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"A re-examination of Bertolt Brecht the theatre practitioner in the light of his theoretical writings and his work in the theatre"-- "Bertolt Brecht's reputation as a flawed, irrelevant or difficult thinker for the theatre can often go before him to such an extent that we run the risk of forgetting the achievements that made him and his company, the Berliner Ensemble, famous around the world. David Barnett examines both Brecht the theorist and Brecht the practitioner to reveal the complementary relationship between the two. This book aims to sensitize the reader to the approaches Brecht took to the world and the stage with a view to revealing just how carefully he thought about and realized his vision of a politicized, interventionist theatre. What emerges is a nuanced understanding of his concepts, his work with actors and his approaches to directing. The reader is encouraged to engage with Brecht's method that sought to 'make theatre politically' in order to locate the innovations he introduced into his stagecraft. There are many examples given of how Brecht's ideas can be staged, and the final chapter takes two very different plays and asks how a Brechtian approach can enliven and illuminate their production. Ultimately, the book invites readers, students and theatre-makers to discover new ways of apprehending and making use of Brecht"--

Aufführungspraxis. --- Inszenierung. --- PERFORMING ARTS --- Theater. --- Theatertheorie. --- Tyska dramatiker. --- Theater --- History & Criticism. --- Brecht, Bertolt, --- Criticism and interpretation.

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Music --- Musique --- music (discipline) --- Musikalische Aufführungspraxis. --- Kongress --- Oude muziek. --- Uitvoeringspraktijk. --- History and criticism. --- Interpretation (Phrasing, dynamics, etc.) --- Histoire et critique. --- Interprétation --- History and criticism

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" ... Is concerned with the very matter of musical expression: the hands and voices of virtuosic musicians."--Jacket. "Romantic Anatomies of Performance is concerned with the very matter of musical expression: the hands and voices of virtuosic musicians. Rubini, Chopin, Nourrit, Liszt, Donzelli, Thalberg, Velluti, Sontag, and Malibran were prominent celebrity pianists and singers who plied their trade between London and Paris, the most dynamic musical centers of nineteenth-century Europe. In their day, performers such as these provoked an avalanche of commentary and analysis, inspiring debates over the nature of mind and body, emotion and materiality, spirituality and mechanism, artistry and skill. J.Q. Davies revisits these debates, examining how key musicians and their contemporaries made sense of extraordinary musical and physical abilities. This is a history told as much from scientific and medical writings as traditionally musicological ones. Davies describes competing notions of vocal and pianistic health, contrasts techniques of training, and explores the ways in which music acts in the cultivation of bodies."--Publisher's description.

Music --- Musique --- History and criticism. --- Performance --- History. --- Histoire et critique --- Exécution --- Histoire --- Music. --- Virtuose. --- Virtuosität. --- Anatomie. --- Musikalische Aufführungspraxis. --- Virtuosité (musique) --- Voix --- Pianistes --- Musikframträdanden --- Uppförandepraxis --- histoire. --- Performance. --- Aspect physiologique --- Physiologie --- historia. --- 1800-1899. --- 1800-talet. --- Exécution --- History and criticism --- Performance&delete& --- History --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries)

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Eduard Steuermann (1892–1964), Austrian-Polish-Jewish pianist from Galicia, student of Busoni, teacher and friend of Adorno, exiled American, sought-after soloist and pedagogue between Vienna, New York and Darmstadt, sought throughout his life the "almost impossible": to reconcile truth and beauty in uncompromising "devotion to music". The esteem in which he was held as the most important pianist for the establishment of New Piano Music, not only by the Viennese Schoenberg circle, has had a lasting effect on an appreciation of his person that goes beyond this. In 14 contributions that look at Steuermann from very different angles – discussing his life, his family and artistic ties, his music-making and composing, his work as a teacher and witty author – the view of the breadth of his work is widened on the basis of numerous previously unexplored materials, and the portrait of an artist who, according to Adorno, embodied the "conscience" of music itself is drawn. Eduard Steuermann (1892–1964), österreichisch-polnisch-jüdischer Pianist aus Galizien, Schüler Busonis, Lehrer und Freund Adornos, Exil-Amerikaner, gefragter Solist und Pädagoge zwischen Wien, New York und Darmstadt, hat zeitlebens das "beinahe Unmögliche" gesucht: in kompromissloser "Hingabe an die Musik" Wahrheit und Schönheit zu versöhnen. Die Wertschätzung, die ihm als dem wichtigsten Pianisten für die Etablierung Neuer Klaviermusik nicht nur des Wiener Schönberg-Kreises entgegengebracht wurde, hat einer darüber hinausgehenden Würdigung seiner Person nachhaltig entgegengewirkt. In 14 Beiträgen, die Steuermann von sehr unterschiedlichen Seiten betrachten – sein Leben, seine familiären und künstlerischen Bindungen, sein Musizieren und Komponieren, sein Wirken als Lehrer und geistvoller Autor erörtern –, wird anhand zahlreicher bisher unerschlossener Materialien der Blick auf die Breite seines Schaffens geweitet und das Porträt eines Künstlers gezeichnet, der nach Adorno das "Gewissen" der Musik selbst verkörperte.

Eduard Steuermann, Michael Gielen, Arnold Schönberg, Alban Berg, Anton Webern, Rudolf Kolisch, Theodor W. Adorno, Wiener Schule, Wiener Espressivo, musikalische Interpretation, Schönberg-Interpretation, Beethoven-Interpretation, Mozart-Interpretation, Interpretationsforschung, Aufführungsgeschichte, Aufführungsanalyse, Diskographie, Phonographie, Musikgeschichte, Musikanalyse, Rezeptionsgeschichte, Interpretationsgeschichte, Neue Musik, Zwölftontechnik, Exilmusik, Klaviermusik, Klavierpädagogik, Verein für musikalische Privataufführungen, Juilliard School of Music, Black Mountain College, Darmstädter Ferienkurse für Neue Musik --- Edward Steuermann, Michael Gielen, Arnold Schoenberg, Alban Berg, Anton Webern, Rudolf Kolisch, Theodor W. Adorno, Second Viennese School, Viennese Espressivo, musical interpretation, Schoenberg interpretation, Beethoven interpretation, Mozart interpretation, performance studies, performance history, performance analysis, discography, phonography, music history, music analysis, musical reception, history of musical interpretation, New Music, twelve-tone technique, exile music, piano music, piano pedagogy, Society for Private Musical Performances, Juilliard School of Music, Black Mountain College, Darmstadt Summer Courses for New Music --- ÖFOS 2012 -- GEISTESWISSENSCHAFTEN (6) -- Kunstwissenschaften (604) -- Kunstwissenschaften (6040) -- Musikwissenschaft (604024) --- ÖFOS 2012 -- GEISTESWISSENSCHAFTEN (6) -- Kunstwissenschaften (604) -- Kunstwissenschaften (6040) -- Musikgeschichte (604022) --- ÖFOS 2012 -- GEISTESWISSENSCHAFTEN (6) -- Kunstwissenschaften (604) -- Kunstwissenschaften (6040) -- Aufführungspraxis (604003) --- ÖFOS 2012 -- HUMANITIES (6) -- Arts (604) -- Arts (6040) -- Musicology (604024) --- ÖFOS 2012 -- HUMANITIES (6) -- Arts (604) -- Arts (6040) -- Music history (604022) --- ÖFOS 2012 -- HUMANITIES (6) -- Arts (604) -- Arts (6040) -- Performance practice (604003) --- Steuermann, Edward, --- Criticism and interpretation.