Theater An interesting aspect of the baroque is given from the theater, especially in France and partly also in Italy: with research pageantry, sensuality, of passions unleashed, of horrendous scenes, spectacular effects, of surprises. It is evident a development of reasons of the theater of the Renaissance (influence of Seneca) in the study of passions and in search of violent effects, macabre or immoral incesti (inclusive) even in works of moraleggianti trends. Political pride, unbridled passion (even on the part of women) carried to extremes often in a lavish scenario are the "wonder" that must so much more "Wow" with the spectacle of truncated heads on the scene, unexpected awards, etc. Typical theatrical works are baroque the Ermenegildo of Emanuele Tesauro in Italy (and, for some element, the Adam Andreini), and in France Scédase of A. Hardy, Charite of Poullet, Machabée of Virey du Gravier and Saint Vincent of Boissin de Gallardon. The visual effect s accompanies the baroque language of the characters on the scene, while in works more high, with a penetrating language, albeit imaginifico, the central theme often appears in the game of contrasts between fiction and reality, between dream and life. Think of the tragedy elisabettiana, Shakespeare, in Racine, Molie, Calderón and its famous comedy La Vida es sueño, and all the Spanish Theater. From the new poetic world artistic and then would be derived rules for a new poetics; the taste, each way would always anticipated the rules. In this way the baroque made his own a requirement of modern poetry, that of autonomous creation and spontaneous, not excluded in his profound sense of nature that much of hedonistic that reveals itself even in construction and in the arts of the house and opened the way to all the requirements of modernity, in a struggle with the time. There was full awareness that even the arts and letters were human work and then connected with the vicissitudes of the world, with the splendour of the discoveries and with the expectation of new glories. In this requirement the baroque is heard by modern as a historical period that has had new developments, even in the romantic era (even if this condemned as formally compartment every renewal for too closely follow the dictates of the Enlightenment and of the rationalism of the eighteenth century). In fact many aspects of romance and modern poetry can be explained only with the premises of the baroque. Theater An interesting aspect of the baroque is given from the theater, especially in France and partly also in Italy: with research pageantry, sensuality, of passions unleashed, of horrendous scenes, spectacular effects, of surprises. It is evident a development of reasons of the theater of the Renaissance (influence of Seneca) in the study of passions and in search of violent effects, macabre or immoral incesti (inclusive) even in works of moraleggianti trends. Political pride, unbridled passion (even on the part of women) carried to extremes often in a lavish scenario are the "wonder" that must so much more "Wow" with the spectacle of truncated heads on the scene, unexpected awards, etc. Typical theatrical works are baroque the Ermenegildo of Emanuele Tesauro in Italy (and, for some element, the Adam Andreini), and in France Scédase of A. Hardy, Charite of Poullet, Machabée of Virey du Gravier and Saint Vincent of Boissin de Gallardon. The visual effect s accompanies the baroque language of the characters on the scene, while in works more high, with a penetrating language, albeit imaginifico, the central theme often appears in the game of contrasts between fiction and reality, between dream and life. Think of the tragedy elisabettiana, Shakespeare, in Racine, Molie, Calderón and its famous comedy La Vida es sueño, and all the Spanish Theater. From the new poetic world artistic and then would be derived rules for a new poetics; the taste, each way would always anticipated the rules. In this way the baroque made his own a requirement of modern poetry, that of autonomous creation and spontaneous, not excluded in his profound sense of nature that much of hedonistic that reveals itself even in construction and in the arts of the house and opened the way to all the requirements of modernity, in a struggle with the time. There was full awareness that even the arts and letters were human work and then connected with the vicissitudes of the world, with the splendour of the discoveries and with the expectation of new glories. In this requirement the baroque is heard by modern as a