Berhold-brecht - Revision history

Clintxxx: /* Eugen Berthold Freidrich Brecht AKA Berholt Brecht */

2025-12-16T22:07:08Z

Eugen Berthold Freidrich Brecht AKA Berholt Brecht

← Older revision		Revision as of 22:07, 16 December 2025
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	----		----
	A Bavarian theatre practitioner, playwright and poet active during the first half of the twentieth century. His work resists emotional engagement (the "Aristotelian" model of drama, which encourages catharsis) and encourages audiences to react critically to the content of a play by distancing themselves emotionally via use of		A Bavarian theatre practitioner, playwright and poet active during the first half of the twentieth century. His work resists emotional engagement (the "Aristotelian" model of drama, which encourages catharsis) and encourages audiences to react critically to the content of a play by distancing themselves emotionally via use of
	''Verfremdungseffekt'' or alienation effects (VFX). Brecht's first play ''[[error\|Bael]]'', written while he was still in high school, centers on a hedonistic singing demon catalogued in the ''[[lesser-key-of-solomon\|Grimoire of Solomon]]''. The play features many techniques that would come to characterize his later work, such as the use of (ridiculous) songs to advance the plot, the breaking of the fourth wall, and the use of direct address to the audience. Though now widely revered, upon its premiere the play was roundly panned. Throughout his many subsequent works for stage, Brecht sought to make clear that there is mutual engagement between artist and audience in the building of simulacra. Thus, his plays become "real" themselves, not just a secondary mirror ''of'' reality. In that sense, he advocates for a non-hierarchical relationship between art and life, reminding the audience that so-called "reality" is mere construction and therefore malleable <ref> Echoing select tenets of [[~~error~~\|Discordianism]]. </ref>. An active member of the Communist Party, Brecht was for a time surveilled by the [[FBI\|Federal Bureau of Investigation]] alongside fellow literary figures [REDACTED] and [[studs-terkel\|Studs Terkel]].		''Verfremdungseffekt'' or alienation effects (VFX). Brecht's first play ''[[error\|Bael]]'', written while he was still in high school, centers on a hedonistic singing demon catalogued in the ''[[lesser-key-of-solomon\|Grimoire of Solomon]]''. The play features many techniques that would come to characterize his later work, such as the use of (ridiculous) songs to advance the plot, the breaking of the fourth wall, and the use of direct address to the audience. Though now widely revered, upon its premiere the play was roundly panned. Throughout his many subsequent works for stage, Brecht sought to make clear that there is mutual engagement between artist and audience in the building of simulacra. Thus, his plays become "real" themselves, not just a secondary mirror ''of'' reality. In that sense, he advocates for a non-hierarchical relationship between art and life, reminding the audience that so-called "reality" is mere construction and therefore malleable <ref> Echoing select tenets of [[Robert-Anton-Wilson\|Discordianism]]. </ref>. An active member of the Communist Party, Brecht was for a time surveilled by the [[FBI\|Federal Bureau of Investigation]] alongside fellow literary figures [REDACTED] and [[studs-terkel\|Studs Terkel]].

