Stuart Ostrow, who had ties with Sondheim with The Girls Upstairs ( later titled Follies ), agreed to produce the musical, now entitled A Play By Brecht ( later titled The Race to Urga ).

These classes – later taught by Richard Maxfield – were attended by many artists and musicians who would become involved in Fluxus, including Jackson Mac Low, La Monte Young, George Brecht, Dick Higgins and George Maciunas.

The Futurist art movement was important for the development of the noise aesthetic, as was the Dada art movement ( a prime example being the Antisymphony concert performed on April 30, 1919 in Berlin ), and later the Surrealist and Fluxus art movements, specifically the Fluxus artists Joe Jones, Yasunao Tone, George Brecht, Robert Watts, Wolf Vostell, Yoko Ono, Nam June Paik, Walter De Maria's Ocean Music, Milan Knížák's Broken Music Composition, early LaMonte Young and Takehisa Kosugi.

His work, influenced by Bertolt Brecht, is often dream-like and later works in particular have a political element.

In the summer of 1977 Gloria Foster was Clytemnestra in the towering Greek tragedy Agamemnon followed by Raul Julia as Macheath in Richard Foreman's production of Bertolt Brecht / Kurt Weill's The Threepenny Opera, which later transferred to Lincoln Center.

In the 1960s Yat Malmgren taught movement, based on principles derived from Laban ; Cicely Berry taught voice to students and later the Royal Shakespeare Company, John Allen, Principal from 1972 to 1978, founded the Glyndebourne Children's Theatre, was the leading organiser of the Communist Party's Unity Theatre, where he coordinated the first Living Newspaper, Busmen ( 1937 ), and was a founding member of the Group Theatre, also in the mid-1930s ; Litz Pisk was Head of Movement ( 1964-1970 ), having previously worked with Bertolt Brecht and Kurt Weill in Vienna, and then Michel Saint-Denis at the Old Vic Theatre School

Acting as Blitzstein ’ s conscience / mentors are a vision of his deceased wife and, later, an imaginary Bertolt Brecht.

Also in the twentieth century, Bertholt Brecht wrote The Horatians and the Curiatians based on the story, followed by Heiner Müller's The Horatian, which was later transformed by Heiner Goebbels into a three-movement song that re-tells the myth ; in the third movement, the Horatian is crowned with the laurel for his merits and simultaneously executed for his guilt.

Years later, Brecht directed the play with the Berliner Ensemble at the Deutsches Theater in Berlin in a production that opened on the 10 January 1951.

Brecht would later refer to Cage as his ' liberator ', whilst, in the opinion of some critics, moving beyond Cage's notion of music ; Cage was still writing scores to be performed.

Cullen later worked with the Sydney Theatre Company performing Brecht and for Belvoir St Theatre as Titania in A Midsummer Night's Dream.

In September 1928, Brecht and Zoff divorced ; Zoff married Lingen later that year.

Bertolt Brecht coined the term " defamiliarization effect " ( sometimes called " estrangement effect " or " alienation effect "; German Verfremdungseffekt ) for an approach to theater that focused on the central ideas and decisions in the play, and discouraged involving the audience in an illusory world and in the emotions of the characters.

The term agitprop gave rise to agitprop theatre, a highly-politicized leftist theatre originated in 1920s Europe and spread to America ; the plays of Bertolt Brecht being a notable example.

Artists linked with the term include Genpei Akasegawa, John Chamberlain, Jim Dine, Kommissar Hjuler, Jasper Johns, Yves Klein, George Maciunas, Yoko Ono, Nam June Paik, Allan Kaprow, George Brecht, Wolf Vostell, Joseph Beuys, Dick Higgins, Ushio Shinohara, and Robert Rauschenberg.

In addition, according to some accounts Shklovsky's Russian friend playwright Sergei Tretyakov taught Brecht Shklovsky's term during Brecht's visit to Moscow in the spring of 1935.

It was in any case not long after returning in the spring of 1935 from Moscow, where he saw a command performance of Beijing Opera techniques by Mei Lanfang, that Brecht first used the German term in print to label an approach to theater that discouraged involving the audience in an illusory narrative world and in the emotions of the characters.

Its members also belonged to other art movements and groups during the Weimar Republic era, such as architect Walter Gropius ( founder of Bauhaus ), and Kurt Weill and Bertolt Brecht ( agitprop theatre ).

Many theatre works were sympathetic towards Marxist themes, or were overt experiments in propaganda, such as the agitprop theatre by Brecht and Weill.

Great forces in the emancipation of theatre directing as a profession were notable 20th century theatre directors like Peter Brook, Peter Hall ( Britain ), Bertolt Brecht ( Germany ) and Giorgio Strehler ( Italy ).

Here, Mirbeau can be seen as anticipating the theatre of Bertolt Brecht, Marcel Aymé, Harold Pinter, and Eugène Ionesco.

For example, Bertolt Brecht viewed catharsis as a pap ( pablum ) for the bourgeois theatre audience, and designed dramas which left significant emotions unresolved, intending to force social action upon the audience.

Brook's work is also inspired by the theories of experimental theatre of Jerzy Grotowski, Bertolt Brecht, Chris Covics and Vsevolod Meyerhold and by the works of G. I. Gurdjieff, Edward Gordon Craig, and Matila Ghyka.

