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Rewriting, Violence, and Theater: Bertolt Brecht's The Measures Taken and Heiner Müller's Mauser

Rewriting, Violence, and Theater: Bertolt Brecht's The Measures Taken and Heiner Müller's Mauser THE COMPAKATIST REWRITING, VIOLENCE, AND THEATER: BERTOLT BRECHT'S THE MEASURES TAKEN AND HEINER MÜLLER'S MAUSER Benton Jay Komins Much has been written about Bertolt Brecht's extraordinary influence on contemporary theater. This tendency is perhaps best seen in the words of Kenneth Tynan who stated, in 1956: "Once in a generation the world discovers a new way of telling a story. This generation's pathfinder is Bertolt Brecht, both as a playwright and as a director" (qtd. in RooseEvans 68). Brecht's "newness"--his pathfinding theories of acting and production--has influenced generations in Western Europe, the United States, and the former Eastern Bloc countries. Yet, to use him as a barometer, or as an aesthetic gauge to judge the relevance and contemporaneity of a dramatic work often falls short of its mark. Tf one makes Brecht the yardstick for what literature can accomplish today," writes Peter Bürger in Theory of the Avant-Garde, "Brecht himself can no longer be judged and the question whether the solution he found for certain problems is tied to the period of its creation or not can no longer be asked" (88). Bürger sees that Brecht's works cannot be separated from history. Once they are removed from their http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

Rewriting, Violence, and Theater: Bertolt Brecht's The Measures Taken and Heiner Müller's Mauser

The Comparatist , Volume 26 (1) – Oct 3, 2002

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Publisher
University of North Carolina Press
Copyright
Copyright © Southern Comparative Literature Association.
ISSN
1559-0887
Publisher site
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Abstract

THE COMPAKATIST REWRITING, VIOLENCE, AND THEATER: BERTOLT BRECHT'S THE MEASURES TAKEN AND HEINER MÜLLER'S MAUSER Benton Jay Komins Much has been written about Bertolt Brecht's extraordinary influence on contemporary theater. This tendency is perhaps best seen in the words of Kenneth Tynan who stated, in 1956: "Once in a generation the world discovers a new way of telling a story. This generation's pathfinder is Bertolt Brecht, both as a playwright and as a director" (qtd. in RooseEvans 68). Brecht's "newness"--his pathfinding theories of acting and production--has influenced generations in Western Europe, the United States, and the former Eastern Bloc countries. Yet, to use him as a barometer, or as an aesthetic gauge to judge the relevance and contemporaneity of a dramatic work often falls short of its mark. Tf one makes Brecht the yardstick for what literature can accomplish today," writes Peter Bürger in Theory of the Avant-Garde, "Brecht himself can no longer be judged and the question whether the solution he found for certain problems is tied to the period of its creation or not can no longer be asked" (88). Bürger sees that Brecht's works cannot be separated from history. Once they are removed from their

Journal

The ComparatistUniversity of North Carolina Press

Published: Oct 3, 2002

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