Clintxxx: /* Eugen Berthold Freidrich Brecht AKA Berholt Brecht */

2025-12-16T22:04:51Z

Eugen Berthold Freidrich Brecht AKA Berholt Brecht

← Older revision		Revision as of 22:04, 16 December 2025
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	----		----
	A Bavarian theatre practitioner, playwright and poet active during the first half of the twentieth century. His work resists emotional engagement (the "Aristotelian" model of drama, which encourages catharsis) and encourages audiences to react critically to the content of a play by distancing themselves emotionally via use of		A Bavarian theatre practitioner, playwright and poet active during the first half of the twentieth century. His work resists emotional engagement (the "Aristotelian" model of drama, which encourages catharsis) and encourages audiences to react critically to the content of a play by distancing themselves emotionally via use of
	''Verfremdungseffekt'' or alienation effects (VFX). Brecht's first play ''[[error\|Bael]]'', written while he was still in high school, centers on a hedonistic singing demon catalogued in the ''[[lesser-key-of-solomon\|Grimoire of Solomon]]''. The play features many techniques that would come to characterize his later work, such as the use of (ridiculous) songs to advance the plot, the breaking of the fourth wall, and the use of direct address to the audience. Though now widely revered, upon its premiere the play was roundly panned. Throughout his many subsequent works for stage, Brecht sought to make clear that there is mutual engagement between artist and audience in the building of simulacra. Thus, his plays become "real" themselves, not just a secondary mirror ''of'' reality. In that sense, he advocates for a non-hierarchical relationship between art and life, reminding the audience that so-called "reality" is mere construction and therefore malleable <ref> Echoing select tenets of [[error\|Discordianism]]. </ref>. An active member of the Communist Party, Brecht was for a time surveilled by the [[~~error~~\|Federal Bureau of Investigation]] alongside fellow literary figures [REDACTED] and [[studs-terkel\|Studs Terkel]].		''Verfremdungseffekt'' or alienation effects (VFX). Brecht's first play ''[[error\|Bael]]'', written while he was still in high school, centers on a hedonistic singing demon catalogued in the ''[[lesser-key-of-solomon\|Grimoire of Solomon]]''. The play features many techniques that would come to characterize his later work, such as the use of (ridiculous) songs to advance the plot, the breaking of the fourth wall, and the use of direct address to the audience. Though now widely revered, upon its premiere the play was roundly panned. Throughout his many subsequent works for stage, Brecht sought to make clear that there is mutual engagement between artist and audience in the building of simulacra. Thus, his plays become "real" themselves, not just a secondary mirror ''of'' reality. In that sense, he advocates for a non-hierarchical relationship between art and life, reminding the audience that so-called "reality" is mere construction and therefore malleable <ref> Echoing select tenets of [[error\|Discordianism]]. </ref>. An active member of the Communist Party, Brecht was for a time surveilled by the [[FBI\|Federal Bureau of Investigation]] alongside fellow literary figures [REDACTED] and [[studs-terkel\|Studs Terkel]].

Clintxxx: /* Eugen Berthold Freidrich Brecht AKA Berholt Brecht */

2025-12-16T22:04:30Z

Eugen Berthold Freidrich Brecht AKA Berholt Brecht

← Older revision		Revision as of 22:04, 16 December 2025
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	==Eugen Berthold Freidrich Brecht AKA Berholt Brecht==		==Eugen Berthold Freidrich Brecht AKA Berholt Brecht==
	[February 10, 1898 – August 14, 1956][German: brɛkt]		'''[February 10, 1898 – August 14, 1956][German: brɛkt]'''
	----		----
	A Bavarian theatre practitioner, playwright and poet active during the first half of the twentieth century. His work resists emotional engagement (the "Aristotelian" model of drama, which encourages catharsis) and encourages audiences to react critically to the content of a play by distancing themselves emotionally via use of		A Bavarian theatre practitioner, playwright and poet active during the first half of the twentieth century. His work resists emotional engagement (the "Aristotelian" model of drama, which encourages catharsis) and encourages audiences to react critically to the content of a play by distancing themselves emotionally via use of
	''Verfremdungseffekt'' or alienation effects (VFX). Brecht's first play ''[[error\|Bael]]'', written while he was still in high school, centers on a hedonistic singing demon catalogued in the ''[[lesser-key-of-solomon\|Grimoire of Solomon]]''. The play features many techniques that would come to characterize his later work, such as the use of (ridiculous) songs to advance the plot, the breaking of the fourth wall, and the use of direct address to the audience. Though now widely revered, upon its premiere the play was roundly panned. Throughout his many subsequent works for stage, Brecht sought to make clear that there is mutual engagement between artist and audience in the building of simulacra. Thus, his plays become "real" themselves, not just a secondary mirror ''of'' reality. In that sense, he advocates for a non-hierarchical relationship between art and life, reminding the audience that so-called "reality" is mere construction and therefore malleable <ref> Echoing select tenets of [[error\|Discordianism]]. </ref>. An active member of the Communist Party, Brecht was for a time surveilled by the [[error\|Federal Bureau of Investigation]] alongside fellow literary figures [REDACTED] and [[studs-terkel\|Studs Terkel]].		''Verfremdungseffekt'' or alienation effects (VFX). Brecht's first play ''[[error\|Bael]]'', written while he was still in high school, centers on a hedonistic singing demon catalogued in the ''[[lesser-key-of-solomon\|Grimoire of Solomon]]''. The play features many techniques that would come to characterize his later work, such as the use of (ridiculous) songs to advance the plot, the breaking of the fourth wall, and the use of direct address to the audience. Though now widely revered, upon its premiere the play was roundly panned. Throughout his many subsequent works for stage, Brecht sought to make clear that there is mutual engagement between artist and audience in the building of simulacra. Thus, his plays become "real" themselves, not just a secondary mirror ''of'' reality. In that sense, he advocates for a non-hierarchical relationship between art and life, reminding the audience that so-called "reality" is mere construction and therefore malleable <ref> Echoing select tenets of [[error\|Discordianism]]. </ref>. An active member of the Communist Party, Brecht was for a time surveilled by the [[error\|Federal Bureau of Investigation]] alongside fellow literary figures [REDACTED] and [[studs-terkel\|Studs Terkel]].