historical period that has had new developments, even in the romantic era (even if this condemned as formally compartment every renewal for too closely follow the dictates of the Enlightenment and of the rationalism of the eighteenth century). In fact many aspects of romance and modern poetry can be explained only with the premises of the baroque. Art: General information In the figurative art union, step chronologically between mannerism and that the end result of the baroque himself who was the rococo (XVII century and the beginning of the XVIII) . Starting precisely from the mannerism you can sketch a genesis of the baroque (generic necessarily given the complexity of the phenomena that the term implies) as renewed sensitivity to nature, beyond styles and shapes predetermined, referred the mannerist crisis had revealed the wear, through repetition of modules now exhausted. The crisis aesthetics and cognitive mannerism, the religious and the policy of the Counter-Reformation stimulate a criticism from the inside to the classic canons and forms of expression which revalue feeling and appearance: does not investigates the more the ratio of nature and of the forms, but it poses a new report emotional and formal between man and things. For this significant renewal we will make use of all those different means that a skillful technique until the illusionism puts at the disposal of the baroque artist. The space in architecture is encompassing and organic: its geometric reason does not coincide with its essence, but is a means to overcome the limit between appearance and reality. The prospect is illusiva and scenographic, always in relationship with the spectator: In buildings are open outward in a continuous dialog with the urban space or with the landscape; in sacred blades in which the gesture invites a emotional participation; in sculpture always in dynamic relationship with the space that houses it. To a more intimate interdependence between work of art, spectator and space corresponds to a more substantial adherence between the different techniques: painting and sculpture are inserted in the architecture changing; architecture and decoration are born at the same time. The light, which is an essential element in the space baroque, is no longer the "lumen" clear and absolute of the Renaissance, but an infinite "relative" which breaks into the aisles of the churches to exalt the structures, turns the colors or li rips with sudden rays on the canvases, exalts the surface of the marble, stucco, of gilded wood. The Baroque language developed in the early decades of the Seventeenth Century by Rubens, Bernini and Borromini conquest the workers at all levels: craftsmen, modellers, carvers, argentieri contribute to its diffusion with vital contributions. From these essential aspects of the new style should not be divorced his deep adherence to that historical reality with which grows and develops: the absolute monarchies (Spain and France) and the papacy postcontroriformistico contribute with precepts and categorical imperatives for the determination of some of the shapes of the construction of the Church and of the Court: Valga for example the typology of the church with a single nave, on the model of the one of Jesus del Vignola, that, for the perfect functionality liturgical, spreads in Europe and America. Nor can one overlook the particular aspects, the processings national and regional and even less those dynamic antithesis between classicism rhetorical and total overstepping of canons (architecture), between realism and allegorical decorativismo (Painting), within which you configure the European baroque and that coexist within the cultural situations national exemplary: in Italy the ratio between the Bernini and Borromini, between Caravaggio and Pietro da Cortona. Thus we can find inside of European baroque some large currents and areas of influence that do not undermine the unity of an international phenomenon. A Naturalistic current and scenographic that from Italy and Spain spreads in Central Europe and, through the dedicated work of the religious orders, reaches the American colonies; a current academic and classical in France, England, Holland; and finally the great current of realism Caravaggio, phenomenon apparently polemical against of the baroque in its decorative sense and scenographic, but that is born from the same attention to nature, beyond the classical tradition, which we had thought one of the points of the launch of the new style. The Vita e the premium opere Scrittore e