‎Brecht bertolt‎

‎BRECHT Bertolt. EWEN Frederic‎

‎Bertolt Brecht: His Life His Art and His Times‎

‎New York Citadel 1967. 1967. First edition. 8vo. 23 b/w illustrations. Bibliography. Dust jacket unclipped; rubbed with a few nicks. Very good. 573 pages. No signatures or bookplates. 1st Edition. Hardcover. Very Good/Very Good. New York, Citadel [1967]. hardcover books‎

書籍販売業者の参照番号 : 302625

‎Brecht Bertolt: Weideli Walter‎

‎THE ART OF BERTOLT BRECHT‎

‎New York: NYU Press 1963. Cloth. First edition. Translated by Daniel Russell. With the pencil ownership signature of New Directions publisher James Laughlin. Light dampstain to top edge else very good in a good dust jacket with some dampstaining to the spine. NYU Press hardcover books‎

書籍販売業者の参照番号 : WRCLIT37365

‎Brecht Bertolt;‎

‎Bertolt Brecht: Gedichte 3 volumes‎

‎Frankfurt am Main: Suhkamp Verlag. Mixed Editions. Hardcover. 12mo; VG-; beige/black patterned spines with white text to labels; no jackets; 3 volumes: vol. 1 pp 210 1960; vol. 2 pp 263 1960; vol. 3 pp 245 1961; cloths show some scratches to rear; slight wear to edges; mildly toned spines; strong boards; text block edges mildly toned; previous owner's name to ffeps; illustrated; text in German;. 1332082. FP New Rockville Stock. Suhkamp Verlag hardcover books‎

書籍販売業者の参照番号 : 1332082

‎BRECHT Bertolt; Eric Russell Bentley trans. & essay‎

‎The Private Life of the Master Race: A Documentary Play‎

‎New York: New Directions Books Published by James Laughlin 1944. First American Edition. Small octavo 18.5cm.; publisher's black cloth in photo-illustrated dust jacket; 10140pp. Light wear to jacket extremities including a few tiny chips spine and extremities rather browned else Very Good and sound. Seventeen of twenty-eight scenes from the author's anti-Nazi Fears and Miseries of the Third Reich. New Directions Books, Published by James Laughlin unknown books‎

書籍販売業者の参照番号 : 24136

‎Brecht Bertolt; Vesey Desmond‎

‎Threepenny Opera‎

‎Grove Press 1964. Very Good. Brecht Bertolt. Threepenny Opera. Vesey Desmond. New York: Grove Press 1964. 110pp. Mass Market. Book condition: Very good. Grove Press paperback books‎

書籍販売業者の参照番号 : UBRETHR00ef

‎BRECHT BERTOLT; WEILL KURT‎

‎Die Dreigroschenoper The Threepenny Opera; The Beggar's Opera. WITH: Die Songs Der Dreigroschenoper‎

