Afterword: The Modern ‘Subject’ and Pre-Modern Drama

  • Edward Burns

Abstract

Brecht’s introductory notes on his opera The Rise and Fall of the City of Mahagonny1 include a table of comparisons between the ‘epic’ theatre, of which this is an example, and the theatre it seeks to replace:

Keywords

Assure Expense Posit Ghost Defend 

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Notes

  1. 1.
    Berthold Brecht The Rise and Fall of the City of Mahagonny, introductory notes, translated by John Willett in Brecht on Theatre (London, 1964), p. 37.Google Scholar
  2. 7.
    For a summary see Victor Erlich, Russian Formalism: History-Doctrine (The Hague, 1965), pp. 176–8.Google Scholar
  3. 8.
    Vladimir Propp, Morphology of the Folktale, trans. Laurence Scott (Texas, 1968).Google Scholar
  4. 11.
    Translated in Ladislav Matejka and Irwin R. Titinuk (eds), Semiotics of Art: Prague School Contributions (Cambridge, Mass., 1976), pp. 3–9.Google Scholar
  5. 18.
    Jiri Veltrusky, Man and Object in the Theater in A Prague School Reader on Esthetics, literary structure and style, edited and translated by Paul L. Garvin (Georgetown, 1964), p. S3.Google Scholar
  6. 26.
    Trotsky, Literature and Revolution (New York, 1957), p. 162.Google Scholar
  7. 31.
    See George Bisztray, Marxist Models of Literary Realism (New York, 1978), pp. 24–8.Google Scholar
  8. 35.
    Gorky, Collected Works (Moscow, 1907), Vol. III, 29, p. 173.Google Scholar
  9. 45.
    A. C. Bradley, Shakespearean Tragedy (first edn 1904, repr. London, 1976), p. 17.Google Scholar
  10. 52.
    Seymour Chatman, Story and Discourse (Ithaca, 1978), p. 138.Google Scholar
  11. 55.
    See David Magarshack’s introduction to Stanislavsky on the Art of the Stage (London, 1967), p. 12.Google Scholar
  12. 57.
    L. C. Knights, ‘How Many Children had Lady Macbeth?’ (1933) in Explorations (London, 1946), p. 1.Google Scholar
  13. 63.
    A. D. Nuttall, ‘The argument about Shakespeare’s characters’ in D. J. Palmer (ed.), Shakespeare’s wide and universal stage (Manchester, 1984), p. 30.Google Scholar
  14. 64.
    E. M. Forster, Aspects of the Novel (London, 1949), pp. 65–75.Google Scholar
  15. 71.
    Keir Elam, The Semiotics of Theatre and Drama (London, 1980).CrossRefGoogle Scholar
  16. 75.
    Roland Barthes, S/Z, translated by Richard Miller (New York, 1974), p. 178.Google Scholar
  17. 76.
    Simon Callow’s Being an Actor provides an interesting if anecdotal combination of Reichian analysis with Stanislavskian practice as an account of his own development as an actor. See also J. Laplanche and J. B. Pontalis, The Language of Psycho-analysis (London, 1983), pp. 67–8.Google Scholar
  18. 77.
    L. Althusser, ‘Freud and Lacan’ in Essays on Ideology (London, 1984), p. 170.Google Scholar
  19. 78.
    Jonathan , Radical Tragedy, passim (Brighton, 1984).Google Scholar

Copyright information

© Edward Burns 1990

Authors and Affiliations

  • Edward Burns
    • 1
  1. 1.University of LiverpoolUK

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