drammaturgo Tedesco (Augusta 1898-Berlino is 1956). Appassionato dei sidui spettacoli Popolari di Burattini e cantastorie della sua Città e assiduo frequentatore di cabarets, dove if esibì più tardi con testi e musiche owner, if mischiò nel 1917 alla anarchica di Monaco, abbandonando gli Studi di Medicina. Nel 1918 prestò servizio militare come infermiere in a Lazzaretto e nel 1919 divenne membro attivo di a Soviet operaio in seno alla Repubblica Comunista bavarese. Nello stesso anno, has Monaco, terminò it suo primo dramma, Baal, in cui esplode what "mito baalico", vitalistico, dionisiaco, divenuto poi, seppure meno vistosamente, the componente di una serie di personaggi brechtiani, IVI compreso Galilei. Ancora nel 1919 Brecht scrisse The Commedia ispirata alla rivoluzione monacense, e poi insignita del Premio Kleist (1922), Trommeln in der Nacht (Tamburi nella notte), in cui is agitava già il tema della possibile manipolazione dell'uomo has Opera di a social sistema-politico-moral e in cui usava Per la prima volta scritte didascaliche dissacranti su striscioni, intese a scuotere il pubblico dalla sua tradizionale passività. Nel 1922 Brecht if recò Per la prima volta has Berlino. Nello stesso anno sposò Marianne J. Zoff e dalla loro Unione nacque La Figlia note in Arte come Hanne Hiob. Nel 1924 Mr. Reinhardt lo chiamò al Deutsches Theater di Berlino, e In questa Città Brecht if stabilì, stringendo amicizia Col Gruppo dadaista e con the attrice Helene Weigel, da sposata him nel 1928 e dalla quale Ebbe due Figli. Lavorava intanto has Mann ist Mann (A uomo è a uomo), ambientato in a colonial India alla Kipling, dove if compiva The total manipolazione e alienazione di a povero scaricatore smarritosi nella società capitalistica. B. If the impegnò nello studio del marxismo PER TUTTO IL decennio 1926-36. Intanto, nel 1927, pubblicava The sua prima raccolta di versi, Hauspostille (Libro di devozioni domestiche), feroce paródia delle devozioni apprese dalla Madre Chiesa Cattolica, e collaborava con E. Piscator alla messinscena di Abenteuer of braven Soldaten Schweyk (it Buon soldato Švejk), tratto dal celebre romanzo del CECO Jaroslav Hasek. My fu IT 1928 has consacrare Brecht uno dei maggiori Geni teatrali Del Secolo: è It Trionfo, allo Schiffbauerdamm di Berlino, della Dreigroschenoper (the opera Da Tre soldi). It Teatro epico di Brecht rivela who sue ascendenze anti-aristoteliche, i suoi legami Col mistero medievale, Col Teatro elisabettiano, con gli Spagnoli del Siglo de Oro, con cinesi e giapponesi, e quindi The SUA rottura Col Teatro sia naturalistico sia impressionistico, fondati entrambi sull'Einfühlung, the empathy emotiva e irrazionale fra scena e Platea, the facoltà of immedesimarsi dello Spettatore nello Stato of Animo dell'attore, e sull'identificarsi dell'attore Col personaggio, con it duplice effetto di creare o a Mondo irreale o An illusione di realtà e, comunque, di consolidare The La coscienza dell'immutabilità della condizione Umana, caposaldo, questo, del conservatorismo Borghese. If deve assistere has uno spettacolo non immersi nella "penombra narcotica" della Sala, ma come if assisterebbe has a Incontro Sportivo, e cioè con competenza e con Passione; the attore non DEVE "interpretare" my "riferire" he personaggio, così come Chi ha assistito has a Stradale incident può riferirne have sopraggiunti che sono Not all Oscuro. Crescendo, Climax, catastrofe e aristotelica catarsi sono sostituiti da una serie di sciolta scene, montaggio narrativo inframmezzato di songs e di mimate party (large importanza attribuiva Brecht, sul modello del Teatro Eastern Europe, Al Gesto), che devono produrre The'"effetto di straniamento" (Verfremdungseffekt), Ossia a Brusco cambiamento di will be e Tono, wave evitare the empathy. Scopo di Brecht è mostrare allo spettatore, attraverso a fatto immaginario (O anche desunto da autori precedenti), una situazione Reale negativa (in fondo sempre The disumanità del capitalismo), che abbiamo The obbligo di analizzare trasponendola in Termini dialettici, razionali, per poi mutarla: Il Piacere del Teatro è appunto The voluttà del capire, l'esercizio della Ragione critica alla ricerca di soluzioni. Il Primo periodo creativo di Brecht if conclure con Aufstieg und Fall der Stadt Mahagonny (1929; Ascesa e caduta della città di Mahagonny), Storia di una giungla of asphalt capitalistica sui cui peccati non può più abbattersi it giudizio universale, perched Mahagonny è già the inferno. The Musica è di K. Weill, Col quale Brecht aveva iniziato una feconda collaborazione