‎Wien: Universal-Edition 1928. First edition. Original wrappers. Very Good. THE RARE FIRST EDITION OF "THE THREEPENNY OPERA" A CLASSIC OF THE MODERN STAGE ALONG WITH THE BOOKLET OF SONGS FROM THE PLAY THAT WAS PUBLISHED TO MARK ITS HUNDREDTH PERFORMANCE; BOTH ITEMS IN FINE CONDITION IN THE ORIGINAL PRINTED WRAPPERS AND BOTH WITH THE OWNERSHIP INSCRIPTION OF CHARLOTTE GROTE-HASELBALG ONE OF THE ACTRESSES WHO PLAYED POLLY PEACHUM IN THE PLAY'S ORIGINAL 1928 RUN. In 1926 after a brief career in journalism a stint in the Army at the end of World War I and almost a decade of work in the theater Bertolt Brecht born Eugen Berthold Friedrich Brecht discovered a new source of inspiration for his plays. "In 1926 . while researching material for a play about the Chicago grain exchange Brecht discovered the writings of Karl Marx and the theory of dialectics. The play was never completed but in Marx Brecht found what he regarded as the key to understanding the world around him and to the historical process as well as a framework and structure for his own writing." Non & Nick Worrall eds. Bertold Brecht: The Threepenny Opera 2005. He remained a committed Marxist through his life although he apparently never joined the Communist Party. Marxist dialectics typically do not have much entertainment value yet somehow Brecht managed to transmute his ideological preoccupations into one of the most rousing amusing cynical and entertaining plays of the twentieth century - the work offered here. As Harold Clurman recognized in the quotation above the play is very much of its time first performance 1928 - capturing the hysteria despair and cultural experimentation of the Weimar era - yet universal in its relevance and appeal.<br /> <br /> Brecht developed innovative theatrical techniques to communicate with his audiences. "He drew up a rough-and-ready yet basic distinction between the old Aristotelean theatre which he generally called 'dramatic' . and his own new theatre which he called 'epic.' . Brecht found in epic writing an objectivity an ability of the author to stand back and comment on the action which attracted him. He wanted to make his audience think not just feel; to find ways of thinking that would enable them to apply those processes to their real worlds and therefore act as a force for change in society." Id.<br /> <br /> In order to force the audience to think about the action rather than passively absorbing it Brecht used various devices to keep the audience members aware that what was before them was after all only a play. He referred to this process as Verfremdung a term that is sometimes translated as "alienation" but might more accurately be rendered as "defamiliarization" or "distancing." The devices he used for this purpose included putting the orchestra in full view of the audience; having the curtain conceal only part of the stage; using projected signs that anticipated summarized or commented on the action; and constructing the play from paratactic scenes without a smooth flow between them "montage".<br /> <br /> The Play: Die Dreigroschenoper was adapted by Brecht with some assistance from the translator Elisabeth Hauptmann and with music written by Kurt Weill from John Gay's "A Beggar's Opera." He maintained the original English setting but transposed the action from the early 18th century to the Victorian era. Both eras offered an abundance of rascality at all levels of society that enabled Gay and then Brecht to convey their implicit message that there was at bottom not all that much difference between the high life and the low life.<br /> <br /> The play opens at a fair in Soho. The stage directions indicate that "The beggars are begging the thieves are stealing the whores are whoring. A ballad singer sings a ballad." This and other quotations from the play are from the translation by Ralph Mannheim and John Willett. The ballad is the famous "Moritat von Mackie Messer" - a song that in a somewhat softened English version and as sung by Frank Sinatra Bobby Darin Louis Armstrong and a host of others became the perennial favorite "Mack the Knife."<br /> <br /> Mackie is the master criminal MacHeath. His character is suggested by a couple of verses from the Moritat:<br /> <br /> On a beautiful blue Sunday
<br /> See a corpse stretched in the Strand.
<br /> See a man dodge round the corner
<br /> Mackie's friends will understand.<br /> <br /> <br /> <br /> And Schmul Meier reported missing
<br /> Like so many wealthy men:
<br /> Mac the Knife acquired his cash box.
