LYCOS RETRIEVER 
Bertolt Brecht: Works
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For several decades modern realistic literature has been dominated by two names: Ernest Hemingway and Bertolt Brecht. They were born at almost the same time—Brecht in 1898 and Hemingway in 1899—and died not long apart—Brecht in 1956, Hemingway in 1961. Thus they were respectively 59 and 62 years old; both died at an age when one could still have expected new and great works from them.
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Mews's name is synonymous with Brecht research around the world. From such a union one can expect the highest level of scholarship in easily accessible language. This expectation is fulfilled in every way.... Intended as a reference work for English readers, the book is intelligently organized into five sections--theory and practice of theater; poetry and prose; film and music; Marxism and feminism; and Brecht's acceptance in the U.S., Latin America, and Asia--a division that comes very close to covering all aspects of Brecht studies in a way that makes the book very useful to scholars, undergraduate students, and general readers alike.
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[F]or Brecht form was not an end in itself. He never valued form apart from content. This he expressed many times in his critical thought and demonstrated in his literary work.
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This volume surveys and assesses Brecht's enormous contribution to the arts. Chapters by expert contributors explore his innovative dramatic theory and theatrical practice. Though best known for his contribution to the stage, Brecht ... wrote poetry and prose fiction, and his poems and prose are examined in this work. Brecht's influence is also considered, and chapters examine topics of special interest, such as Brecht and film, the role of music in his works, feminist and Marxist approaches to his writings, the problem of translating Brecht into English, and the reception and appropriation of his plays and dramatic theory in various countries. While the chapters are historical in focus, the contributors also demonstrate the continuing relevance of Brecht in general and the Brechtian theater in particular in the 1990s.
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While the general use of these is called the V-effekt, when any such device is employed successfully Brecht calls the result a V-effekt. This is Brecht's explanation of how the device works:
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The sixteen-year period away from his homeland was not for Brecht a withdrawal from the front of struggle. His exile was a politically active exile. He was in the front rank of the Anti-Fascist Front. He remained faithful to the cause of the working class, into which he threw all his ardour, all his creative energies, and all his rich political activity.
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