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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
81

"Wie hast du's mit der Religion? Studien zu Bertolt Brecht, Kurt Weill und ihrer Dreigroschenoper /

Clasen, Merle. Unknown Date (has links) (PDF)
Kassel, Universiẗat, Diss., 2006. / Erscheinungsjahr an der Haupttitelstelle: 2005.
82

Brecht, Artaud, Soyinka a twentieth century triangle of theatrical radicalism /

Iji, Edde M. January 1981 (has links)
Thesis (M.A.)--University of Wisconsin--Madison, 1981. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 191-196).
83

An infinity of questions dramatizing science on stage /

Miranker, Emily. January 1900 (has links)
Honors thesis (English)--Oberlin College, 2008. / "April 2008" Includes bibliographical references (leaves 39-41)
84

Von Carles Riba zu Bertolt Brecht : die Rezeption der deutschen Literatur in Katalonien während der Franco-Zeit /

Ackermann, Gerhard. January 1990 (has links)
Diss.--Romanistisches Institut des Fachbereichs Sprach- und Literaturwissenschaften--Universität Regensburg, 1988.
85

A DIRECTOR'S PRE-PRODUCTION ANALYSIS OF BERTOLT BRECHT'S "THE CAUCASIAN CHALK CIRCLE.".

Faiznorouzi, Mohammad Reza. January 1984 (has links)
No description available.
86

Lecture aporétique de La décision de Bertolt Brecht

Bayle, Marie-Noëlle 02 1900 (has links) (PDF)
L'objectif de cette recherche est de comprendre La Décision de Bertolt Brecht par le biais de la lecture littéraire, telle que présentée dans les écrits de Bertrand Gervais. L'aporie, avec ses deux composantes que sont la contradiction et la dialectique, est identifiée comme une figure de lecture nécessaire à cette approche. La démarche aporétique d'Aristote et la dialectométhodologie de Stéphane Lupasco forment deux modalités permettant l'analyse contextuelle et l'interprétation textuelle de La Décision. Cette unique pièce de la Grande pédagogie est analysée grâce à trois couples antithétiques, soit collectif/individu, accord/désaccord et communisme/non-communisme, ce dernier couple portant aussi sur une version antérieure de la pièce. Cette recherche démontre la place ambiguë de La Décision au sein de l'œuvre brechtienne. Par ailleurs, l'étude des rapports texte/paratexte met en évidence l'influence contraire des choix éditoriaux allemands et français sur la réception du texte. Enfin, le discours esthétique et politique à la base de La Décision est déconstruit par la figure de l'aporie. En conclusion, la lecture littéraire ouvre sur une appropriation nouvelle. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : La Décision, Bertolt Brecht, Lecture littéraire, Aporie, Dialectométhodologie, Stéphane Lupasco, Bertrand Gervais.
87

Received truths : problems of the music-text relationship and Bertolt Brecht

Fowler, Kenneth Ray. January 1987 (has links)
No description available.
88

Von der Taktik zur Tugend Wandlung des Ethikkonzepts in Brechts marxistischen Dramen von 1929-1945 /

Thomsen, Frank. January 2008 (has links)
Thesis (doctoral)--Universität, Hamburg, 2007. / Includes bibliographical references (p. [325]-336).
89

Received truths : problems of the music-text relationship and Bertolt Brecht

Fowler, Kenneth Ray. January 1987 (has links)
No description available.
90

Fragmentos Brietzkianos : estudo da cena nas montagens Brechtianas de Irene Brietzke

Vieira, Carlos Humberto Vasconcellos January 2008 (has links)
Este trabalho estuda a construção da cena nas montagens brechtianas dirigidas por Irene Brietzke, destacada diretora gaúcha das últimas décadas do século passado, buscando documentar e resgatar seu processo criativo, analisar os pontos de contato e as divergências com as teorias formuladas por Bertolt Brecht e fazer um levantamento iconográfico das mesmas. Resgatamos a memória das peças brechtianas, uma a cada capítulo, através das respectivas fichas técnicas, fotos, declarações e matérias publicadas na imprensa e dos depoimentos colhidos com Brietzke. É utilizado o nome dos espetáculos para denominar os capítulos e em cada um deles a discussão é focalizada sobre os pontos teóricos que a encenação sugere e que são relacionados com questões como a inserção histórica das montagens, o pós-brechtiano e o pós-dramático, o efeito de estranhamento, a recepção teatral, o papel da música na encenação e a construção da cena. Este trabalho articula diálogos com as vozes e idéias de Bertolt Brecht, Gerd Bornheim, Hans-Thyes Lehmann, Patrice Pavis, Marco de Marinis, entre outros. Buscamos destacar os principais diferenciais de seu trabalho, como o uso das comédias, debochadas e escrachadas, da presença marcante e essencial da música na cena brietzkiana, o grau de fidelidade à Brecht e várias outras questões que transpassam a obra de Brietzke. / The purpose of this paper is to study the scenery construction in the Brechtian setting productions directed by Mrs. Irene Brietzke, distinguished “gaucha” stage director in the last decades of the 20th Century, in an attempt to document and retrieve her creative process, to analyze the contact points and divergences connected to the theories stated by Bertolt Brecht, and to conduct an iconographic survey of them all. We retrieve the memory of the Brechtian pieces, one in each chapter, by means of their respective technical files, pictures, statements and articles set forth in the press, and the testimonies gathered with Brietzke. The names of the public performances are utilized to denominate the chapters, the discussion in each one is focused on the theoretical points the stage plays suggest and are related to matters, such as the historical insertion of productions, the post-Brechtian and the postdramatic, the strangeness effect, the theatric reception, the music role in the production and the scene construction. This paper articulates dialogs with voices and ideas of Bertolt Brecht, Gerd Bornheim, Hans-Thyes Lehmann, Patrice Pavis, Marco de Marinis, among others. We try to highlight the main differentials of her work, such as the comedies’ use, mocking and quizzical style, the essential and noteworthy presence of the music in the Brietzkian scene, the extent of faithfulness degree to Brecht and many other questions that overstep the Brietzke’s work.

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