che continuò fino al 1933 quando anche Weill, per the avvento del nazismo, dovette scegliere The esilio. Nello stesso 1929, Dopo a decennio di ribellione più genericamente anarchico-antiborghese di espressionistica matrix, Brecht inizia una serie di drammi propriamente didattici, di Stretta osservanza marxista: v'è tuttavia Chi scorge in him a figlio dell'espressionismo anche nelle opere mature, V'è Chi nega The appartenenza di Brecht al Movimento, e constatando in him the assenza of ogni propensione metafisica, religiosa e irrazionalistica, lo pone sulla Linea dei grandi "cinici", Büchner, Heine, Wedekind, Morgenstern. Religion The religious system that builded and supported the imperial structure of Inca you configure as a polytheism oriented from the cult of the sun-god, Inti, almost a divine personification of the Empire. To Inti is offered daily meals and sacrifices of the blade. Solstices and equinoxes were the basis for a festive calendar solar typically. In all the temples Inti had some form of veneration, so much so that the first Spanish chroniclers each temple appeared as a "temple of the Sun" for antonomasia and every priest as "priest of the Sun". The chroniclers of the Spaniards called also "virgins of the Sun" certain virgins dedicated to various functions public sacral closely connected with the kingship: name that does not translated nor the indigenous name (acllacuna, "chosen women", the "elected") nor the inca conception. The capital of the Empire stood the most important temple of the sun, the so-called Coricancha, where burned a solar fire perennial. The Coricancha was a sort of Pantheon that welcomed all the divinity officially recognized, the traditional Inca divinity, and those of the various populations subjection: Illapa ("Tuono-Lampo"), a god is common to the whole of the andean region; Pachacamac, a kind of Supreme Being the Central Coast, entered from the inca conquest in the ranks of the gods governed by Inti; a series of "mothers" divine: Mother Luna (Mama-Quilla) bride of Inti, Mother Sea (Mama Cocha) evidently connected with an unknown experience to Inca up to the conquest of the coastal region, Mother Earth (Pacha Mama) important goddess pan-Peruvian, and Mother Corn (Mama Sara) that, in private worship, could also identify with individual maize plants exceptionally grown. In addition to real, the Coricancha upheld even certain objects venerable, said huaca, who in a certain sense, had the ability to concentrate in itself the sacredness of the conquered territories from which they came. You could say that they represented on the plane of religion, confirming to the city of Cuzco that harbored them the role of capital of the Empire. Generally the term huaca it designates things (images, stones, trees, etc..), places (sources, heights, etc.) and buildings (chapels, tombs, etc.) considered "sacred" or seats of exhibitions of the "sacred". With respect to the cult of the countless local huaca, that at the religious level could jeopardize the unity of the Empire, there were two official attitudes: on the one hand we tried to absorb the huaca more important, accogliendole materially or symbolically in the Coricancha, under the jurisdiction of the god Inti; on the other hand he tried to destroy the remaining, as did the ninth emperor, Pachacútec ("reformer of the World"), said for this "enemy of the huaca". To the religious building of the Empire opposed, in addition to the huaca, even the cults of local ancestors, for their ability to produce a human group bound by the worship of a common ancestor (ayllu), and therefore the same released within certain limits from the broader community constituting the empire. The empire maintained the ayllu, but deprived them of their characteristics "ethnic" and religious. The empire is divided into two halves, the "upper" and "lower", in turn divided into two sections: It thus took four seyu, determined by two ideal lines intersecting at Cuzco, which became the cultural center town, a world open to conquest or to transpose in the quadripartite diagram of the Empire, said "Land of the four regions" (Tahuantinsuyo). The Inca emperor, residing at Cuzco, which was the son of the sun" (Intip churin), a living god. In his own family was the high priest, the villac umu. In this unifying process must also be seen the religious reform of the eighth emperor Hatum Tupac, who introduced the cult of Viracocha and it took the name. Viracocha was a cultural hero of Andean populations, or perhaps a "creator lazy", recalled in various myths