Lmsuarez: /* Eugen Berthold Freidrich Brecht AKA Berholt Brecht */

2024-12-15T00:23:57Z

Eugen Berthold Freidrich Brecht AKA Berholt Brecht

← Older revision		Revision as of 00:23, 15 December 2024
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	==Eugen Berthold Freidrich Brecht AKA Berholt Brecht==		==Eugen Berthold Freidrich Brecht AKA Berholt Brecht==
	[February 10, 1898 – August 14, 1956] [German: brɛkt]		[February 10, 1898 – August 14, 1956][German: brɛkt]
	----		----
	A Bavarian theatre practitioner, playwright and poet active during the first half of the twentieth century. His work resists emotional engagement (the "Aristotelian" model of drama, which encourages catharsis) and encourages audiences to react critically to the content of a play by distancing themselves emotionally via use of		A Bavarian theatre practitioner, playwright and poet active during the first half of the twentieth century. His work resists emotional engagement (the "Aristotelian" model of drama, which encourages catharsis) and encourages audiences to react critically to the content of a play by distancing themselves emotionally via use of
	''Verfremdungseffekt'' or alienation effects (VFX). Brecht's first play ''[[error\|Bael]]'', written while he was still in high school, centers on a hedonistic singing demon catalogued in the ''[[lesser-key-of-solomon\|Grimoire of Solomon]]''. The play features many techniques that would come to characterize his later work, such as the use of (ridiculous) songs to advance the plot, the breaking of the fourth wall, and the use of direct address to the audience. Though now widely revered, upon its premiere the play was roundly panned. Throughout his many subsequent works for stage, Brecht sought to make clear that there is mutual engagement between artist and audience in the building of simulacra. Thus, his plays become "real" themselves, not just a secondary mirror ''of'' reality. In that sense, he advocates for a non-hierarchical relationship between art and life, reminding the audience that so-called "reality" is mere construction and therefore malleable <ref> Echoing select tenets of [[error\|Discordianism]]. </ref>. An active member of the Communist Party, Brecht was for a time surveilled by the [[error\|Federal Bureau of Investigation]] alongside fellow literary figures [REDACTED] and [[studs-terkel\|Studs Terkel]].		''Verfremdungseffekt'' or alienation effects (VFX). Brecht's first play ''[[error\|Bael]]'', written while he was still in high school, centers on a hedonistic singing demon catalogued in the ''[[lesser-key-of-solomon\|Grimoire of Solomon]]''. The play features many techniques that would come to characterize his later work, such as the use of (ridiculous) songs to advance the plot, the breaking of the fourth wall, and the use of direct address to the audience. Though now widely revered, upon its premiere the play was roundly panned. Throughout his many subsequent works for stage, Brecht sought to make clear that there is mutual engagement between artist and audience in the building of simulacra. Thus, his plays become "real" themselves, not just a secondary mirror ''of'' reality. In that sense, he advocates for a non-hierarchical relationship between art and life, reminding the audience that so-called "reality" is mere construction and therefore malleable <ref> Echoing select tenets of [[error\|Discordianism]]. </ref>. An active member of the Communist Party, Brecht was for a time surveilled by the [[error\|Federal Bureau of Investigation]] alongside fellow literary figures [REDACTED] and [[studs-terkel\|Studs Terkel]].