His turn to Marxism in the 1930s was partly due to the influence of Bertolt Brecht, whose critical aesthetics developed epic theatre and its Verfremdungseffekt ( defamiliarisation, alienation ).

On the other side of the Wall, these bands tended to be stylistically more conservative than in the West, to have more reserved engineering, and often to include more classical and traditional structures ( such as those developed by Kurt Weill and Bertolt Brecht in their 1920s Berlin theatre songs ).

However, Moisiu did not keep up with the German Expressionist and epic theatre movement initiated by directors like Erwin Piscator and Bertolt Brecht.

* Bertolt Brecht and his epic theatre

While in Germany, Revueltas worked with playwright Bertold Brecht in his theatre.

The moments of magic [...] are to be fully realized, as bits of wonderful theatrical illusion — which means it's OK if the wires show, and maybe it's good that they do ..." Kushner is an admierer of Brecht, who practiced a style of theatrical production whereby audiences were often reminded that they were in a theatre.

East German theatre was strongly dominated in its early years by Bertolt Brecht, who brought back a lot of artists from the antifascist resistance and reopened Theater am Schiffbauerdamm with his Berliner Ensemble.

Epic theatre () was a theatrical movement arising in the early to mid-20th century from the theories and practice of a number of theatre practitioners, including Erwin Piscator, Vladimir Mayakovsky, Vsevolod Meyerhold and, most famously, Bertolt Brecht.

Although many of the concepts and practices involved in Brechtian epic theatre had been around for years, even centuries, Brecht unified them, developed the style, and popularized it.

Dialectical theatre is a label that the German modernist theatre practitioner Bertolt Brecht came to prefer to Epic theatre near the end of his career to describe the type of theatre that he had developed earlier in his career.

Rise and Fall of the City of Mahagonny () is a political-satirical opera composed by Kurt Weill to a German libretto by Bertolt Brecht.

Brandauer had resisted questions about how his production of Bertolt Brecht and Kurt Weill's classic musical comedy about the criminal MacHeath would differ from earlier versions, and his production featured Mack the Knife in a three-piece suit and white gloves, stuck to Brecht's text, and avoided any references to contemporary politics or issues.

Bertolt Brecht, W. H. Auden, André Breton, Louis Aragon and the philosophers Antonio Gramsci and Walter Benjamin are perhaps the most famous exemplars of this modernist form of Marxism.

Two other significant modernist dramatists writing in the 1920s and 1930s were Bertolt Brecht and Federico García Lorca.

Cage's students included Fluxus founding members Jackson Mac Low, Al Hansen, George Brecht and Dick Higgins.

* Bertolt Brecht.

Robbins wanted to adapt another Brecht play The Exception and the Rule and called John Guare to adapt the book.

He said, " But, I'm not a Brecht / Weill fan and that's really all there is to it.

I love The Threepenny Opera but, outside of The Threepenny Opera, the music of his I like is the stuff he wrote in America – when he was not writing with Brecht, when he was writing for Broadway.

" Alabama Song " was written and composed by Bertolt Brecht and Kurt Weill in 1927, for their opera Aufstieg und Fall der Stadt Mahagonny ( Rise and Fall of the City of Mahagonny ); " Back Door Man " was written by Willie Dixon and originally recorded by Howlin ' Wolf.

The Resistible Rise of Arturo Ui ( original German title: Der aufhaltsame Aufstieg des Arturo Ui ) is a play by the German dramatist Bertolt Brecht, originally written in 1941.

It was written by Brecht in only three weeks in 1941 whilst in exile in Helsinki, Finland awaiting a visa to enter the US.

In spite of this, Brecht never envisioned a version of the play in Germany, intending it for the American stage all along.

The play is consciously a highly satirical allegory of Adolf Hitler in Nazi Germany, whose rise Brecht represented in parallel to that of Ui.

The Threepenny Opera () is a musical by German dramatist Bertolt Brecht and composer Kurt Weill, in collaboration with translator Elisabeth Hauptmann and set designer Caspar Neher.

By 1933, when Brecht and Weill were forced to leave Germany by Hitler's Machtergreifung, the play had been translated into 18 languages and performed more than 10, 000 times on European stages.

The performance was a springboard for one of the best known interpreters of Brecht and Weill's work, Lotte Lenya, who was married to Weill.

The eldest daughter of the Karplus family, Margarete, or Gretel, moved in the intellectual circles of Berlin, where she was acquainted with Walter Benjamin, Bertolt Brecht and Ernst Bloch, each of whom Adorno would become familiar with during the mid-20s ; after fourteen years, Gretel and Theodor were married in 1937.

In November 1941 Adorno followed Horkheimer to what Thomas Mann called " German California ," setting up house in a Pacific Palisades neighborhood of German emigres which included Bertolt Brecht and Arnold Schoenberg.

The project was based on a German folktale called Der Freischütz, with Wilson responsible for the design and direction, Burroughs for writing the book, and Waits for music and lyrics, which were heavily influenced by the works of Bertolt Brecht and Kurt Weill.

The theatres of Berlin and Frankfurt am Main were graced with drama by Ernst Toller, Bertolt Brecht, cabaret, and stage direction by Max Reinhardt and Erwin Piscator.

The avant-garde theater of Bertolt Brecht and Max Reinhardt in Berlin was the most advanced in Europe, being rivaled only by that of Paris.