but never made the object of worship. His first and only the temples were actually erected by Hatum Tupac, which he gave to Viracocha the character of "father" universal, by replacing single "ancestors" of the various ethnic groups. With the acquisition of Viracocha were born complex theological elaboration (including recalls the investiture of sovereignty, transmitted by Viracocha to Inti and Inti to the emperor and the formulae for which each solar sacrifice became an offering to Viracocha in the name of Inti), which is expressed sometimes in prayers and hymns of high spiritual value and aesthetic. Art: General information In the figurative art union, step chronologically between mannerism and that the end result of the baroque himself who was the rococo (XVII century and the beginning of the XVIII) . Starting precisely from the mannerism you can sketch a genesis of the baroque (generic necessarily given the complexity of the phenomena that the term implies) as renewed sensitivity to nature, beyond styles and shapes predetermined, referred the mannerist crisis had revealed the wear, through repetition of modules now exhausted. The crisis aesthetics and cognitive mannerism, the religious and the policy of the Counter-Reformation stimulate a criticism from the inside to the classic canons and forms of expression which revalue feeling and appearance: does not investigates the more the ratio of nature and of the forms, but it poses a new report emotional and formal between man and things. For this significant renewal we will make use of all those different means that a skillful technique until the illusionism puts at the disposal of the baroque artist. The space in architecture is encompassing and organic: its geometric reason does not coincide with its essence, but is a means to overcome the limit between appearance and reality. The prospect is illusiva and scenographic, always in relationship with the spectator: In buildings are open outward in a continuous dialog with the urban space or with the landscape; in sacred blades in which the gesture invites a emotional participation; in sculpture always in dynamic relationship with the space that houses it. To a more intimate interdependence between work of art, spectator and space corresponds to a more substantial adherence between the different techniques: painting and sculpture are inserted in the architecture changing; architecture and decoration are born at the same time. The light, which is an essential element in the space baroque, is no longer the "lumen" clear and absolute of the Renaissance, but an infinite "relative" which breaks into the aisles of the churches to exalt the structures, turns the colors or li rips with sudden rays on the canvases, exalts the surface of the marble, stucco, of gilded wood. The Baroque language developed in the early decades of the Seventeenth Century by Rubens, Bernini and Borromini conquest the workers at all levels: craftsmen, modellers, carvers, argentieri contribute to its diffusion with vital contributions. From these essential aspects of the new style should not be divorced his deep adherence to that historical reality with which grows and develops: the absolute monarchies (Spain and France) and the papacy postcontroriformistico contribute with precepts and categorical imperatives for the determination of some of the shapes of the construction of the Church and of the Court: Valga for example the typology of the church with a single nave, on the model of the one of Jesus del Vignola, that, for the perfect functionality liturgical, spreads in Europe and America. Nor can one overlook the particular aspects, the processings national and regional and even less those dynamic antithesis between classicism rhetorical and total overstepping of canons (architecture), between realism and allegorical decorativismo (Painting), within which you configure the European baroque and that coexist within the cultural situations national exemplary: in Italy the ratio between the Bernini and Borromini, between Caravaggio and Pietro da Cortona. Thus we can find inside of European baroque some large currents and areas of influence that do not undermine the unity of an international phenomenon. A Naturalistic current and scenographic that from Italy and Spain spreads in Central Europe and, through the dedicated work of the religious orders, reaches the American colonies; a current academic and classical in France, England, Holland; and finally the great current of realism Caravaggio, phenomenon apparently polemical against