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Igor Strawinsky und Bertolt Brecht: ...

Stegmann, Vera Sonja.

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Igor Strawinsky und Bertolt Brecht: Zur Poetik des epischen Musiktheaters. [German text].

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Igor Strawinsky und Bertolt Brecht: Zur Poetik des epischen Musiktheaters. [German text]./
作者:	Stegmann, Vera Sonja.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1990,
面頁冊數:	318 p.
附註:	Source: Dissertation Abstracts International, Volume: 51-05, Section: A, page: 1626.
Contained By:	Dissertation Abstracts International51-05A.
標題:	German literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9030394

Igor Strawinsky und Bertolt Brecht: Zur Poetik des epischen Musiktheaters. [German text].
Stegmann, Vera Sonja.

Igor Strawinsky und Bertolt Brecht: Zur Poetik des epischen Musiktheaters. [German text]. - Ann Arbor : ProQuest Dissertations & Theses, 1990 - 318 p.

Source: Dissertation Abstracts International, Volume: 51-05, Section: A, page: 1626.

Thesis (Ph.D.)--Indiana University, 1990.

Bertolt Brecht is commonly known for coining the term 'Epic Theater'. 'Epic Theater' narrates rather than embodies or represents; it rebels against the Aristotelian unities of time, place, and action; it demands a rational and critical attitude of the spectator as well as of the actor who is supposed to distance himself from the role s/he plays. In spite of its originality, Brecht's theory had its theatrical precursors, and it can be explained more broadly in light of contemporaneous developments in music theater. Since Brecht's dramas have included music from the beginning, his theory of Epic Theater can be understood more adequately as a theory of epic opera. He looked for models also among composers; and the present dissertation discusses the affinities between the works of Igor Strawinsky and Bertolt Brecht.Subjects--Topical Terms:

699188
German literature.

Igor Strawinsky und Bertolt Brecht: Zur Poetik des epischen Musiktheaters. [German text].
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245 1 0 $a Igor Strawinsky und Bertolt Brecht: Zur Poetik des epischen Musiktheaters. [German text].
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500 $a Source: Dissertation Abstracts International, Volume: 51-05, Section: A, page: 1626.
502 $a Thesis (Ph.D.)--Indiana University, 1990.
520 $a Bertolt Brecht is commonly known for coining the term 'Epic Theater'. 'Epic Theater' narrates rather than embodies or represents; it rebels against the Aristotelian unities of time, place, and action; it demands a rational and critical attitude of the spectator as well as of the actor who is supposed to distance himself from the role s/he plays. In spite of its originality, Brecht's theory had its theatrical precursors, and it can be explained more broadly in light of contemporaneous developments in music theater. Since Brecht's dramas have included music from the beginning, his theory of Epic Theater can be understood more adequately as a theory of epic opera. He looked for models also among composers; and the present dissertation discusses the affinities between the works of Igor Strawinsky and Bertolt Brecht.
520 $a The two artists were neither personally nor ideologically close: Too many barriers separated the conservative, if not apolitical, Russian Orthodox emigre composer from the left-wing, avowedly atheist writer Brecht. Yet their search for a new music theater led them independently to discover similar aesthetic principles. Without using the term, Strawinsky foreshadows Brecht's alienation technique in pieces like Histoire du soldat or Oedipus Rex in an attempt to overcome Wagnerian notions of music in which the irrational predominates.
520 $a The present dissertation treats the subject of opera, traditionally the domain of study of musicologists, from a literary perspective. Regarding the libretto as a literary text, it contains close analyses of textual material and discusses music rather on a general aesthetic level. The first chapter traces factual evidence of encounters between Strawinsky and Brecht in the 20s in Berlin and later in their exile in Hollywood. Chapter Two proceeds historically. Both Strawinsky's and Brecht's thinking evinces a strong aversion against the Wagnerian 'Gesamtkunstwerk.' In their rejection of Wagner they follow a European tradition of the early twentieth century, and thus a brief outline of European anti-Wagnerism is necessary in this context. Chapter Three examines the theoretical foundations of Strawinsky's and Brecht's works. Among them figure montage, the separation of artistic elements, and an emphasis on the visibility of the arts. Parallels to contemporary literary theories as espoused by the Russian formalists as well as to movements in art, particularly cubism, are also discussed in this context. This theoretical focus provides the basis for a comparative analysis of two works, Igor Strawinsky/Charles Ferdinand Ramuz's Histoire du soldat and Kurt Weill/Bertolt Brecht's Die Dreigroschenoper.
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