<br /> God alone knows how or when.<br /> <br /> MacHeath it transpires is romantically involved with Polly Peachum the daughter of the second principal character and foil to MacHeath Jonathan Jeremiah Peachum. "His business is trading in misery and guilt. He has divided London into fourteen districts and for a sizable fee and a percentage of the earnings licenses beggars to ply their trade in a particular area. His emporium is also a theatrical outfitters in that he supplies the beggars with customers and properties designed not to horrify but to elicit sympathy from passers-by. . Independent beggars are beat up by Peachum's employees and forced to join the equivalent of a beggars' trade union." Worrall op. cit.<br /> <br /> The play proceeds through a series of crimes and misdemeanors betrayals double and triple crosses and dirty tricks reminiscent of the more sophisticated but no less amoral behavior of Peachum and MacHeath's betters in Parliament industry the Church and the military. In the final scene MacHeath sentenced to death is awaiting his execution when a messenger arrives: "I bring a special order from our beloved Queen to have Captain Macheath set at liberty forthwith - All cheer. - as it's the coronation and raised to the hereditary peerage. Cheers. The castle of Marmarel likewise a pension of ten thousand pounds to be his in usufruct until his death." Good news all around although as Peachum cautions the audience "Saviours on horseback are seldom met with in practice."<br /> <br /> Stephen Parker in his biography Bertolt Brecht: A Literary Life 2014 describes the origins of the play as follows:<br /> <br /> "Elisabeth Hauptmann had been translating from English into German John Gay's satirical ballad opera of 1728 The Beggar's Opera a parody of Italian opera style. She had told Brecht of the huge success of the revival at London's Lyric Theatre where it had run since 1920 for an astonishing 1463 performances. Instead of the usual grand music and themes of opera Gay's work relied on everyday tunes and characters. . The audience could sing along to the music and enjoy the characters in this satire about corruption at all levels of society."<br /> <br /> "Brecht had scarcely touched the material when one day . in the spring of 1928 Ernest Josef Aufricht asked him if he had a new play for the re-opening of the Theater am Schiffbauerdamm . Brecht quickly convinced him that his adaptation of The Beggar's Opera was the very thing."<br /> <br /> "The material was right up Brecht and Weill's street. However it would have to be re-cast substantially to make it work as a satire of modern society. . For both Weill and Brecht it was . an opportunity to break down barriers between elite and popular art. . In Gay's gangster Macheath Brecht encountered an irresistible hedonistic outsider in the same mould as his great early creations. Of course when Brecht wrote about the project for German critics in January 1929 he pointed to the serious underlying message . However . his fascination with the amoral outsider produced a gangster whose courage and magnetic attraction outweighed the anti-capitalist message. Brecht knew exactly how to make him part of an unforgettable theatrical experience. He would never again allow his audience to enjoy themselves in such an unfettered way."<br /> <br /> "Brecht and Hauptmann made rapid progress on the text and Weill began composing the music in April 1928. Brecht and Hauptmann had a first draft ready for the playbook by early May. Weill's playful quirky tunes were the perfect foil for the savage lyrics. Weill imbued the form of the ballad opera with his contemporary style drawing on jazz and dance music."<br /> <br /> The play was an unqualified success. "The Threepenny Opera was performed at the Theater am Schifffbauerdamm for the whole of the 1928-9 season and enjoyed phenomenal success throughout Germany. By January 1929 there were productions at nineteen German theatres as well as in Prague Budapest and Vienna. In all there were 4200 performances in 1928-9 . The Threepenny Opera rapidly became an international success. . Success in the USA would have to wait until the famous production in Marc Blitzstein's translation which ran at New York's Theater de Lys from 1954 to 1961. . Today The Threepenny Opera remains one of the world's most performed musical dramas."<br /> <br /> <br /> <br /> The work offered here is the true first edition of the libretto of Die Dreigroschenoper described on the cover as follows: Bert sic Brecht & Kurt Weill "Die Dreigroschenoper The Beggar's Opera: Ein Stück mit Musik in einem Vorspiel und acht Bildern nach dem Englischen des John Gay. Ãœbersetzt von Elisabeth Hauptmann . Universal Edition - Wien Leipzig Nr. 8850." See "Sources and Genesis of 'Die Dreigroschenoper'" in Stephen Hinton "Kurt Weill: Threepenny Opera" Cambridge Opera Handbooks 1990 at 13 describing the first edition. <br /> <br /> Hinton states that the first issue of 300 copies was reprinted twice in printings of 500 copies each in November 1928 and December 1929. In the present copy there is a publisher's imprint on the rear wrapper ending in "2338 28". Other copies have the imprint ending in "1398 29" and it has been generally understood that ones with "28" are from 1928; while copies with the "29" are from 1929.