Table of Contents

SPECIAL INTEREST SECTION: TEACHING BRECHT
From Page to Stage and Classroom to Community: Teaching Brecht in the Twenty-First Century - Kristopher Imbrigotta
From Page to Stage and Classroom to Community: Teaching Brecht in the Twenty-First Century - Per Urlaub
Playing Brecht: Creative Appropriation in the Foreign Language Classroom - Caroline Weist
Teaching to Interrupt: Satire in Brecht's Arturo Ui and Chaplin's The Great Dictator - Ari Linden
Performative Discussion: Practicing Brechtian Praxis in the Classroom - Cohen Ambrose
Brecht for Theater Majors: Teaching Epic Theater in a Play Analysis Course - Daniel Smith
Teaching Performance Studies with Brecht's Lehrstu?ck Model: The Measures Taken - Ian Maxwell
Verfremdung and Ethics in Brecht's Der Jasager / Der Neinsager - Elena Pnevmonidou
Staging Brecht at Carleton: Students as Actors at a Liberal Arts College - Julie Klassen and Ruth Weiner
Studieren und über Vertrautes staunen: Brechtsches Stückeschreiben durch Forschen und Bilden und Darstellen - Gerd Koch
INTERVIEW
42 Jahre Berliner Ensemble: Gespräch mit Annemone Haase, 23. Juni 2016 in ihrer Wohnung in Berlin - Margaret Setje-Eilers
NEW BRECHT RESEARCH
Art Instead of Romance: Brecht's Collaborations with Women - Helen Fehervary
Collaboration, Exile, and the Quotidian: Community on the Svendborg Sound, 1933-1939 - Katherine Hollander
Brechts Adaptionen der Psychologie Kurt Lewins und ihre Weiterentwicklung fürs epische Theater - Ines Langemeyer
Harry Smith and Mahagonny - Marc Silberman
Inhabiting Empathy: Locating the Verfremdungseffekt in an Era of Immersion - James R, Ball III
BOOK REVIEWS

About the Author

Kristopher Imbrigotta is Assistant Professor of German Studies at the University of Puget Sound. IAN MAXWELL is an Honorary Research Fellow, Music Department, University of Sheffield. Elena Pnevmonidou is Associate Professor in the Department of German and Slavic Studies and Director of the European Studies program at the University of Victoria.

Reviews

Offers some keen insights into Brechtian strategy as pedagogic and performative practice and argues strongly for its relevance as a crux of engaging actively with the de- and re-construction of what it means to take a role in the processes of learning and deploying critical intelligence in the classroom and beyond.
*JOURNAL OF EUROPEAN STUDIES*