| Acknowledgements |
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ix | |
| Contributors |
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xi | |
| Introduction |
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1 | (14) |
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| Part I: Brecht's Aesthetic Theories |
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15 | (8) |
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23 | (8) |
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An Epic Theatre Catechism |
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31 | (6) |
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Are Stanislavsky and Brecht Commensurable? |
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37 | (6) |
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Brecht's Concept of Gestus and the American Performance Tradition |
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43 | (7) |
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50 | (11) |
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| Part II: Brecht's Theories in Practice |
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61 | (5) |
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Composing for BB: Some Comments |
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66 | (5) |
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Actors on Brecht: The Munich Years |
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71 | (13) |
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84 | (5) |
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89 | (18) |
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The Beggar or The Dead Dog |
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107 | (6) |
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The Dialectics of Galileo |
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113 | (11) |
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The Dispute Over the Valley: An Essay on Bertolt Brecht's Play The Caucasian Chalk Circle |
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124 | (15) |
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Prologue to The Caucasian Chalk Circle |
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139 | (8) |
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| Part III: Brecht Interpreted Abroad |
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Brecht and the English Theatre |
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147 | (9) |
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The Death of Mother Courage |
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156 | (7) |
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Brecht and Chicano Theatre |
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163 | (9) |
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Brecht and Latin America's ``Theatre of Revolution'' |
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172 | (13) |
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Political Displacements: Toward Historicizing Brecht in Japan, 1932--1998 |
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185 | (21) |
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The Actor's Involvement: Notes on Brecht--An Interview with Joseph Chaikin |
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206 | (8) |
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Brechtian Theory and American Feminist Theatre |
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214 | (14) |
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Brecht, Feminism, and Chinese Theatre |
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228 | (9) |
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| Index |
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237 | |
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