Ali je prihodnost gledališča lahko filozofska? Gledališče Bertolda Brechta na presečišču umetnosti, filozofije in didaktike

Debeljak, Bine (avtor), Kreft, Lev (mentor)

V diplomskem delu se skušamo približati Brechtovi poziciji, s katero je želel v gledališču izpeljati stavek, da so filozofi do sedaj svet le razlagali, potrebno pa bi ga bilo spremeniti. S tem, je odprl vrata gledališča filozofom in filozofiji. Še več, Brecht je bil prepričan, da filozofija spada v gledališče in se je po vzoru svojega duhovnega učitelja Denisa Diderota oklical za filozofa v gledališču. Tudi zaradi tega v Brechtovem umetniškem opusu posebno mesto pripada Učnim komadom, stranpoti epskega gledališča, ki hkrati predstavljajo verjetno najbolj politično in didaktično obarvane Brechtove igre. Posebej se posvečamo komadoma Ukrep, za katerega je sam Brecht dejal, da je ta komad kot najbolj dodelan izmed vseh (na nek način lahko vidimo, kako sta splošni gesli Učnih komadov žrtev in soglasje prikazani v najbolj dodelani in premišljeni obliki, hkrati pa smo priča izpopolnjeni brechtovski učiteljski pozi) oblika gledališča prihodnosti, in Izjemi in pravilu, v katerem se s pomočjo Walterja Benjamina, kot najboljšega Brechtovega kritika, in njegovih tez o zgodovino posvetimo obliki razrednega boja, kot je ta prikazan v omenjenem komadu.

• Jezik: Slovenski jezik
• Ključne besede: filozofija, didaktika, epsko gledališče, Učni komadi, žrtev, soglasje, razredni boj, Bertolt Brecht, Walter Benjamin
• Vrsta gradiva: Diplomsko delo/naloga
• Organizacija: FF - Filozofska fakulteta
• Leto izida: 2019
• PID: 20.500.12556/RUL-111331
• Datum objave v RUL: 28.09.2019

DEBELJAK, Bine, 2019, Ali je prihodnost gledališča lahko filozofska? Gledališče Bertolda Brechta na presečišču umetnosti, filozofije in didaktike [na spletu]. Diplomsko delo. [Dostopano 21 april 2025]. Pridobljeno s: https://repozitorij.uni-lj.si/IzpisGradiva.php?lang=slv&id=111331

Sekundarni jezik

• Jezik: Angleški jezik
• Naslov: Can the Future of Theater be philosophical? Bertolt Brecht's Theater at the Intersection of Art, Philosophy and Didactics

Izvleček

In the undergraduate thesis we are trying to get closer to Brecht's theatrical position, in which he followed the Marx's statement that the philosophers have only interpreted the world, in various ways. The point, however, is to change it. By taking that position, Brecht in a way opened the doors of theater for philosophers and philosophy. Even more, he was convinced that philosophy has its place among theater theory and practice, and by doing that, he followed his theatrical and philosophical teacher, Denis Diderot, after who Brecht took nickname philosopher in theater. This is why The LehrStücke (The Learning Plays) have a special place among Brecht's artistic oeuvre. The LehrStücke represents side way of Epic theatre (Brecht's main theatrical concept) and are at the same time probably the most politically and didactically colored Brecht's plays. In particularly, we focus on two plays: The Measures Taken, which Brecht himself said to be the most technically perfected LehrStück (we can also see how the general motives of The LehrStücke like victim and consent are presented in the most visually and technically perfected way, while also witnessing sophisticated Brecht's didactic pose) and named it form of the theater of future; and The Exception and the Rule in which, with the help of Walter Benjamin (who was by far Brecht's best critic) and his theses on the history, we take into observation the form of class struggle as shown in aformentioned LehrStück.

• Ključne besede: philosophy, didactics, Epic Theatre, The LehrStücke, victim, consent, class struggle, Bertolt Brecht, Walter Benjamin