Lmsuarez: /* Eugen Berthold Freidrich Brecht AKA Berholt Brecht */

2024-12-15T00:23:50Z

Eugen Berthold Freidrich Brecht AKA Berholt Brecht

← Older revision		Revision as of 00:23, 15 December 2024
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	==Eugen Berthold Freidrich Brecht AKA Berholt Brecht==		==Eugen Berthold Freidrich Brecht AKA Berholt Brecht==
	[February 10, 1898 – August 14, 1956][German: brɛkt]		[February 10, 1898 – August 14, 1956] [German: brɛkt]
	----		----
	A Bavarian theatre practitioner, playwright and poet active during the first half of the twentieth century. His work resists emotional engagement (the "Aristotelian" model of drama, which encourages catharsis) and encourages audiences to react critically to the content of a play by distancing themselves emotionally via use of		A Bavarian theatre practitioner, playwright and poet active during the first half of the twentieth century. His work resists emotional engagement (the "Aristotelian" model of drama, which encourages catharsis) and encourages audiences to react critically to the content of a play by distancing themselves emotionally via use of
	''Verfremdungseffekt'' or alienation effects (VFX). Brecht's first play ''[[error\|Bael]]'', written while he was still in high school, centers on a hedonistic singing demon catalogued in the ''[[lesser-key-of-solomon\|Grimoire of Solomon]]''. The play features many techniques that would come to characterize his later work, such as the use of (ridiculous) songs to advance the plot, the breaking of the fourth wall, and the use of direct address to the audience. Though now widely revered, upon its premiere the play was roundly panned. Throughout his many subsequent works for stage, Brecht sought to make clear that there is mutual engagement between artist and audience in the building of simulacra. Thus, his plays become "real" themselves, not just a secondary mirror ''of'' reality. In that sense, he advocates for a non-hierarchical relationship between art and life, reminding the audience that so-called "reality" is mere construction and therefore malleable <ref> Echoing select tenets of [[error\|Discordianism]]. </ref>. An active member of the Communist Party, Brecht was for a time surveilled by the [[error\|Federal Bureau of Investigation]] alongside fellow literary figures [REDACTED] and [[studs-terkel\|Studs Terkel]].		''Verfremdungseffekt'' or alienation effects (VFX). Brecht's first play ''[[error\|Bael]]'', written while he was still in high school, centers on a hedonistic singing demon catalogued in the ''[[lesser-key-of-solomon\|Grimoire of Solomon]]''. The play features many techniques that would come to characterize his later work, such as the use of (ridiculous) songs to advance the plot, the breaking of the fourth wall, and the use of direct address to the audience. Though now widely revered, upon its premiere the play was roundly panned. Throughout his many subsequent works for stage, Brecht sought to make clear that there is mutual engagement between artist and audience in the building of simulacra. Thus, his plays become "real" themselves, not just a secondary mirror ''of'' reality. In that sense, he advocates for a non-hierarchical relationship between art and life, reminding the audience that so-called "reality" is mere construction and therefore malleable <ref> Echoing select tenets of [[error\|Discordianism]]. </ref>. An active member of the Communist Party, Brecht was for a time surveilled by the [[error\|Federal Bureau of Investigation]] alongside fellow literary figures [REDACTED] and [[studs-terkel\|Studs Terkel]].

