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This book examines Brecht’s theory and method of adaptation. It first reconstructs it into a single framework using four key Brechtian concepts: Fabel, gestus, estrangement effects, and historicizing. It then uses that framework to analyse four Brechtian adaptations: The Tutor, Don Juan, “Socrates Wounded,” and Kriegsfibel. It argues that adaptation occupies a previously unrealised central place in Brecht’s thought, demonstrating that he provides us with a unique way to think about adaptation—as material transformation. It concludes by describing how Brecht is useful for anti-capitalist aesthetics today because through him one can foster a new consciousness which enables better social conditions to be created. This book is practical for both theatre practitioners and artists as well as theorists.
Author:
This book examines Brecht’s theory and method of adaptation. It first reconstructs it into a single framework using four key Brechtian concepts: Fabel, gestus, estrangement effects, and historicizing. It then uses that framework to analyse four Brechtian adaptations: The Tutor, Don Juan, “Socrates Wounded,” and Kriegsfibel. It argues that adaptation occupies a previously unrealised central place in Brecht’s thought, demonstrating that he provides us with a unique way to think about adaptation—as material transformation. It concludes by describing how Brecht is useful for anti-capitalist aesthetics today because through him one can foster a new consciousness which enables better social conditions to be created. This book is practical for both theatre practitioners and artists as well as theorists.
In the words of early 20th-century writer Ramón Gómez de la Serna, José Cabrero y Mons (1871–1954) is the central figure in the Novela del Arte. Cabrero remains the only unidentified artist in José Gutiérrez Solana’s iconic painting La tertulia del café de Pombo, the second most significant work in the Museo Reina Sofía, following Picasso’s Guernica. This monograph delves into Cabrero’s fascinating artistic life, uncovering previously unpublished details, including rare books from his personal library, correspondence with fellow artists, unknown paintings, and his remarkable collection of modern art, featuring works by Puvis de Chavannes, Solana, Rodin, Carrière, and De Groux. En palabras del escritor de principios de siglo Ramón Gómez de la Serna, José Cabrero y Mons (1871-1954) es el personaje principal de la novela del arte. Cabrero es el único artista no identificado en el cuadro La tertulia del café de Pombo de José Gutiérrez Solana, el cuadro más relevante del Museo Reina Sofía, después del Guernica de Picasso. Esta monografía sobre la intrigante vida artística de Cabrero explora las paradojas definitivas del período estético de Fin de Siècle. La monografía revela datos únicos e inéditos de su biblioteca personal, con ediciones y cartas dedicadas y raras, junto con sus pinturas desconocidas y su excepcional colección de arte moderno: Puvis de Chavannes, Solana, Rodin, Carrière, De Groux.
Series:
Foro Hispánico, Volume: 76
In the words of early 20th-century writer Ramón Gómez de la Serna, José Cabrero y Mons (1871–1954) is the central figure in the Novela del Arte. Cabrero remains the only unidentified artist in José Gutiérrez Solana’s iconic painting La tertulia del café de Pombo, the second most significant work in the Museo Reina Sofía, following Picasso’s Guernica. This monograph delves into Cabrero’s fascinating artistic life, uncovering previously unpublished details, including rare books from his personal library, correspondence with fellow artists, unknown paintings, and his remarkable collection of modern art, featuring works by Puvis de Chavannes, Solana, Rodin, Carrière, and De Groux. En palabras del escritor de principios de siglo Ramón Gómez de la Serna, José Cabrero y Mons (1871-1954) es el personaje principal de la novela del arte. Cabrero es el único artista no identificado en el cuadro La tertulia del café de Pombo de José Gutiérrez Solana, el cuadro más relevante del Museo Reina Sofía, después del Guernica de Picasso. Esta monografía sobre la intrigante vida artística de Cabrero explora las paradojas definitivas del período estético de Fin de Siècle. La monografía revela datos únicos e inéditos de su biblioteca personal, con ediciones y cartas dedicadas y raras, junto con sus pinturas desconocidas y su excepcional colección de arte moderno: Puvis de Chavannes, Solana, Rodin, Carrière, De Groux.
Author:
Are there shadows in medieval art? Studies on the role of shadows in art history have either glanced over or ignored the medieval period, yet people of the Middle Ages certainly saw and thought about shadows and recorded their ideas about these phenomena in texts and images.
This book examines references to shadows in science, religion, and folklore of the Middle Ages. Through the lens of fifteenth-century manuscript painting, it investigates visual, metaphorical, and supernatural shadows in art to discover what shadows meant to the medieval viewer.
This book examines references to shadows in science, religion, and folklore of the Middle Ages. Through the lens of fifteenth-century manuscript painting, it investigates visual, metaphorical, and supernatural shadows in art to discover what shadows meant to the medieval viewer.
Author:
Are there shadows in medieval art? Studies on the role of shadows in art history have either glanced over or ignored the medieval period, yet people of the Middle Ages certainly saw and thought about shadows and recorded their ideas about these phenomena in texts and images.
This book examines references to shadows in science, religion, and folklore of the Middle Ages. Through the lens of fifteenth-century manuscript painting, it investigates visual, metaphorical, and supernatural shadows in art to discover what shadows meant to the medieval viewer.
This book examines references to shadows in science, religion, and folklore of the Middle Ages. Through the lens of fifteenth-century manuscript painting, it investigates visual, metaphorical, and supernatural shadows in art to discover what shadows meant to the medieval viewer.
A Performance of the Baja Ni Funeral Cycle in Tireli, Mali
Though the Dogon are well-described, their culture still holds surprises. One of these is the cycle of songs called baja ni, which is at the heart of their funerary rites. Surprisingly, these songs have a historic author, a blind poet/prophet who roamed the area in the 19th century and left a huge heritage of songs and prophecies. This book gives the full text of one performance of this legacy. The lyrics cover a range of topics, from comments on historical events to philosophical musings about life and death, and from remembering the departed to celebrating the joys of being alive.
A Performance of the Baja Ni Funeral Cycle in Tireli, Mali
Though the Dogon are well-described, their culture still holds surprises. One of these is the cycle of songs called baja ni, which is at the heart of their funerary rites. Surprisingly, these songs have a historic author, a blind poet/prophet who roamed the area in the 19th century and left a huge heritage of songs and prophecies. This book gives the full text of one performance of this legacy. The lyrics cover a range of topics, from comments on historical events to philosophical musings about life and death, and from remembering the departed to celebrating the joys of being alive.