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• W4300264183 abstract "MLR, 103. I, 2oo8 289 telling of history iscontingent on the tellerunderpins thispoint. Kittstein's descrip tionof himself as 'inerster Linie Literaturwissenschaftler' (p. I I) isborne out by the strengths of the book; it isnone the less to itsdetriment thathe does not also analyse the narrative writings of historical scholars. The promise of a broad conception of 'historisches Erzahlen', suggested by the discussion inPart ii, isnot fulfilled in the analytical Parts III.2 and III.3, and one of the book's most interesting suggestions that literature responded to the 'crisisofHistorismus' whereas thehistorical profession could (orwould) not-thus remains untested and underdeveloped: amissed opportu nity,perhaps, to turngathered studies on a common theme into awider interpretation of theproximity and differences between the literaryand historical modes. UNIVERSITY OF BRISTOL STEFFAN DAVIES Brecht and Political Theatre: 'TheMother' on Stage. By LAURA BRADLEY. (Ox ford Modern Languages and Literature Monographs) Oxford: Clarendon Press. 2006. Xii+26i pp. C50. ISBN 978-0-I9-928658-4. This meticulously researched account of the staging and reception of Brecht's Die Mutter covering a period of seven decades is the first monograph on the play in any language. The fresh insights offered by Laura Bradley's perspicacious interpreta tions of a broad spectrum of hitherto available but largely neglected documentary sources, togetherwith thevarious theoretical approaches taken, set new standards for performance studies in the field. As might be expected of the only play Brecht himself staged in theWeimar Re public, in exile, and in theGDR, matters are complicated. 'Althoughmost literary critics interpretDie Mutter as if itexisted as a single text,directors actually have to choose between fivedifferentversions' (p. 8); and having chosen, theyhave todevelop a production concept appropriate to the time and place. There were fourteen attested productions of thework during theplaywright's life time, albeit none in theUSSR, even when Gorky was still alive and being hailed as a precursor of Socialist Realism. The present study initially deals in detail with the twomost important ones: Brecht's 1932 Berlin production and theBerliner En semble's Modellinszenierung for theStalinist GDR of I95 I.The differences between these are assessed in terms of the specific historical, aesthetic, and social conditions towhich theywere responding. The second half of the study's largely chronological exploration moves on to an illuminating juxtaposition of Peter Stein's idiosyncratic staging at the Schaubiihne am Halleschen Ufer and Ruth Berghaus's unexpectedly iconoclastic interpretation at theBerliner Ensemble. These flagship productions at major West and East Berlin theatres in theearly 1970S are shown to 'differ profoundly in almost every respect: their textual interpretations, theiraesthetic approaches, and the responses of the audiences and critics' (p. 93). A following chapter examines various non-German productions in order to bring out the important role played by specific translations and by cultural and political transference in themediation of Die Mutter to new, sometimes curious, sometimes hostile, audiences. Examples considered range from the misguided treatment Mother received at thehands ofwell intentioned Stanislavskians inNew York in I935 to even less deferential, post-I968 stagings (in Lille, New York, and Glasgow) of this once seminal museum piece of Marxist revolutionary theatre, thereby charting processes of radical reassessment of and political distancing from theBrecht Erbe, culminating in the fundamental English and Irish 'rewrites' of thematerial during thenext two decades. Brecht and Political Theatre concludes with brief accounts of amiscellany of 'post-Wende', postmodern pastiches and provocatively subversive versions ofmaterial quarried from a work 290 Reviews that, in the final years of theGDR, had ironically enjoyed the dubious reputation of a national Staatsstuick. 'DieMutter has, against the odds,' the chapter concludes, 'survived thepolitical system that itcame touphold' (p. I77). This is a densely argued and rewarding survey. Laura Bradley's main titlemay, however, arouse false expectations. The productions looked at are only occasionally seen in thecontext ofBrecht's evolving political theatreor thatof theLehrstuicke.And instead of exploring thebroad fieldof 'Brecht and Political Theatre', the second half of the study isprimarily concerned with 'political theatreand Brecht', i.e. the recipro cal relationship between post-war committed theatre and an increasingly problematic Brechtian legacy.Yet whether discussing canonical versions of thework, politically revisionist interpretations, or anarchical post-Marxist remixes of the core material, Laura Bradley's..." @default.
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• W4300264183 date "2008-01-01" @default.
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• W4300264183 title "Brecht and Political Theatre: 'The Mother' on Stage by Laura Bradley" @default.
• W4300264183 doi "https://doi.org/10.1353/mlr.2008.0343" @default.
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