Overview

Alongside the usual wide-ranging lineup of research articles, volume 41 features an interview with Berliner Ensemble actor Annemone Haase and an extensive special section on teaching Brecht. Now published for the International Brecht Society by Camden House, the Brecht Yearbook is the central scholarly forum for discussion of Bertolt Brecht's life and work and of topics of particular interest to Brecht, especially the politics of literature and of theater in a global context. It includes a wide variety of perspectives and approaches, and, like Brecht himself, is committed to the concept of the use value of literature, theater, and theory. Volume 41 features an interview with longtime Berliner Ensemble actor Annemone Haase by Margaret Setje-Eilers. A special section on teaching Brecht, guest-edited by Per Urlaub and Kristopher Imbrigotta, includes articles on creative appropriation in the foreign-language classroom (Caroline Weist), satire in Arturo Ui and The Great Dictator (Ari Linden), performative discussion (Cohen Ambrose), Brecht for theater majors (Daniel Smith), teaching performance studies with the Lehrstuck model (Ian Maxwell), Verfremdung and ethics (Elena Pnevmonidou), Brecht on the college stage (Julie Klassen and Ruth Weiner), and methods of teaching Brechtian Stuckschreiben (Gerd Koch). Other research articles focus on Harry Smith's Mahagonny (Marc Silberman), inhabiting empathy in the contemporary piece Temping (James Ball), Brecht's appropriation of Kurt Lewin's psychology (Ines Langemeyer), and Brecht's collaborations with women, both across his career (Helen Fehervary) and in exile in Skovsbostrand (Katherine Hollander). Editor Theodore F. Rippey is Associate Professor of German at Bowling Green State University.

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Reviews

Offer some keen insights into Brechtian strategy as pedagogic and performative practice and argue strongly for its relevance as a crux of engaging actively with the de- and re-construction of what it means to take a role in the processes of learning and deploying critical intelligence in the classroom and beyond. JOURNAL OF EUROPEAN STUDIES

Offers some keen insights into Brechtian strategy as pedagogic and performative practice and argues strongly for its relevance as a crux of engaging actively with the de- and re-construction of what it means to take a role in the processes of learning and deploying critical intelligence in the classroom and beyond. JOURNAL OF EUROPEAN STUDIES

Author Information

Kristopher Imbrigotta is Assistant Professor of German Studies at the University of Puget Sound. IAN MAXWELL is an Honorary Research Fellow, Music Department, University of Sheffield. ELENA PNEVMONIDOU is Associate Professor in the Department of German and Slavic Studies and Director of the European Studies program at the University of Victoria.

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