλικό της ποίησης δεν είναι μόνον τα πραγματικά ή υποτιθέμενα πάθη της ιδίας ψυχής, αλλά ολόκληρη η ανθρώπινη προσωπική και κοινωνική ζωή στην σε κάθε εποχή δεδομένη συγκρότησή της.
Έχει γράψει ωραιότατα ποιήματα για τα αισθήματα, τους πόθους και τα πάθη, τις ανησυχίες, τις σκέψεις, τις ιδέες, τις ανάγκες, τα συμφέροντα, τις επιδιώξεις, τις πράξεις και τις καταστάσεις των ανθρώπων στα πλαίσια της κοινωνικής τους θέσης και ζωής, αλλά και για τις αναστοχάσεις τους πάνω σε όλα αυτά. Έχει γράψει ωραία λυρικά και ερωτικά ποιήματα και συναρπαστικά προλεταριακά εμβατήρια. Ένα μικρό δείγμα της σπουδαίας αυτής τέχνης του βρίσκεται στις σελίδες του βιβλίου αυτού. Ευχή μας είναι ο αναγνώστης να το νιώσει. (Από την παρουσίαση στο οπισθόφυλλο του βιβλίου)
Έχει γράψει ωραιότατα ποιήματα για τα αισθήματα, τους πόθους και τα πάθη, τις ανησυχίες, τις σκέψεις, τις ιδέες, τις ανάγκες, τα συμφέροντα, τις επιδιώξεις, τις πράξεις και τις καταστάσεις των ανθρώπων στα πλαίσια της κοινωνικής τους θέσης και ζωής, αλλά και για τις αναστοχάσεις τους πάνω σε όλα αυτά. Έχει γράψει ωραία λυρικά και ερωτικά ποιήματα και συναρπαστικά προλεταριακά εμβατήρια. Ένα μικρό δείγμα της σπουδαίας αυτής τέχνης του βρίσκεται στις σελίδες του βιβλίου αυτού. Ευχή μας είναι ο αναγνώστης να το νιώσει. (Από την παρουσίαση στο οπισθόφυλλο του βιβλίου)
194 pages, Hardcover
Published December 1, 2016
About the author
Bertolt Brecht
1,607 books1,921 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.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 of 1 review
May 10, 2023
Έχοντας διαβάσει πρώτα τα κοινωνικο-πολιτικά ποιήματα του Μπρεχτ που τον αντιπροσωπεύουν περισσότερο και χάρις σε αυτά είναι ευρέως γνωστός και έχει πολυσυζητηθεί, η παρούσα έκδοση δε μου πρόσφερε κάτι περισσότερο... Τα ερωτικά του δεν είναι και τόσο δυνατά και επίσης οι υπεύθυνοι της έκδοσης αυτής θεωρώ ότι θα μπορούσαν να είχαν εμπλουτίσει κι άλλο το βιβλίο, όχι μόνο και με άλλα ποιήματα, αλλά και αντί, για παράδειγμα, να γραφούν στην υποσημείωση ότι ο αναγνώστης μπορεί να αναζητήσει το τάδε, να το είχαν μεταφέρει οι ίδιοι σε ένα παράρτημα ή μια άλλη σημείωση προς διευκόλυνσή του.
Displaying 1 of 1 review