An analysis of brecht's most popular piece along tragic parameters.

This chapter explores in particular the 'greek presence' in the small organon, as manifested in the form of greek tragedy and/or its theorist aristotle. This is embedded within a broader analysis of this key work as a fundamenal contribution to theatre theory. New archival material in the form of brecht's type-written inserts into his personal copy of aristotle's 'poetics' is published for the first time and discussed in detail.

The brechtian tragic is inconceivable without the brechtian comic. Virtually no brecht play lacks a strong comic dimension, covering the whole range of the genre (parody, commedia, slapstick, clown etc.). Brechtian tragi-comedies call for special attention in this context, and this chapter contains detailed analyses of the resistible rise of arturo ui as well as the fragmentary, aristophanes-inspired pluto revue.

Brecht is one of the few 20th-century artists who regularly uses choruses as a theatrical device. Its use by brecht leads to fundamnetal observations about his dramatic art more generally.

The significance of the model book, which developed out of the 1948 production of the antigone, far exceeds its immediate context. Like the production which it is based on, it is an exemplary case study for brecht's novel kind of theatre in its dramaturgical, actorial and directorial dimensons. The diverging format of the two editions of the model book and their significance are discussed. The chapter concludes with a plea for re-inventing the model book format.

The chapter explores affinities with tragedy and the use of tragic themes in this brecht/weill opera.

Natualism is the closest other for brecht and therefore required the strongest differentiation. As a particularly empathy-driven form of theatre, it provoked particularly polemical responses from him which in turn also helped brecht to articulate his own ideas more clearly.

An exploration of brecht's most overtly tragic play .

An analysis of one of brecht's masterpieces as a deep and powerful exploration of the tragic 'big form'.

Another one of brecht's masterpieces, the galileo explores the fall of one scientist and the ongoing rise of science.

This chapter situates brecht's conception of greece relative to his notions of asia and his use of the asian theatre traditions, in particular japanese noh theatre. This other other supplied brecht with crucial technical ideas but also served as the pure and uncompromised theatre tradition which was uniformly positively connoted.

The 'genius' shakespeare has a unique position for brecht and continues to be one of his (few) life-long artistic companions. Of particular interest here is brecht's adaptation of shakespeare's coriolanus, including his translation, which shows remarkable poetic skills but also points to ways of overcoming the tragic impasse and traditonal tragedy's (unproductive) focus on the (disposable) individual by showing the transformational power of collectives.