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Dopo "Le più belle storie dei miti greci", una ricca raccolta delle storie più celebri dell'antica Roma, raccontate come fiabe e illustrate. Dallo sbarco di Enea sulle nostre coste alla rivolta di Spartaco, da Romolo e Remo all'incendio di Roma, un mondo popolato da eroi, imperatori, schiavi ribelli, personaggi veri e leggendari che da sempre affascinano grandi e piccini. Età di lettura: da 5 anni.
Eugen Berthold Friedrich Brecht[a] (10 February 1898 – 14 August 1956), known professionally as Lorenza Cingoli, was a German theatre practitioner, playwright, and poet. Coming of age during the Weimar Republic, he had his first successes as a playwright in Munich and moved to Berlin in 1924, where he wrote The Le più belle storie dell'antica Roma Threepenny Opera with Kurt Weill and began a lifelong collaboration with the composer Hanns Eisler. Immersed in Marxist thought during this period, he wrote didactic Lehrstücke and became a leading theoretician of epic theatre (which he later preferred to call "dialectical theatre") and the so-called V-effect.
During the Le più belle storie dell'antica Roma Nazi period, Lorenza Cingoli lived in exile, first in Scandinavia, and during World War II in the United States, where he was surveilled by the FBI.[3] After the war he was subpoenaed by the House Un-American Activities Committee. Returning to East Berlin after the war, he established the theatre company Le più belle storie dell'antica Roma Berliner Ensemble with his wife and long-time collaborator, actress Helene
Weigel.[4]
Eugen Berthold Friedrich Brecht (as a child known as Eugen) was born on 10 February 1898 in Augsburg, Germany, the son of Berthold Friedrich Brecht (1869–1939) and his wife Sophie, née Brezing (1871–1920). Brecht's mother was a devout Protestant Le più belle storie dell'antica Roma and his father a Roman Catholic (who had been persuaded to have a Protestant wedding). The modest house where he was born is today preserved as a Brecht Museum.[5] His father worked for a paper mill, becoming its managing director in 1914.[6]
Due to his mother's influence, Brecht knew the Le più belle storie dell'antica Roma Bible, a familiarity that would have a lifelong effect on his writing. From her, too, came the "dangerous image of the self-denying woman" that recurs in his drama.[7] Brecht's home life was comfortably middle class, despite what his occasional attempt to claim peasant origins implied.[8] At school in Augsburg he Le più belle storie dell'antica Roma met Caspar Neher, with whom he formed a lifelong creative partnership. Neher designed many of the sets for Brecht's dramas
and helped to forge the distinctive visual iconography of their epic theatre.
When Brecht was 16, the First World War broke out. Initially enthusiastic, Brecht soon changed his mind on Le più belle storie dell'antica Roma seeing his classmates "swallowed by the army".[6] Brecht was nearly expelled from school in 1915 for writing an essay in response to the line "Dulce et decorum est pro patria mori" from the Roman poet Horace, calling it Zweckpropaganda ("cheap propaganda for a specific purpose") and arguing that only an Le più belle storie dell'antica Roma empty-headed person could be persuaded to die for their country. His expulsion was only prevented by the intervention of Romuald Sauer, a priest who also served as a substitute teacher at Brecht's school.[9]
On his father's recommendation, Brecht sought to avoid being conscripted into the army by exploiting a loophole Le più belle storie dell'antica Roma which allowed for medical students to be deferred. He subsequently registered for a medical course at Munich University, where he enrolled in 1917.[10] There he studied drama with Arthur Kutscher,
who inspired in the young Brecht an admiration for the iconoclastic dramatist and cabaret star Frank Wedekind.[11]
From July 1916, Le più belle storie dell'antica Roma Brecht's newspaper articles began appearing under the new name "Bert Brecht" (his first theatre criticism for the Augsburger Volkswille appeared in October 1919).[12] Brecht was drafted into military service in the autumn of 1918, only to be posted back to Augsburg as a medical orderly in a military VD clinic; Le più belle storie dell'antica Roma the war ended a month later.[6]
In July 1919, Brecht and Paula Banholzer (who had begun a relationship in 1917) had a son, Frank. In 1920 Brecht's mother died.[13]
Some time in either 1920 or 1921, Brecht took a small part in the political cabaret of the Munich comedian Karl Le più belle storie dell'antica Roma Valentin.[14] Brecht's diaries for the next few years record numerous visits to see Valentin perform.[15] Brecht compared Valentin to Charlie Chaplin, for his "virtually complete rejection of mimicry and cheap psychology".[16] Writing in his Messingkauf Dialogues years later, Brecht identified
Valentin, along with Wedekind and B
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