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- Artikelzustand
- Neuwertig
- Hinweise des Verkäufers
- ISBN-10
- 0859899977
- Book Title
- Eighteenth-Century Brechtians: Theatrical Satire in the Age of
- Genre
- PERFORMING ARTS
- ISBN
- 9780859899970
- Publication Name
- Eighteenth-Century Brechtians : Theatrical Satire in the Age of Walpole
- Item Length
- 9in
- Publisher
- University of Exeter Press
- Publication Year
- 2016
- Series
- Exeter Performance Studies
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Item Height
- 1in
- Item Width
- 6in
- Item Weight
- 23.1 Oz
- Number of Pages
- 288 Pages
Über dieses Produkt
Product Information
Eighteenth-Century Brechtians is a collection of essays by a well-known author on comic and radical political theatre. It looks at stage satires by John Gay, Henry Fielding, George Farquhar, Charlotte Charke, David Garrick and their contemporaries through the lens of Brecht's theory and practice. 15 b&w illustrations.
Product Identifiers
Publisher
University of Exeter Press
ISBN-10
0859899977
ISBN-13
9780859899970
eBay Product ID (ePID)
211256051
Product Key Features
Publication Name
Eighteenth-Century Brechtians : Theatrical Satire in the Age of Walpole
Format
Hardcover
Language
English
Publication Year
2016
Series
Exeter Performance Studies
Type
Textbook
Number of Pages
288 Pages
Dimensions
Item Length
9in
Item Height
1in
Item Width
6in
Item Weight
23.1 Oz
Additional Product Features
Lc Classification Number
Pr714.S2s34 2016
Reviews
'Joel Schechter may have written the perfect book for this historical moment. 'Schechter brings a lively and highly readable style to Eighteenth-Century Brechtians, which makes the daunting task of teasing out the parallels between two seemingly disparate aesthetic movements easy to follow. The breadth of the connections that Schechter makes is impressive [. . . ] The result is a clear, nuanced, novel reading of theatrical events and plays that demonstrates their vitality and relevance today. 'Eighteenth-Century Brechtians is part history, part exegesis, and part polemical manifesto. As we enter a period of political uncertainty, the satirical voices that Schechter celebrates here may prove useful once more. Readable and concise, the book is accessible enough for an undergraduate but with enough sophistication for more advanced students.' Seth Wilson, University of Georgia, Journal of Dramatic Theory and Criticism, Volume 32, Number 1, Fall 2017 'Not every book about the eighteenth-century theatre alludes to Chelsea Manning, Occupy Wall Street and Bernie Sanders, or concludes with a chronology that jumps from 1763 ("James Boswell visits Newgate Prison") to 1928 ("Brecht and others adapt Gay's The Beggar's Opera"). Eighteenth-century Brechtians: Theatrical Satire in the Age of Walpole makes these contemporary references and goes further: it is introduced by the theatre historian Peter Thomson as "a bid to jolt the anglophone theatre out of its political doziness", and by its author Joel Schechter as "a mapping of paths to future satire and activism, through a survey of earlier routes explored by Brecht and his precursors in England". [ ] there is much here to prompt further investigation, not least for any post-Brechtian producers who happen to open the book.' Michael Caines, The Times Literary Supplement, October 2016 'It is very jauntily written, as might well be expected from this author, and his enthusiasm for his subject matter is at times infectious.' Michael Wilson, Professor of Drama, Loughborough University 'This is a book like no other. Schechter delights in liberating his own fantasy, in allowing his imagination free play in interpreting, not only what was, but also what might have been and what, with the right incentives, might be.' 'This new book has been written as a challenge to the twenty-first century, a bid to jolt the Anglophone theatre out of its political doziness. Peter Thomson, Emeritus Professor of Drama, University of Exeter 'This is an intelligent, radical book, intriguing from the start and relentlessly imaginative. Always accessible and affable in style.' Graham Ley, Professor of Drama and Theory, University of Exeter, I found it both engaging and challenging/confusing, which is probably very Brechtian in itself. It is very jauntily written, as might well be expected from this author, and his enthusiasm for his subject matter is at times infectious. The author's approach to history is a welcome one that serves the material well. Rather than take a strictly chronological approach to history he adopts a view of history as a set of episodes that reflect on each other and through which we can move backwards, as well as forwards. This approach is one that Brecht himself would have endorsed, as a non-chronological approach challenges the notion that any event is the inevitable consequence of the event that preceded it. It acknowledges that other possible outcomes are always present., Not every book about the eighteenth-century theatre alludes to Chelsea Manning, Occupy Wall Street, and Bernie Sanders, or concludes with a chronology that jumps from 1763 ('James Boswell visits Newgate prison') to 1928 ('Brecht