Follow Writing Brecht

Tuesday 28 June


Breakfast served for those staying at St Hugh’s

Dining Hall



Academic sessions in parallel

Session A: Brecht, Acting and the Actor

Ho Tim Seminar Room

Tony Hozier: Image and Action: an approach to Brecht in actor training

Kent Sjöström: The Actor’s Mr. K.

Alice Koubová: Ludic philosophy in Brecht’s drama and prose

Chair: David Barnett


Session B: Brecht and Shakespeare 2

China Centre Lecture Theatre

Martin Revermann: Brecht’s Bard: Translating the Coriolanus

Antony Tatlow: Playing with Power: Historicizing Coriolanus

W. Stuart McDowell: Bards at the Gate

Chair: Ralf Räuker


Session C: Brecht Fragments and Their Afterlife

Louey Seminar Room

Zoe Beloff: A Model Family in a Model Home or a Tale of Fictitious Capital

Matthias Rothe: Trading Futures: The Fleischhacker Project

Chair: Marc Silberman


Session D: Brecht as Recycler

Maplethorpe Seminar Room

Elena Pnevmonidou: From Opera to Novel: Brecht’s Cross-Genre Recycling of the Threepenny Material

James Rasmussen: Brecht’s Antigone and the Art of Recycling

Charles Osborne: A Translator’s Perspective on The Business Affairs of Mr Julius Caesar

Chair: Stephen Parker



Coffee and tea break

Wordsworth Tea Room



Academic sessions in parallel

Session A: Brecht and English-Language Theatre

Maplethorpe Seminar Room

Bettina Auerswald: Upcycling Brecht? Verbatim Theatre and/as Epic Theatre Practice

Laura Ginters: A Play By Any Other Name: The Ragged Cap a.k.a Señora Carrar’s Rifles. The First Brecht Production in the Southern Hemisphere?

Anja Hartl: Post-Brechtian Aesthetics in Contemporary British Drama

Verónica Rodríguez: Recycling Brecht: David Greig’s The American Pilot and The Events

Chair: Steve Giles


Session B: Brechts Brauchbarkeit 

Louey Seminar Room

Milena Massalongo: Brecht zum Gebrauch: Einige Thesen

Anna Mercedes Hempel: Wozu ist Brecht noch ¨brauchbar¨, z.B. in Paraguay?

Marco Castellari: Die neue italienische Brecht-Welle

Grazyna Szewczyk: Zwischen Tradition und Experiment: Rezeption und Adaption von Brechts Stücken in Polen in den Jahren 1990 -2015

Chair: Florian Vaßen


Session C: Brecht and India

Ho Tim Seminar Room

Dwaipayan Chowdhury: Eclectic Brecht? : Assessing Calcutta Repertory Theatre's Galileor Jivan (Life of Galileo)

Prateek: Canonizing Brecht in India: A Study of the Theatre of Fritz Bennewitz

G.S. Sahota: Recycling the Folk and Refashioning the Public: Brechtian Epic Theater in Post-Independence India

Chair: Paula Hanssen



Lunch served

Dining Hall

(sign-up necessary)



Parallel workshops

Workshop A: David Constantine: Translation as Close Reading

David Constantine leads this workshop on translating Brecht’s poetry. He will select two short poems and work with the group to discuss shape, rhythm, rhyme, meter and how these might be rendered in English.

Louey Seminar Room

(Sign-up necessary, maximum 15 participants)


Workshop B: Di Trevis and Dominic Muldowney: Performing Brecht

Di Trevis has a lifetime of political theatre behind her. Together with Dominic Muldowney, long-time musical director of the National Theatre, she will take actors through their paces in a masterclass on performing Brecht.

Wordsworth Tea Room

(Sign-up necessary, maximum 60 participants)


Workshop C: Sarah Moon: Recycling Brecht as Activist Street Theatre

Sarah Moon leads this workshop on Epic Theatre tropes in contemporary activist street theatre. She will examine the composition process of street theatre and look at how it can incorporate Brechtian elements, before leading participants in the workshop to construct their own activist scripts.

Ho Tim Seminar Room

(Sign-up necessary, maximum 12 participants)


4.30pm onwards

Parallel performances


Performance A: Phoebe Zeitgeist: Cantieri Bavaresi #3 EKART

Phoebe Zeitgeist is a theatre company based in Milan, which produces plays and talks on the political function of the imagination and of culture. Here, the group present a piece from their research Cantieri Bavaresi, based on Baal, by Brecht. The focus is on Ekart as a key figure. The performance will be followed by a theoretical discussion.

Maplethorpe Hall

(Sign-up necessary, maximum 100 participants)




Performance B: Hans Martin Ritter: Brechts Bestie – Umwege und Irrwege der Kunst, die Wirklichkeit zu erfassen, oder: Erzählen als Diskurs: Fragen zu einer offenen Dialektik des Ästhetischen

Hans Martin Ritter gives a literary performance of the story The Beast by Bertolt Brecht, framed by a theoretical discussion about the dialogical quality of storytelling.

Please note: both the performance and the discussion take place in German.

Old Law Library

(Sign-up necessary, maximum 50 participants)



Book launch: a new English-language edition of Brecht’s Me-ti, by Antony Tatlow

Wordsworth Tea Room



Dinner served

Dining Hall

Sprechstunde”: Brecht agents, publishers, editors and others will be available for consultation over dinner.



Song recital by Lore Lixenberg

Mezzo-soprano Lore Lixenberg, a specialist in twentieth-century avant-garde and contemporary music, performs a selection of Brecht’s poetry set to music. This includes Hanns Eisler’s ‘Hollywood Elegies’ and the world premiere of newly commissioned settings by contemporary composers Niels Rønsholdt and Richard Thomas, based on translations by Tom Kuhn and David Constantine.

Mordan Hall

(Sign-up necessary, maximum 140 participants)



Bar open

Wordsworth Tea Room



Short films shown

China Centre Lecture Theatre