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Books : Literature & Fiction : Poetry : Poets, A-Z : ( B ) : Brecht, Bertolt
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Brutal, scandalous, perverted, yet humorous, hummable, and with a happy ending—Bertolt Brecht’s revolutionary masterpiece The Threepenny Opera is a landmark of modern drama that has become embedded in the Western cultural imagination. Through the love story of Polly Peachum and “Mack the Knife” Macheath, the play satirizes the bourgeois of the Weimar Republic, revealing a society at the height of decadence and on the verge of chaos. Complemented with music by Kurt Weill, it was one of the earliest and most successful attempts to introduce jazz into the theater, and the song “Mack the Knife” became one of the most popular and widely recorded songs of the twentieth century.
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A new translation by Michael Hofmann is published to coincide with the United Kingdom's national tour by English Touring Theatre.
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A billingual collection showing the range of Brecht's poetry, from the early Manual of Piety to the late Songs, Poems, and Choruses, including songs from his theater works. Translated and introduced by H.R. Hays.
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"...this impressive selection of Bertolt Brecht's poetry...roughly 500 poems...shows convincingly that his ouevre is one of the major poetic achievements of the present century. The editing, with excellent notes, excerpts from Brecht's own views about poetry and Mr. Willett's concise introduction is exemplary. Most important, the translations by 35 poets, among them H.R. Hayes, Peter Levi, Christopher Middleton, and Naomi Replansky, maintain a high standard of accuracy and often convey a very clear idea of the texture and feeling of the German." --Stephen Spender, The New York Times Book Review
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These six plays represent the best and most humorous of Brecht's shorter works. The Jewish Wife is from the Fear and Misery in the Third Reich cycle of one-act plays, which, along with In Search of Justice and The Informer, chromicles the hardships of life in Nazi Germany.
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With the writing of Saint Joan of the Stockyards (1929-1930), Bertolt Brecht for the first time was able to turn his hope of writing a play that "corresponds to the sociological situation" into a reality. Brecht's metrics include borrowings from Schiller's The Maid of Orleans, Goethe's Faust II, and Holderlin's Hyperion, and the play's content is derived from Upton Sinclair, Bernard Shaw, and Lincoln Steffens. The result is pure Brechtian epic.
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Brief humorous verse on a variety of topics.
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