and others adapt Gay's The Beggar's Opera'). Eighteenth-Century Brechtians makes these contemporary references and goes further: it is introduced by the theatre historian Peter Thomson as 'a bid to jolt the Anglophone theatre out of its political doziness,' and by its author Joel Schechter as 'a mapping of paths to future satire and activism, through a survey of earlier routes explored by Brecht and his precursors in England.' . . . There is much here to prompt further investigation, not least for any post-Brechtian producers who happen to open the book., 'Not every book about the eighteenth-century theatre alludes to Chelsea Manning, Occupy Wall Street and Bernie Sanders, or concludes with a chronology that jumps from 1763 ("James Boswell visits Newgate Prison") to 1928 ("Brecht and others adapt Gay's The Beggar's Opera"). Eighteenth-century Brechtians: Theatrical Satire in the Age of Walpole makes these contemporary references and goes further: it is introduced by the theatre historian Peter Thomson as "a bid to jolt the anglophone theatre out of its political doziness", and by its author Joel Schechter as "a mapping of paths to future satire and activism, through a survey of earlier routes explored by Brecht and his precursors in England". [ ] there is much here to prompt further investigation, not least for any post-Brechtian producers who happen to open the book.' Michael Caines, The Times Literary Supplement, October 2016 'It is very jauntily written, as might well be expected from this author, and his enthusiasm for his subject matter is at times infectious.' Michael Wilson, Professor of Drama, Loughborough University 'This is a book like no other. Schechter delights in liberating his own fantasy, in allowing his imagination free play in interpreting, not only what was, but also what might have been and what, with the right incentives, might be.' 'This new book has been written as a challenge to the twenty-first century, a bid to jolt the Anglophone theatre out of its political doziness. Peter Thomson, Emeritus Professor of Drama, University of Exeter 'This is an intelligent, radical book, intriguing from the start and relentlessly imaginative. Always accessible and affable in style.' Graham Ley, Professor of Drama and Theory, University of Exeter, Eighteenth-Century Brechtians is an ambitious and engaging study that takes the reader on a time-travelling journey through the past, present and future of Brechtian theatre. Eighteenth-Century Brechtians is not only illuminating but engaging, and articulates one of Schechter's central tenets: that theatrical activism is as necessary now as it was in the eras of Gay and Brecht, and that practitioners today could learn much from the radical subversives of the past., This is a book like no other. Schechter delights in liberating his own fantasy, in allowing his imagination free play in interpreting, not only what was, but also what might have been and what, with the right incentives, might be. What if, he asks, we were to accept that Brecht influenced John Gay. What if The Threepenny Opera can be seen as a source for The Beggar's Opera and its banned sequel Polly ? By challenging the authority of chronology, might we not come to a new understanding of the radicalism of Gay and Fielding? That's what this book succeeds in doing., Schechter's approach proves illuminating. He paints a picture of a vibrant theatrical climate, filled with meta-commentary, political activism, cross-dressing, and satire aimed at exposing hypocrisy and corruption in institutional structures., Not every book about the eighteenth-century theatre alludes to Chelsea Manning, Occupy Wall Street and Bernie Sanders or concludes with a chronology that jumps from 1763 (James Boswell visits Newgate prison') to 1928 (Brecht and others adapt Gay's The Beggars Opera ). Schechter makes these contemporary references and goes further. There is much here to prompt further investigation., I found it both engaging and challenging/confusing, which is probably very Brechtian in itself. It is very jauntily written, as might well be expected from this author, and his enthusiasm for his subject matter is at times infectious. The author's approach to history is a welcome one that serves the material well. Rather than take a strictly chronological approach to history he adopts a view of history as a set of episodes that reflect on each other and through which we can move backwards, as well as forwards. This approach is one that Brecht himself would have endorsed, as a non-chronological approach challenges the notion that any event is the inevitable consequence of the event that preceded it. It acknowledges that other possible outcomes are always present., Eighteenth-Century Brechtians is an ambitious and engaging study that takes the reader on a time-travelling journey through the past, present and future of Brechtian theatre. Eighteenth-Century Brechtians is not only illuminating but engaging, and articulates one of Schechter's central tenets: that theatrical activism is as necessary now as it was in the eras of Gay and Brecht, and that practitioners today could learn much from the radical subversives