In 2002, I published an article in Theatre Research International called ‘Heiner Müller as the End of Brechtian Dramaturgy: Müller on Brecht in Two Lesser-Known Fragments’. I had written my doctoral dissertation on Müller, and, in the course of my studies, had come across two shorter pieces that, to my knowledge, had not been discussed by scholars. The first was Philoktet 1979 (Philoctetes 1979), a short, parodic and grotesque treatment of the Philoctetes myth, something very different from Müller's more sombre adaptation of the same material, published in 1965. I had heard Müller read the comic piece at the Berliner Ensemble in March 1995 and located the source in a copy of the German weekly newspaper Die Zeit, printed in December 1978. The second piece was also parodic and also appeared in a newspaper. Nachleben Brechts Beischlaf Auferstehung in Berlin (Brecht's Afterlife Intercourse Resurrection in Berlin) featured in the Volkszeitung in July 1990.1 The title suggested that Müller was ironically quoting his own back catalogue, echoing his play Leben Gundlings Friedrich von Preußen Lessings Schlaf Traum Schrei (Gundling's Life Frederick of Prussia Lessings Sleep Dream Cry) (1977) and Germania Tod in Berlin (Germania Death in Berlin) (1978). Stylistically, it looked like a heightened version of the technique employed in Philoktet 1979, in that it drew on and collided more Brechtian intertexts, and referenced Müller's own work more extensively. My doctoral supervisor had found the short playlet in the Volkszeitung. It was one of five responses to Brecht from prominent German literary figures, including Peter Handke and Martin Walser, collected under the title ‘Brecht: Stimmen der Dichter’ (Brecht: The Writers Speak). In my article's fifth footnote, I observed that while Philoktet 1979 appeared in the only extant bibliography of the playwright at the time, Nachleben Brechts did not. It would be hard to conceal an amount of smugness in my observation. But such self-satisfaction is not a quality worth airing too publicly, as will become evident soon.

In this article David Barnett documents a practice-as-research project that employed Brechtian approaches to stage dramatic material. The Crucible by Arthur Miller is a realist text in which the protagonist, John Proctor, redeems himself for the sin of adultery by taking a heroic stand against the Salem witch-hunts. Existing scholarship has revealed a series of gendered biases in the form and content of the play, yet these findings have never been systematically realized in performance. While appearing to defend democratic values, the play’s dramaturgical strategies coerce agreement, and this represents a fundamental contradiction. Brecht offers a method that preserves the written dialogue, but interprets it critically onstage, deploying a range of devices derived from a materialist and dialectical interpretation. The aim of the production was to re-present a play with a familiar production history and problematize the political bases on which it conventionally rested. The article discusses the rationale for the theory and practice of contemporary Brechtian theatre and offers the production as a model for future critical realizations of other realist plays. David Barnett is Professor of Theatre at the University of York. His publications include A History of the Berliner Ensemble (CUP, 2015), Brecht in Practice: Theatre, Theory and Performance (Bloomsbury, 2014), amd Rainer Werner Fassbinder and the German Theatre (CUP, 2005).

Experiments were conducted to compare barnyardgrass control and rice injury and yield with emulsifiable concentrate and dry flowable formulations of propanil as single or repeat applications with crop oil concentrate, methylated seed oil, a blend of organosilicone surfactant and methylated seed oil or conventional nonionic surfactant, and organosilicone surfactant. Two applications of propanil were more effective in controlling barnyardgrass than a single application. The emulsifiable concentrate formulation of propanil controlled barnyardgrass more effectively than the dry flowable formulation in some but not all experiments. Differences in barnyardgrass control with propanil as influenced by adjuvants were minor and inconsistent. The most consistent barnyardgrass control and the highest rice yields were obtained with repeat applications of the emulsifiable concentrate formulation of propanil.

In this article David Barnett explores the Berliner Ensemble's production in 1956 of Synge's classic The Playboy of the Western World. Although it was directed by Peter Palitzsch and Manfred Wekwerth, Bertolt Brecht, the company's co-founder, loomed large in planning and rehearsal. This staging serves as an example of how a politicized approach to theatre-making can bring out relationships, material conditions, and power structures that the play's production history has often ignored. In addition, Barnett aims to show how Brechtian methods can be applied more generally to plays not written in the Brechtian tradition and the effects they can achieve. David Barnett is Professor of Theatre at the University of York. He is the author of Heiner Müller's ‘The Hamletmachine’ (Routledge, 2016), A History of the Berliner Ensemble (Cambrige, 2015) and Brecht in Practice: Theatre, Theory, and Performance (Bloomsbury, 2014). His recent AHRC-funded ‘Brecht in Practice: Staging Drama Dialectically’, led to a Brechtian production of Patrick Marber's Closer, and he offers theatre-makers and teachers workshops on using Brecht's method on stage and in the classroom.