<br /> <br /> Regarding the two 1928 printings however we have not been able to determine definitively in what ways if any they differ. However the rubber-stamped number "225" appears on the front wrapper and in the margin of page 31 of our copy. Similar stamps appear on other copies of the first edition that have appeared on the market and may indicate the numbering of the 300 copies comprising the first printing. <br /> <br /> The cover of the first edition states: "Den Bühnen gegenüber als Manuskript Gedruckt" "Printed as a manuscript for theatres" - i.e. originally intended for use in connection with productions of the play rather than for sale although some copies were apparently sold. It is reasonable that an edition of only 300 copies intended primarily for use by performers directors etc. would be numbered so that the copies could be tracked and retrieved and redistributed as necessary. Perhaps the edition became repurposed in light of the popularity of the play and the subsequent 500 copies from 1928 were printed primarily for sale to the public in which case there would be no need to number them. These indications are far from definitive but they perhaps constitute circumstantial evidence that numbered copies are from the first issue. Additional circumstantial evidence that this copy is from the first issue is provided by its ownership by a person associated with the original production as described below.<br /> <br /> The libretto is offered here with the pamphlet "Die Songs der Dreigroschenoper. Zur 100. Aufführung der Dreigroschenoper dem Publikum überreicht vom Theater am Schiffbauerdamm" copyright date 1928. "The Songs of the Threepenny Opera. Presented to the audience by the Theater am Schiffbauerdamm for the 100th performance of the Threepenny Opera." It would appear to be distinct from the issue of 10000 copies prepared for public distribution Item 105 in Walter Nudel's "Bertolt Brecht - Bibliographie" in the journal Sinn und Form's special issue on Brecht 1957; see also Hinton op cit. page 13 and Gero von Wilpert & Adolf Gühring Erstausgaben Deutscher Dichtung: Eine Bibliographie zur Deutschen Literatur 1600-1990 2d ed. 1992 at 183 No. 13.<br /> <br /> Both works have the ownership signature of "Charlotte Grote-Haselbalg" on the title page of Die Dreigroschenoper and on the half-title of the songbook. Charlotte Grote-Haselbalg also known as Charlotte Andersch the name under which she was born Charlotte Haselbalg and Charlotte Ander was a German stage and film actress of the early twentieth century credited with a lengthy list of movie roles in both the silent and sound eras. One of her stage roles was Polly Peachum MacHeath's lover in the original production of Die Dreigroschenoper.<br /> <br /> Carola Neher who had been selected to play Polly Peachum in the 1928 production "had to go to Switzerland to tend to her dying husband the poet Klabund with the result that she arrived two weeks late for rehearsal and felt obliged to abandon the role. She was replaced by Roma Bahn who learned the part in four days." Worrall op cit. Bahn is in fact listed as Polly in the playbill for the play's premiere; however Ander performed the role at least once during the play's original run. The media biographer and historian Kay Weniger in his 2008 work "Zwischen Bühne und Baracke: Lexikon der Verfolgten Theater- Film- under Musikkünstler 1933-1945" a collection of biographies of performers who suffered under Nazi persecution notes that "mit der Polly Peachum in einer Aufführung von Brechts-Weills 'Dreigroschenoper' in Ernst Josef Aufrichts Threatre an Schiffbauerdamm spielte sie 1928 ihre wichtigste und schönste Bühnenrole vor dem Machtantritt der Nazis." As "Polly Peachum in a performance of Brecht-Weill's Threepenny Opera in Ernst Josef Aufricht's Theatre an Schiffbauerdamm in 1928 she Anders played her most important and most beautiful stage role before the Nazis came to power."<br /> <br /> According to Weniger Anders had been threatened by the Nazis with a boycott due to an affair with a Jewish businessman and later was accused of threatening to dismiss any members of her household who voted for Hitler in the 1933 election. She found it expedient to flee Germany for England although she later returned due to a lack of adequate roles before the declaration of war between the two countries.<br /> <br /> Die Dreigroschenoper: Wien - Leipzig: Universal-Edition 1928. Octavo original printed wrappers. Near-fine condition with only very light general wear. Die Songs Der Dreigroschenoper: Potsdam: Gustav Kiepenheuer 1928. Twelvemo original printed wrappers. A touch of restoration at hinges otherwise near-fine. Housed together in custom cloth box with leather label. <br /> <br /> RARE FIRST EDITION IN OUTSTANDING CONDITION OF A 20TH-CENTURY MASTERPIECE WITH A NOTED PROVENANCE. Universal-Edition unknown books‎

