By Stephen Parker
This primary English language biography of Bertolt Brecht (1898-1956) in 20 years paints a strikingly new photograph of 1 of the 20th century's so much debatable cultural icons.
Drawing on letters, diaries and unpublished fabric, together with Brecht's scientific documents, Parker deals a wealthy and spell binding account of Brecht's existence and paintings, considered during the prism of the artist. Tracing his notable existence, from his early life in Augsburg, during the First international battle, his politicisation through the Weimar Republic and his years of exile, as much as the Berliner Ensemble's unbelievable productions in Paris and London, Parker indicates how Brecht completed his transformative impression upon global theatre and poetry.
Bertolt Brecht: A Literary existence is a robust portrait of a good, compulsively contradictory character, whose artistry left its lasting imprint on glossy tradition.
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Extra info for Bertolt Brecht: A Literary Life
My Wittgenstein, or that of any other writer or filmmaker, never existed. But I should leave Wittgenstein himself with almost the last word. “Work on philosophy—like work in architecture in many respects—is really more a work on oneself. On one’s own interpretation. On one’s own way of seeing things” (Wittgenstein 1998, 24). So too, work on a film script about someone’s life is also, most probably, more a work on oneself, on one’s own way of seeing things. BIBLIOGRAPHY Hornby, Nick. ” Daily Telegraph, online 23 October 2009.
02), is followed by footage of a young woman, and then a dog playing with a child. Dogs and people (and their lives), however, are undeniably compound, at least for the author of the Tractatus. The child and dog do not directly elucidate Wittgenstein’s thesis. They are in what I called a loose association with the thesis that they presumably reflect. For my immediate purposes, what offers the most telling contrast to Jarman’s film is Forgács’s use of color. ” The touch of burnt-brown, oddly enough, makes the B&W films look even older and more faded than they are, while at the same time making them warmer and easier to view.
Do you need anything? Wittgenstein briefly turns towards her and shakes his head, indicating a “No,” then turns back to his writing. She turns away, takes a few steps towards the back door, but then turns back and approaches Wittgenstein again. Do you like my coat? Wittgenstein Wittgenstein turns his body towards her and, after carefully scrutinizing her coat, says in a quiet authoritative voice. Fetch me a scissors, Mrs. Bevan. Mrs. Bevan goes inside the house and returns with a scissors. Wittgenstein takes the scissors.