Lmsuarez: /* Eugen Berthold Freidrich Brecht AKA Berholt Brecht */

2024-12-15T00:23:44Z

Eugen Berthold Freidrich Brecht AKA Berholt Brecht

← Older revision		Revision as of 00:23, 15 December 2024
Line 1:		Line 1:
	==Eugen Berthold Freidrich Brecht AKA Berholt Brecht==		==Eugen Berthold Freidrich Brecht AKA Berholt Brecht==
	~~[German: brɛkt]~~[February 10, 1898 – August 14, 1956]		[February 10, 1898 – August 14, 1956][German: brɛkt]
	----		----
	A Bavarian theatre practitioner, playwright and poet active during the first half of the twentieth century. His work resists emotional engagement (the "Aristotelian" model of drama, which encourages catharsis) and encourages audiences to react critically to the content of a play by distancing themselves emotionally via use of		A Bavarian theatre practitioner, playwright and poet active during the first half of the twentieth century. His work resists emotional engagement (the "Aristotelian" model of drama, which encourages catharsis) and encourages audiences to react critically to the content of a play by distancing themselves emotionally via use of
	''Verfremdungseffekt'' or alienation effects (VFX). Brecht's first play ''[[error\|Bael]]'', written while he was still in high school, centers on a hedonistic singing demon catalogued in the ''[[lesser-key-of-solomon\|Grimoire of Solomon]]''. The play features many techniques that would come to characterize his later work, such as the use of (ridiculous) songs to advance the plot, the breaking of the fourth wall, and the use of direct address to the audience. Though now widely revered, upon its premiere the play was roundly panned. Throughout his many subsequent works for stage, Brecht sought to make clear that there is mutual engagement between artist and audience in the building of simulacra. Thus, his plays become "real" themselves, not just a secondary mirror ''of'' reality. In that sense, he advocates for a non-hierarchical relationship between art and life, reminding the audience that so-called "reality" is mere construction and therefore malleable <ref> Echoing select tenets of [[error\|Discordianism]]. </ref>. An active member of the Communist Party, Brecht was for a time surveilled by the [[error\|Federal Bureau of Investigation]] alongside fellow literary figures [REDACTED] and [[studs-terkel\|Studs Terkel]].		''Verfremdungseffekt'' or alienation effects (VFX). Brecht's first play ''[[error\|Bael]]'', written while he was still in high school, centers on a hedonistic singing demon catalogued in the ''[[lesser-key-of-solomon\|Grimoire of Solomon]]''. The play features many techniques that would come to characterize his later work, such as the use of (ridiculous) songs to advance the plot, the breaking of the fourth wall, and the use of direct address to the audience. Though now widely revered, upon its premiere the play was roundly panned. Throughout his many subsequent works for stage, Brecht sought to make clear that there is mutual engagement between artist and audience in the building of simulacra. Thus, his plays become "real" themselves, not just a secondary mirror ''of'' reality. In that sense, he advocates for a non-hierarchical relationship between art and life, reminding the audience that so-called "reality" is mere construction and therefore malleable <ref> Echoing select tenets of [[error\|Discordianism]]. </ref>. An active member of the Communist Party, Brecht was for a time surveilled by the [[error\|Federal Bureau of Investigation]] alongside fellow literary figures [REDACTED] and [[studs-terkel\|Studs Terkel]].

