TY  - BOOK
AU  - Squiers,Anthony
TI  - Bertolt Brecht’s Adaptations and Anti-capitalist Aesthetics Today
T2  - Consciousness, Literature and the Arts
SN  - 9789004721876
AV  - PT2603.R397 
U1  - 832/.912 23
PY  - 2025///
CY  - Leiden, Boston
PB  - Brill
KW  - Brecht, Bertolt,
KW  - Literature
KW  - Adaptations
N1  - Includes bibliographical references and index; Acknowledgements -- List of Figures -- 1   Why Brecht and Why His Adaptations? --  1 Introduction --  2 A Vexing Quirk in Brechtian Scholarship and the Weaponization of Art-Philosophy --  3 A Lost Revolution --  4 Weaponization --  5 Objectives, Research Question, and Contribution --  6 Overview of Book -- 2   Brecht’s Theory and Method of Adaptation --  1 Brecht’s Politics --  2 Marxism’s Impact on Brecht’s Work --  3 Marxism’s Impact on Brecht’s Biography --  4 Problems with the Bourgeois Theatrical Heritage --  5 Brecht on the Bourgeois Ideology --  6 Making Conscious Experience Possible --  7 Conscious Experience and the Classics --  8 The Fabel and Gestus --  8.1  Gestus --  8.2  Social Gestus --  8.3  Gestus in Text --  8.4  The Fabel and Adaptation --  9 Adaptation and Estrangement Effects --  10 Historicizing and Intertextual Discourse --  10.1  Historicizing --  10.2  Intertextual Discourse --  11 Praxis and Experimentation --  11.1  Praxis --  11.2  Experimentation --  12 Summary -- 3   Freedom and Alienation in Brecht’s  The Tutor --  1 Introduction --  2 Synopsis of Lenz’s The Tutor --  2.1  Act  i  --  2.2  Act  ii  --  2.3  Act  iii  --  2.4  Act  iv  --  2.5  Act  v  --  3 Interpretive Summary of Brecht’s The Tutor --  3.1  Prologue --  3.2  Act  1  --  3.3  Act 2 --  3.4  Act 3 --  3.5  Interlude --  3.6  Act 4 --  3.7  Act 5 --  3.8  Epilogue --  4 Summary -- 4   Conquest and Magical Thinking in Brecht’s  Don Juan --  1 Introduction --  1.1  A Transferable Method --  1.2  Chapter Overview --  2 Summary of Molière’s Don Juan --  2.1  Act  i  --  2.2  Act  ii  --  2.3  Act  iii  --  2.4  Act  iv  --  2.5  Act  v  --  3 Interpretive Summary of Brecht’s Don Juan --  3.1  Act  i  --  3.2  Act  ii  --  3.3  Act  iii  --  3.4  Act  iv  --  4 Summary -- 5   Courage and Action in Brecht’s “Socrates Wounded” --  1 Introduction --  2 Summary of Plato’s Socrates at Delium --  2.1  The Unity of the Virtues and Courage as Wisdom --  2.2  Courage in the Laches --  2.3  Courage in the Apology --  3 Interpretive Summary of “Socrates Wounded” --  4 Summary -- 6   War and Capitalism in Brecht’s  Kriegsfibel --  1 Introduction --  1.1  The Photos and Layout of the  Kriegsfibel --  1.2  Epigrams in the  Kriegsfibel --  2 Fabel in the Kriegsfibel --  3 Estrangement in the Kriegsfibel --  3.1  Cutting and Pasting as Estrangement --  3.2  Estrangement in the Text-Pictorial Interface --  3.2.1 The Verbal and the Visual --  3.2.2 Elevated Poetic Diction and Prosaic Imagery --  3.3  Estrangement through Visual Flow --  4 Gestus in the Kriegsfibel --  5 Kriegsfibel Analysis --  5.1  Non-linear Narrative Structure --  5.2  Ideological Underpinnings --  5.2.1 Photo-Epigram 28 and the Gestus of Being Mesmerised --  5.2.2 Photo-Epigram 51 and the Gestus of Being Blind --  5.2.3 Photo-Epigram 8 and the Gestus of Keeping an Eye Out --  5.2.4 Photo-Epigram 33 and the Gestus of Going up in Smoke --  5.2.5 Photo-Epigram 15 and the Gestus of Fear --  5.3  Material Interests --  5.3.1 Photo-Epigram 5 and the Gestus of Shooting the Bird --  5.3.2 Photo-Epigrams 37 and the Gestus of Lusting After --  5.3.3 Photo-Epigram 44 and the Gestus of Remembering the Dead --  5.4  What Happens Next? --  5.4.1 Photo-Epigrams 58 & 64 and the Gestus of Hanging Your Head in Defeat --  5.4.2 Photo-Epigram 69 and the Gestus of Fascism --  5.4.3 The Gestus of Learning and Historicizing --  6 Summary -- 7   Brecht’s Theory and Method of Adaptation and Anti-capitalist Aesthetics Today --  1 Summary --  2 Making Brecht Whole --  2.1  Contribution to Brechtian Scholarship --  2.2  Contribution to Adaptation Studies Scholarship --  2.3  Contribution to Anti-capitalist Aesthetics Today: Is Brecht Still Useful? --  2.3.1 Utility of Gestus --  2.3.2 Utility of Estrangement Effects and Historicizing --  2.3.3 Utility of Fabel --  2.3.4 Utility of Brecht’s Theory and Method of Adaptation --  2.3.5 Utility of Theory-Praxis --  3 Conclusion --  4 In(conclusion) -- Index
N2  - This book examines Brecht’s theory and method of adaptation. It first reconstructs it into a single framework using four key Brechtian concepts: Fabel, gestus, estrangement effects, and historicizing. It then uses that framework to analyse four Brechtian adaptations: The Tutor , Don Juan , “Socrates Wounded,” and Kriegsfibel . It argues that adaptation occupies a previously unrealised central place in Brecht’s thought, demonstrating that he provides us with a unique way to think about adaptation—as material transformation. It concludes by describing how Brecht is useful for anti-capitalist aesthetics today because through him one can foster a new consciousness which enables better social conditions to be created. This book is practical for both theatre practitioners and artists as well as theorists
UR  - http://dx.doi.org/10.1163/9789004721876
ER  -