of the past. Hannah Manktelow, University of Nottingham, UK, Joel Schechter may have written the perfect book for this historical moment. Schechter brings a lively and highly readable style to Eighteenth-Century Brechtians, which makes the daunting task of teasing out the parallels between two seemingly disparate aesthetic movements easy to follow. The breadth of the connections that Schechter makes is impressive [. . . ] The result is a clear, nuanced, novel reading of theatrical events and plays that demonstrates their vitality and relevance today. Eighteenth-Century Brechtians is part history, part exegesis, and part polemical manifesto. As we enter a period of political uncertainty, the satirical voices that Schechter celebrates here may prove useful once more. Readable and concise, the book is accessible enough for an undergraduate but with enough sophistication for more advanced students. Seth Wilson, University of Georgia, Journal of Dramatic Theory and Criticism, Volume 32, Number 1, Fall 2017 Not every book about the eighteenth-century theatre alludes to Chelsea Manning, Occupy Wall Street and Bernie Sanders, or concludes with a chronology that jumps from 1763 ('James Boswell visits Newgate Prison') to 1928 ('Brecht and others adapt Gay's The Beggar's Opera'). Eighteenth-century Brechtians: Theatrical Satire in the Age of Walpole makes these contemporary references and goes further: it is introduced by the theatre historian Peter Thomson as 'a bid to jolt the anglophone theatre out of its political doziness', and by its author Joel Schechter as 'a mapping of paths to future satire and activism, through a survey of earlier routes explored by Brecht and his precursors in England'. [ ] there is much here to prompt further investigation, not least for any post-Brechtian producers who happen to open the book. Michael Caines, The Times Literary Supplement, October 2016 It is very jauntily written, as might well be expected from this author, and his enthusiasm for his subject matter is at times infectious. Michael Wilson, Professor of Drama, Loughborough University This is a book like no other. Schechter delights in liberating his own fantasy, in allowing his imagination free play in interpreting, not only what was, but also what might have been and what, with the right incentives, might be. This new book has been written as a challenge to the twenty-first century, a bid to jolt the Anglophone theatre out of its political doziness. Peter Thomson, Emeritus Professor of Drama, University of Exeter This is an intelligent, radical book, intriguing from the start and relentlessly imaginative. Always accessible and affable in style. Graham Ley, Professor of Drama and Theory, University of Exeter, 'Not every book about the eighteenth-century theatre alludes to Chelsea Manning, Occupy Wall Street and Bernie Sanders, or concludes with a chronology that jumps from 1763 ("James Boswell visits Newgate Prison") to 1928 ("Brecht and others adapt Gay's The Beggar's Opera"). Eighteenth-century Brechtians: Theatrical Satire in the Age of Walpole makes these contemporary references and goes further: it is introduced by the theatre historian Peter Thomson as "a bid to jolt the anglophone theatre out of its political doziness", and by its author Joel Schechter as "a mapping of paths to future satire and activism, through a survey of earlier routes explored by Brecht and his precursors in England". [ ] there is much here to prompt further investigation, not least for any post-Brechtian producers who happen to open the book.' Michael Caines, The Times Literary Supplement, October 2016 'It is very jauntily written, as might well be expected from this author, and his enthusiasm for his subject matter is at times infectious.' Michael Wilson, Professor of Drama, Loughborough University 'This is a book like no other. Schechter delights in liberating his own fantasy, in allowing his imagination free play in interpreting, not only what was, but also what might have been and what, with the right incentives, might be.' 'This new book has been written as a challenge to the twenty-first century, a bid to jolt the Anglophone theatre out of its political doziness. Peter Thomson, Emeritus Professor of Drama, University of Exeter 'This is an intelligent, radical book, intriguing from the start and relentlessly imaginative. Always accessible and affable in style.' Graham Ley, Professor of Drama and Theory, University of Exeter, Joel Schechter's Eighteenth-Century Brechtians: Theatrical Satire in the Age of Walpole aims to locate an epic theatre that may have existed before Brecht articulated its definition in the twentieth century. Schechter's approach proves illuminating. He paints a picture of a vibrant theatrical climate, filled with meta-commentary, political activism, cross-dressing, and satire aimed at exposing hypocrisy and corruption in institutional structures. [He] offers a fresh, critical engagement that indicates how the political spirit enlivening the dramas of Dario Fo, Vaclav Havel, David Hare, and Caryl Churchill could find its antecedent in the eighteenth century. The book offers twenty-four chapters, some very brief and