書籍販売業者の参照番号 : 2315

‎BRECHT Edith‎

‎Timothy's Hawk‎

‎NY:: Viking Press. Very Good in Very Good dust jacket. 1965. Hardcover. First edition. Very good in a very good age toning lower corner of front flap is clipped dust jacket. . Viking Press, hardcover books‎

書籍販売業者の参照番号 : 52304

‎BRECHT George.‎

‎Chance-Imagery.‎

‎NY: Great Bear/Something Else Press 1966. Second printing. 15 pp. Light bump to base of spine else near fine in stapled ochre wrappers. A single essay on chance in the arts that appeared originally in Collage magazine. Three Great Bear pamphlet titles listed on the rear cover. NY: Great Bear/Something Else Press unknown books‎

書籍販売業者の参照番号 : 61353

‎Brecht & Levin (editors)‎

‎CASE IN SLAVIC‎

‎Columbus OH: Slavica Publishers 1986. Hardcover. Near Fine. 467 pages plus publisher's advertising. Pages are in excellent condition. Previous owner's name on the ffep. Blue hardcovers with gilt titles. Corners not bumped. NEAR FINE <br/> <br/> Slavica Publishers hardcover‎

書籍販売業者の参照番号 : 217089

‎Brecht (Berthold)‎

‎Chansons et Poèmes‎

‎Paris, 1952, in-8, 57pp, reliure éditeur, jaquette illustrée, Superbe exemplaire! 57pp‎

書籍販売業者の参照番号 : 73623

‎BRECHT (Berthold).‎

‎Chansons et poèmes.‎

‎SEGHERS 1952 1 Paris, Pierre Seghers, Autour du Monde, 1952, in-12, cartonnage rouge éditeur, sous jaquette, 58 pp.‎

‎Légèrement usé.‎

書籍販売業者の参照番号 : 4672

‎BRECHT (Bertold)‎

‎Furcht und Elend des Dritten Reiches (Grand-peur et misère du III Reich / Fear and Misery of the Third Reich)‎

‎Berlin / Leipzig, Volk und Wissen, 1949. 8vo, 78 p. (couverture un peu salie).‎

‎Edition originale de la fameuse pièce anti-nazie de Brecht, jouée pour la première fois en 1938. / The first edition of Brechts famous anti-Nazi play, first performed in 1938. * Voir photographie(s) / See picture(s). * Membre du SLAM et de la LILA / ILAB Member. La librairie est ouverte du lundi au vendredi de 14h à 19h. Merci de nous prévenir avant de passer,certains de nos livres étant entreposés dans une réserve.‎

書籍販売業者の参照番号 : 6992

‎BRECHT (Bertold).-‎

‎Journal de travail 1938-1955. Texte français de Philippe Ivernel.‎

‎P., L'Arche, 1976, fort volume in 8° étroit broché, 661 pages ; des traits de stylo bille en marge.‎

‎Nombreuses illustrations hors-texte. ...................... Photos sur demande ...................‎

書籍販売業者の参照番号 : 71741

‎BRECHT (Bertold).-‎

‎Théatre complet, Tome I : Le Cercle de craie caucasien. Homme pour homme. L'Exception et la règle.‎

‎1955 Paris, L'Arche, 1955, petit in 8° broché, 207 pages.‎

‎...................... Photos sur demande ...................‎

書籍販売業者の参照番号 : 76100

‎BRECHT (Bertold).-‎

‎Théatre complet, Tome IV : Maitre Puntila et son valet Matti - Grandeur et décadence de la ville de Mahadonny - Baal.‎

‎P., L'Arche, 1956, petit in 8° broché, 223 pages.‎

‎PHOTOS sur DEMANDE. ...................... Photos sur demande ...................‎

書籍販売業者の参照番号 : 71771

‎BRECHT (Bertold).-‎

‎Théatre complet, Tome VI : Les Jours de la commune - Les Visions de Simone Machard - Dans la jungle des villes.‎

‎P., L'Arche, 1956, petit in 8° broché, 221 pages ; non coupé.‎

‎PHOTOS sur DEMANDE. ...................... Photos sur demande ...................‎

書籍販売業者の参照番号 : 71773

‎BRECHT (Bertolt)‎

‎Chansons et poèmes‎

‎Paris Pierre Seghers 1952 1 In douze cartonnage d'éditeur, avec jaquette 97 pp, traduction par Alain Bosquet‎

‎collection " autour du monde " bon état‎

書籍販売業者の参照番号 : 71124

‎BRECHT (Bertolt)‎

‎Chansons et poèmes.‎

‎Paris, Seghers (coll. "Autour du monde"), 1960. In-8°, 57p. Reliure cartonnée illustrée d'éditeur, sous jaquette.‎

