Brecht at the Opera
Language: English
Published by University of California Press, US, 2019
Series: Book 2 of 23 - California Studies in 20th-Century Music
- Softcover
- New
Seller: Rarewaves USA, HEBRON, KY, U.S.A.Rarewaves USA
AbeBooks seller since June 10, 2025
Condition: New
£ 39.62
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Add to basketItem description from seller
From an award-winning author, the first thorough examination of the important influence of opera on Brecht's writings.Brecht at the Opera looks at the German playwright's lifelong ambivalent engagement with opera. An ardent opera lover in his youth, Brecht later denounced the genre as decadent and irrelevant to modern society even as he continued to work on opera projects throughout his career. He completed three operas and attempted two dozen more with composers such as Kurt Weill, Paul Hindemith, Hanns Eisler, and Paul Dessau. Joy H. Calico argues that Brecht's simultaneous work on opera and Lehrstück in the 1920s generated the new concept of audience experience that would come to define epic theater, and that his revisions to the theory of Gestus in the mid-1930s are reminiscent of nineteenth-century opera performance practices of mimesis.
Seller Inventory # LU-9780520314269
- Title
- Brecht at the Opera
- Author
- Joy H. Calico
- Publisher
- University of California Press, US
- Publication year
- 2019
- Condition
- New
- Binding
- Paperback
- Language
- English
- ISBN 10
- 0520314263
- ISBN 13
- 9780520314269
- Item weight
- 544 grams
- Series
- Book 2 of 23: California Studies in 20th-Century Music
Brecht at the Opera looks at the German playwright's lifelong ambivalent engagement with opera. An ardent opera lover in his youth, Brecht later denounced the genre as decadent and irrelevant to modern society even as he continued to work on opera projects throughout his career. He completed three operas and attempted two dozen more with composers such as Kurt Weill, Paul Hindemith, Hanns Eisler, and Paul Dessau. Joy H. Calico argues that Brecht's simultaneous work on opera and Lehrstück in the 1920s generated the new concept of audience experience that would come to define epic theater, and that his revisions to the theory of Gestus in the mid-1930s are reminiscent of nineteenth-century opera performance practices of mimesis.
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