of the baroque in its decorative sense and scenographic, but that is born from the same attention to nature, beyond the classical tradition, which we had thought one of the points of the launch of the new style. Theater An interesting aspect of the baroque is given from the theater, especially in France and partly also in Italy: with research pageantry, sensuality, of passions unleashed, of horrendous scenes, spectacular effects, of surprises. It is evident a development of reasons of the theater of the Renaissance (influence of Seneca) in the study of passions and in search of violent effects, macabre or immoral incesti (inclusive) even in works of moraleggianti trends. Political pride, unbridled passion (even on the part of women) carried to extremes often in a lavish scenario are the "wonder" that must so much more "Wow" with the spectacle of truncated heads on the scene, unexpected awards, etc. Typical theatrical works are baroque the Ermenegildo of Emanuele Tesauro in Italy (and, for some element, the Adam Andreini), and in France Scédase of A. Hardy, Charite of Poullet, Machabée of Virey du Gravier and Saint Vincent of Boissin de Gallardon. The visual effect s accompanies the baroque language of the characters on the scene, while in works more high, with a penetrating language, albeit imaginifico, the central theme often appears in the game of contrasts between fiction and reality, between dream and life. Think of the tragedy elisabettiana, Shakespeare, in Racine, Molie, Calderón and its famous comedy La Vida es sueño, and all the Spanish Theater. From the new poetic world artistic and then would be derived rules for a new poetics; the taste, each way would always anticipated the rules. In this way the baroque made his own a requirement of modern poetry, that of autonomous creation and spontaneous, not excluded in his profound sense of nature that much of hedonistic that reveals itself even in construction and in the arts of the house and opened the way to all the requirements of modernity, in a struggle with the time. There was full awareness that even the arts and letters were human work and then connected with the vicissitudes of the world, with the splendour of the discoveries and with the expectation of new glories. In this requirement the baroque is heard by modern as a historical period that has had new developments, even in the romantic era (even if this condemned as formally compartment every renewal for too closely follow the dictates of the Enlightenment and of the rationalism of the eighteenth century). In fact many aspects of romance and modern poetry can be explained only with the premises of the baroque. Art: General information In the figurative art union, step chronologically between mannerism and that the end result of the baroque himself who was the rococo (XVII century and the beginning of the XVIII) . Starting precisely from the mannerism you can sketch a genesis of the baroque (generic necessarily given the complexity of the phenomena that the term implies) as renewed sensitivity to nature, beyond styles and shapes predetermined, referred the mannerist crisis had revealed the wear, through repetition of modules now exhausted. The crisis aesthetics and cognitive mannerism, the religious and the policy of the Counter-Reformation stimulate a criticism from the inside to the classic canons and forms of expression which revalue feeling and appearance: does not investigates the more the ratio of nature and of the forms, but it poses a new report emotional and formal between man and things. For this significant renewal we will make use of all those different means that a skillful technique until the illusionism puts at the disposal of the baroque artist. The space in architecture is encompassing and organic: its geometric reason does not coincide with its essence, but is a means to overcome the limit between appearance and reality. The prospect is illusiva and scenographic, always in relationship with the spectator: In buildings are open outward in a continuous dialog with the urban space or with the landscape; in sacred blades in which the gesture invites a emotional participation; in sculpture always in dynamic relationship with the space that houses it. To a more intimate interdependence between work of art, spectator and space corresponds to a more substantial adherence between the different techniques: painting and sculpture are inserted in the architecture changing; architecture and decoration are born at the same time. The light, which is an essential element