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The Piscator Notebookis a political and professional autobiography which bridges the work of two iconic figures: Erwin Piscator, who pioneered 'epic theatre' with Brecht; and Judith Malina, co-founder of the extraordinarily influential Living Theatre. This is Malina's account, and analysis, of her time as Piscator's student. It is a compelling record of the genealogy of political theatre from Europe to the US and back again.
Table of Contents
|List of Plates||p. vii|
|List of Figures||p. xi|
|Weimer to the Dramatic Workshop||p. 1|
|Personal History||p. 3|
|Erwin Piscator: Germany to New York City||p. 3|
|The Founding of The Dramatic Workshop, 1940||p. 11|
|The Studio Theatre||p. 12|
|The Teachers at Piscator's School||p. 13|
|The Students||p. 17|
|My Personal Struggle to Enter The Dramatic Workshop||p. 31|
|Valeska Gert||p. 32|
|Lunar Bowels: An Audition Piece||p. 32|
|The Notebook||p. 35|
|The Ongoing Epic||p. 121|
|End of the Notebook and First Workshop Plays||p. 123|
|Julian Beck||p. 124|
|By Any Other Name and Maurice Schwartz's Yiddish Art Theatre||p. 125|
|Piscator's Basic Question: The Role of the Audience||p. 125|
|Becoming a Director: A Confession||p. 126|
|The Inspiration of Joseph Urban's Architecture||p. 127|
|Eleanor Fitzgerald||p. 127|
|The Classes||p. 128|
|The Plays||p. 135|
|Kandinsky's Great Insight||p. 149|
|Piscator and the Audience||p. 150|
|Objective Acting||p. 152|
|Between Two Worlds||p. 155|
|Piscator: Success and Failure||p. 159|
|Piscator's Return to Germany - and to Berlin||p. 160|
|Eric Bentley||p. 164|
|Piscator's Influence||p. 167|
|Piscator's Influence: The Work of The Living Theatre||p. 170|
|Afterword: Political Theatre, Theatrical Politics: Epic Theatre in the 21st Century||p. 194|
|Table of Contents provided by Ingram. All Rights Reserved.|