playful. This structure allows Schechter to interlace conventional scholarship with fictional narratives, dramatized conversations, transcribed diaries, and comparisons to modern movements such as Occupy Wall Street and figures such as Yoko Ono and Chelsea Manning. These interludes, asides, and anachronistic nods provide a Brechtian approach to historical scholarship, honouring the spirit of his source material and providing an engaging reading experience. Mathew McMahan, Emerson University, Theatre Survey, Volume 59, Issue 2, May 2018, Eighteenth-Century Brechtians is an ambitious and engaging study that takes the reader on a time-travelling journey through the past, present and future of Brechtian theatre. Eighteenth-Century Brechtians is not only illuminating but engaging, and articulates one of Schechter's central tenets: that theatrical activism is as necessary now as it was in the eras of gay and Brecht, and that practitioners today could learn much from the radical subversives of the past. Hannah Manktelow, University of Nottingham, UK, 'I found it both engaging and challenging/confusing, which is probably very Brechtian in itself. It is very jauntily written, as might well be expected from this author, and his enthusiasm for his subject matter is at times infectious. 'The author's approach to history is a welcome one that serves the material well. Rather than take a strictly chronological approach to history he adopts a view of history as a set of episodes that reflect on each other and through which we can move backwards, as well as forwards. This approach is one that Brecht himself would have endorsed, as a non-chronological approach challenges the notion that any event is the inevitable consequence of the event that preceded it. It acknowledges that other possible outcomes are always present.' (Michael Wilson, Professor of Drama, Loughborough University) 'This is a book like no other. 'Schechter delights in liberating his own fantasy, in allowing his imagination free play in interpreting, not only what was, but also what might have been and what, with the right incentives, might be. What if, he asks, we were to accept that Brecht influenced John Gay. What if The Threepenny Opera can be seen as a source for The Beggar's Opera and its banned sequel Polly? By challenging the authority of chronology, might we not come to a new understanding of the radicalism of Gay and Fielding? That's what this book succeeds in doing. (Peter Thomson, Emeritus Professor of Drama, University of Exeter) 'This is an intelligent, radical book, intriguing from the start and relentlessly imaginative. It has a clear agenda, which is to mix up two periods from the past in the hope that they will stimulate the present. Joel Schechter goes out of his way to suggest ways in which this is already, arguably, the case and in which directors or script-makers or dramaturgs might get in there and stir some more. 'The shape of the book is exciting and unpredictable, not conforming to a format, but always accessible and affable in style.' (Graham Ley, Professor of Drama and Theory, University of Exeter), This is an intelligent, radical book, intriguing from the start and relentlessly imaginative. It has a clear agenda, which is to mix up two periods from the past in the hope that they will stimulate the present. Schechter goes out of his way to suggest ways in which this is already, arguably, the case and in which directors or script-makers or dramaturgs might get in there and stir some more.The shape of the book is exciting and unpredictable, not conforming to a format, but always accessible and affable in style.
Table of Content
The Cast of Brechtians in Order of Appearance List of Illustrations Foreword by Peter Thomson Introduction Eighteenth-Century Brechtians Cross-Dressing Soldiers and Anti-Militarist Rakes Polly Peachum and the New Naiveté Pirates and Polly: A Lost Messingkauf Dialogue The Duchess of Queensberry Becomes Polly Peachum Macheath Our Contemporary Swift in Hollywood: Another Messingkauf Dialogue Swift's Polite Conversation with Falstaff Henry Fielding, Brechtian Before Brecht Fielding's London Merchant, and Lillo's Literarization of Fielding's Plays Tom Thumb Jones, Child Actress A World on Fire Fielding's Cibber Letters: Counterfeit Wit, Scurrility and Cartels Bertolt Brecht Writes The Beggar's Opera, Fielding Rewrites Polly Stage Mutineers Charlotte Charke's Tit for Tat; or Comedy and Tragedy at War: A Lost Play Recovered? Mrs Charke Escapes Hanging Garrick and Swift's School for Scandal--With a Digression on Yoko Ono Brecht Praises Garrick's Hamlet A Portrait of the Artists as Beggar's Opera Disciples--Including David Garrick, Epic Actor Walpole in America The Future of Eighteenth-Century Brechtiana: Polly Exonerated Conclusion: The Future Promise of an Earlier Age Eighteenth-Century Brechtians: A Timetable of Events Bibliography Index
Copyright Date
2016
Topic
Theater / General, Drama, Theater / History & Criticism, Social History, Humor
Lccn
2018-276134
Intended Audience
College Audience
Illustrated
Yes
Genre
Literary Criticism, History, Performing Arts
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