Lmsuarez at 00:23, 15 December 2024

2024-12-15T00:23:27Z

← Older revision		Revision as of 00:23, 15 December 2024
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	~~'''~~Eugen Berthold Freidrich Brecht AKA Berholt Brecht [German: brɛkt][February 10, ~~1898–August~~ 14, 1956]~~'''~~		==Eugen Berthold Freidrich Brecht AKA Berholt Brecht==
			[German: brɛkt][February 10, 1898 – August 14, 1956]
			----
	A Bavarian theatre practitioner, playwright and poet active during the first half of the twentieth century. His work resists emotional engagement (the "Aristotelian" model of drama, which encourages catharsis) and encourages audiences to react critically to the content of a play by distancing themselves emotionally via use of		A Bavarian theatre practitioner, playwright and poet active during the first half of the twentieth century. His work resists emotional engagement (the "Aristotelian" model of drama, which encourages catharsis) and encourages audiences to react critically to the content of a play by distancing themselves emotionally via use of
	''Verfremdungseffekt'' or alienation effects (VFX). Brecht's first play ''[[error\|Bael]]'', written while he was still in high school, centers on a hedonistic singing demon catalogued in the ''[[lesser-key-of-solomon\|Grimoire of Solomon]]''. The play features many techniques that would come to characterize his later work, such as the use of (ridiculous) songs to advance the plot, the breaking of the fourth wall, and the use of direct address to the audience. Though now widely revered, upon its premiere the play was roundly panned. Throughout his many subsequent works for stage, Brecht sought to make clear that there is mutual engagement between artist and audience in the building of simulacra. Thus, his plays become "real" themselves, not just a secondary mirror ''of'' reality. In that sense, he advocates for a non-hierarchical relationship between art and life, reminding the audience that so-called "reality" is mere construction and therefore malleable <ref> Echoing select tenets of [[error\|Discordianism]]. </ref>. An active member of the Communist Party, Brecht was for a time surveilled by the [[error\|Federal Bureau of Investigation]] alongside fellow literary figures [REDACTED] and [[studs-terkel\|Studs Terkel]].		''Verfremdungseffekt'' or alienation effects (VFX). Brecht's first play ''[[error\|Bael]]'', written while he was still in high school, centers on a hedonistic singing demon catalogued in the ''[[lesser-key-of-solomon\|Grimoire of Solomon]]''. The play features many techniques that would come to characterize his later work, such as the use of (ridiculous) songs to advance the plot, the breaking of the fourth wall, and the use of direct address to the audience. Though now widely revered, upon its premiere the play was roundly panned. Throughout his many subsequent works for stage, Brecht sought to make clear that there is mutual engagement between artist and audience in the building of simulacra. Thus, his plays become "real" themselves, not just a secondary mirror ''of'' reality. In that sense, he advocates for a non-hierarchical relationship between art and life, reminding the audience that so-called "reality" is mere construction and therefore malleable <ref> Echoing select tenets of [[error\|Discordianism]]. </ref>. An active member of the Communist Party, Brecht was for a time surveilled by the [[error\|Federal Bureau of Investigation]] alongside fellow literary figures [REDACTED] and [[studs-terkel\|Studs Terkel]].

198.7.242.150 at 19:24, 13 April 2024

2024-04-13T19:24:17Z

← Older revision		Revision as of 19:24, 13 April 2024
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			'''Eugen Berthold Freidrich Brecht AKA Berholt Brecht [German: brɛkt][February 10, 1898–August 14, 1956]'''