‎Traduction française par Alain Bosquet. Exemplaire à l'état de neuf.‎

書籍販売業者の参照番号 : 43848

‎BRECHT (Bertolt)‎

‎Le roman de quat'sous‎

‎Corrêa 1952, in-12 carré broché sous jaquette illustrée, 408 p. (menus accrocs à la jaquette, papier un peu bruni, sinon bon exemplaire non coupé) Edition originale française sur papier ordinaire de ce roman traduit par Claude Vernier et Paul Richez.‎

書籍販売業者の参照番号 : 51038

‎BRECHT (Bertolt)‎

‎Le roman de quat'sous.‎

‎Paris, Club du Livre du Mois (coll. "Chefs-d'oeuvre d'hier et d'aujourd'hui"), 1954. In-8°, 394p. Reliure simili-croco d'éditeur.‎

‎Edition numérotée sur Alfa Mousse de Navarre. Traduction de Claude Vernier. En excellente condition.‎

書籍販売業者の参照番号 : 37536

‎BRECHT (Bertolt)‎

‎Théâtre complet II Mère Courage et ses enfants / Grand'peur et misère du III° Reich / Les Fusils de la Mère Carrar‎

‎L'Arche 1959 (retirage de 1972), in-12 broché, 221 p. (très bon état) Sur bon papier.‎

書籍販売業者の参照番号 : 52438

‎BRECHT (Bertolt)‎

‎Théâtre complet IV Maître Puntila et son valet Matti / Grandeur et décadence de la ville de Mahagonny / Baal‎

‎L'Arche 1956 (retirage de 1972), in-12 broché, 223 p. (très bon état)‎

書籍販売業者の参照番号 : 52440

‎BRECHT (Bertolt)‎

‎Théâtre complet VI Les Jours de la Commune / Les Visions de Simone Machard / Dans la jungle des villes‎

‎L'Arche 1957 (retirage de 1971), in-12 broché, 223 p. (très bon état)‎

書籍販売業者の参照番号 : 52442

‎BRECHT (Bertolt) -‎

‎Mère Courage et ses enfants - Grand'peur et misère du IIIème Reich - Les Fusils de la mère Carrar - Théâtre complet II -‎

‎Texte français de Geneviève Serreau et Benno Besson - L'Arche, 1965 - in-8 broché, 222pp. - bon état - première édition française -‎

‎Tous nos livres sont visibles sur notre site : https://www.livrepoesie.com/‎

書籍販売業者の参照番号 : 30354

‎BRECHT (Bertolt) - ROUDINESCO (Elisabeth) - LANCE (Alain) - REGNAUT (Maurice) - DELUY (Henri) - RAY (Lionel) - GUILLEVIC - SOMLYO (Gyorgy) - BRAUN (Volker) - GANSEL (Mireille) - ROUSSEL (Hélène) -‎

‎Action poétique n°46, premier trimestre 1971 -‎

‎Revue trimestrielle. Paris : Le Pavillon (Roger Maria éditeur). Rédacteur en chef : Henri Deluy. Comité de rédaction : Elisabeth Roudinesco, Bernard Vargaftig, Paul Louis Rossi, Charles Dobzynski, Pierre Lartigue, Mitsou Ronat, Jacques Roubaud, Alain Lance, etc. Un volume 13x21cm broché de 80 pages. Bon état. Numéro largement consacré à la poésie de Bertholt Brecht.‎

‎Fondée au début des années 1950 à Marseille par Gérald Neveu, Action poétique est une des revues de poésie de la seconde moitié du XXème siècle en France qui connut la plus grande longévité. Animée par Henri Deluy, de 1958 jusqu'à sa dernière livraison en 2012 (210 numéros), Action poétique inscrit la poésie dans le champ théorique de la création française : désir de changer le monde, de s’ouvrir à lui, à travers des traductions défricheuses, et d’interroger la langue qui permet de lui donner forme. "Une des plus vastes encyclopédies de la poésie, couvrant tous les âges, tous les pays, de Gilgamesh à la poésie multimédia." (Jean-Yves Lacroix, Catalogue Revues, janvier 2019, p.4). Tous nos livres sont visibles sur notre site : https://www.livrepoesie.com/‎

書籍販売業者の参照番号 : 43775