Abstract
Brecht’s introductory notes on his opera The Rise and Fall of the City of Mahagonny 1 include a table of comparisons between the ‘epic’ theatre, of which this is an example, and the theatre it seeks to replace:
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Notes
Berthold Brecht The Rise and Fall of the City of Mahagonny, introductory notes, translated by John Willett in Brecht on Theatre (London, 1964), p. 37.
For a summary see Victor Erlich, Russian Formalism: History-Doctrine (The Hague, 1965), pp. 176–8.
Vladimir Propp, Morphology of the Folktale, trans. Laurence Scott (Texas, 1968).
Translated in Ladislav Matejka and Irwin R. Titinuk (eds), Semiotics of Art: Prague School Contributions (Cambridge, Mass., 1976), pp. 3–9.
Jiri Veltrusky, Man and Object in the Theater in A Prague School Reader on Esthetics, literary structure and style, edited and translated by Paul L. Garvin (Georgetown, 1964), p. S3.
Trotsky, Literature and Revolution (New York, 1957), p. 162.
See George Bisztray, Marxist Models of Literary Realism (New York, 1978), pp. 24–8.
Gorky, Collected Works (Moscow, 1907), Vol. III, 29, p. 173.
A. C. Bradley, Shakespearean Tragedy (first edn 1904, repr. London, 1976), p. 17.
Seymour Chatman, Story and Discourse (Ithaca, 1978), p. 138.
See David Magarshack’s introduction to Stanislavsky on the Art of the Stage (London, 1967), p. 12.
L. C. Knights, ‘How Many Children had Lady Macbeth?’ (1933) in Explorations (London, 1946), p. 1.
A. D. Nuttall, ‘The argument about Shakespeare’s characters’ in D. J. Palmer (ed.), Shakespeare’s wide and universal stage (Manchester, 1984), p. 30.
E. M. Forster, Aspects of the Novel (London, 1949), pp. 65–75.
Keir Elam, The Semiotics of Theatre and Drama (London, 1980).
Roland Barthes, S/Z, translated by Richard Miller (New York, 1974), p. 178.
Simon Callow’s Being an Actor provides an interesting if anecdotal combination of Reichian analysis with Stanislavskian practice as an account of his own development as an actor. See also J. Laplanche and J. B. Pontalis, The Language of Psycho-analysis (London, 1983), pp. 67–8.
L. Althusser, ‘Freud and Lacan’ in Essays on Ideology (London, 1984), p. 170.
Jonathan , Radical Tragedy, passim (Brighton, 1984).
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© 1990 Edward Burns
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Burns, E. (1990). Afterword: The Modern ‘Subject’ and Pre-Modern Drama. In: Character: Acting and Being on the Pre-Modern Stage. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-09594-0_7
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