	~~<p>~~
	~~<strong>~~
	~~Eugen Berthold Freidrich Brecht AKA Berholt Brecht [German: brɛkt][February 10, 1898–August 14, 1956]~~
	~~</strong>~~
	~~<br/>~~
	A Bavarian theatre practitioner, playwright and poet active during the first half of the twentieth century. His work resists emotional engagement (the "Aristotelian" model of drama, which encourages catharsis) and encourages audiences to react critically to the content of a play by distancing themselves emotionally via use of		A Bavarian theatre practitioner, playwright and poet active during the first half of the twentieth century. His work resists emotional engagement (the "Aristotelian" model of drama, which encourages catharsis) and encourages audiences to react critically to the content of a play by distancing themselves emotionally via use of
	~~<em>~~		''Verfremdungseffekt'' or alienation effects (VFX). Brecht's first play ''[[error\|Bael]]'', written while he was still in high school, centers on a hedonistic singing demon catalogued in the ''[[lesser-key-of-solomon\|Grimoire of Solomon]]''. The play features many techniques that would come to characterize his later work, such as the use of (ridiculous) songs to advance the plot, the breaking of the fourth wall, and the use of direct address to the audience. Though now widely revered, upon its premiere the play was roundly panned. Throughout his many subsequent works for stage, Brecht sought to make clear that there is mutual engagement between artist and audience in the building of simulacra. Thus, his plays become "real" themselves, not just a secondary mirror ''of'' reality. In that sense, he advocates for a non-hierarchical relationship between art and life, reminding the audience that so-called "reality" is mere construction and therefore malleable <ref> Echoing select tenets of [[error\|Discordianism]]. </ref>. An active member of the Communist Party, Brecht was for a time surveilled by the [[error\|Federal Bureau of Investigation]] alongside fellow literary figures [REDACTED] and [[studs-terkel\|Studs Terkel]].
	Verfremdungseffekt
	~~</em>~~
	or alienation effects (VFX). Brecht's first play
	~~<em>~~
	[[error\|Bael]]
	~~</em>~~
	, written while he was still in high school, centers on a hedonistic singing demon catalogued in the
	~~<em>~~
	[[lesser-key-of-solomon\|Grimoire of Solomon]]
	~~</em>~~
	. The play features many techniques that would come to characterize his later work, such as the use of (ridiculous) songs to advance the plot, the breaking of the fourth wall, and the use of direct address to the audience. Though now widely revered, upon its premiere the play was roundly panned. Throughout his many subsequent works for stage, Brecht sought to make clear that there is mutual engagement between artist and audience in the building of simulacra. Thus, his plays become "real" themselves, not just a secondary mirror
	~~<em>~~
	of
	~~</em>~~
	reality. In that sense, he advocates for a non-hierarchical relationship between art and life, reminding the audience that so-called "reality" is mere construction and therefore malleable
	<~~sup~~>
	1
	</~~sup~~>. An active member of the Communist Party, Brecht was for a time surveilled by the
	[[error\|Federal Bureau of Investigation]]
	alongside fellow literary figures [REDACTED] and
	[[studs-terkel\|Studs Terkel]].
	~~</p>~~
	~~<div class="footnote">~~
	~~<p>~~
	~~<sup>~~
	1
	~~</sup>~~
	~~Echoing select tenets of~~
	~~[[error\|Discordianism]]~~
	.
	~~</p>~~
	~~</div>~~

Jackof63trades at 21:46, 9 March 2024

2024-03-09T21:46:28Z

← Older revision		Revision as of 21:46, 9 March 2024
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	or alienation effects (VFX). Brecht's first play		or alienation effects (VFX). Brecht's first play
	<em>		<em>
	[[error]]		[[error\|Bael]]
	</em>		</em>
	, written while he was still in high school, centers on a hedonistic singing demon catalogued in the		, written while he was still in high school, centers on a hedonistic singing demon catalogued in the
	<em>		<em>
	[[lesser-key-of-solomon]]		[[lesser-key-of-solomon\|Grimoire of Solomon]]
	</em>		</em>
	. The play features many techniques that would come to characterize his later work, such as the use of (ridiculous) songs to advance the plot, the breaking of the fourth wall, and the use of direct address to the audience. Though now widely revered, upon its premiere the play was roundly panned. Throughout his many subsequent works for stage, Brecht sought to make clear that there is mutual engagement between artist and audience in the building of simulacra. Thus, his plays become "real" themselves, not just a secondary mirror		. The play features many techniques that would come to characterize his later work, such as the use of (ridiculous) songs to advance the plot, the breaking of the fourth wall, and the use of direct address to the audience. Though now widely revered, upon its premiere the play was roundly panned. Throughout his many subsequent works for stage, Brecht sought to make clear that there is mutual engagement between artist and audience in the building of simulacra. Thus, his plays become "real" themselves, not just a secondary mirror
Line 24:		Line 24:
	<sup>		<sup>
	1		1
	</sup>		</sup>. An active member of the Communist Party, Brecht was for a time surveilled by the
	. An active member of the Communist Party, Brecht was for a time surveilled by the		[[error\|Federal Bureau of Investigation]]
	[[error]]
	alongside fellow literary figures [REDACTED] and		alongside fellow literary figures [REDACTED] and
	[[studs-terkel]]		[[studs-terkel\|Studs Terkel]].
	.
	</p>		</p>
	<div class="footnote">		<div class="footnote">
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	</sup>		</sup>
	Echoing select tenets of		Echoing select tenets of
	[[error]]		[[error\|Discordianism]]
	.		.
	</p>		</p>
	</div>		</div>

Jackof63trades: 1 revision imported

2024-03-08T21:44:11Z

1 revision imported

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Revision as of 21:44, 8 March 2024