in the space baroque, is no longer the "lumen" clear and absolute of the Renaissance, but an infinite "relative" which breaks into the aisles of the churches to exalt the structures, turns the colors or li rips with sudden rays on the canvases, exalts the surface of the marble, stucco, of gilded wood. The Baroque language developed in the early decades of the Seventeenth Century by Rubens, Bernini and Borromini conquest the workers at all levels: craftsmen, modellers, carvers, argentieri contribute to its diffusion with vital contributions. From these essential aspects of the new style should not be divorced his deep adherence to that historical reality with which grows and develops: the absolute monarchies (Spain and France) and the papacy postcontroriformistico contribute with precepts and categorical imperatives for the determination of some of the shapes of the construction of the Church and of the Court: Valga for example the typology of the church with a single nave, on the model of the one of Jesus del Vignola, that, for the perfect functionality liturgical, spreads in Europe and America. Nor can one overlook the particular aspects, the processings national and regional and even less those dynamic antithesis between classicism rhetorical and total overstepping of canons (architecture), between realism and allegorical decorativismo (Painting), within which you configure the European baroque and that coexist within the cultural situations national exemplary: in Italy the ratio between the Bernini and Borromini, between Caravaggio and Pietro da Cortona. Thus we can find inside of European baroque some large currents and areas of influence that do not undermine the unity of an international phenomenon. A Naturalistic current and scenographic that from Italy and Spain spreads in Central Europe and, through the dedicated work of the religious orders, reaches the American colonies; a current academic and classical in France, England, Holland; and finally the great current of realism Caravaggio, phenomenon apparently polemical against of the baroque in its decorative sense and scenographic, but that is born from the same attention to nature, beyond the classical tradition, which we had thought one of the points of the launch of the new style. The Vita e the premium opere Scrittore e drammaturgo Tedesco (Augusta 1898-Berlino is 1956). Appassionato dei sidui spettacoli Popolari di Burattini e cantastorie della sua Città e assiduo frequentatore di cabarets, dove if esibì più tardi con testi e musiche owner, if mischiò nel 1917 alla anarchica di Monaco, abbandonando gli Studi di Medicina. Nel 1918 prestò servizio militare come infermiere in a Lazzaretto e nel 1919 divenne membro attivo di a Soviet operaio in seno alla Repubblica Comunista bavarese. Nello stesso anno, has Monaco, terminò it suo primo dramma, Baal, in cui esplode what "mito baalico", vitalistico, dionisiaco, divenuto poi, seppure meno vistosamente, the componente di una serie di personaggi brechtiani, IVI compreso Galilei. Ancora nel 1919 Brecht scrisse The Commedia ispirata alla rivoluzione monacense, e poi insignita del Premio Kleist (1922), Trommeln in der Nacht (Tamburi nella notte), in cui is agitava già il tema della possibile manipolazione dell'uomo has Opera di a social sistema-politico-moral e in cui usava Per la prima volta scritte didascaliche dissacranti su striscioni, intese a scuotere il pubblico dalla sua tradizionale passività. Nel 1922 Brecht if recò Per la prima volta has Berlino. Nello stesso anno sposò Marianne J. Zoff e dalla loro Unione nacque La Figlia note in Arte come Hanne Hiob. Nel 1924 Mr. Reinhardt lo chiamò al Deutsches Theater di Berlino, e In questa Città Brecht if stabilì, stringendo amicizia Col Gruppo dadaista e con the attrice Helene Weigel, da sposata him nel 1928 e dalla quale Ebbe due Figli. Lavorava intanto has Mann ist Mann (A uomo è a uomo), ambientato in a colonial India alla Kipling, dove if compiva The total manipolazione e alienazione di a povero scaricatore smarritosi nella società capitalistica. B. If the impegnò nello studio del marxismo PER TUTTO IL decennio 1926-36. Intanto, nel 1927, pubblicava The sua prima raccolta di versi, Hauspostille (Libro di devozioni domestiche), feroce paródia delle devozioni apprese dalla Madre Chiesa Cattolica, e collaborava con E. Piscator alla messinscena di Abenteuer of braven Soldaten Schweyk (it Buon soldato Švejk), tratto dal celebre romanzo del CECO Jaroslav Hasek. My fu IT 1928 has consacrare Brecht uno dei maggiori Geni teatrali Del Secolo: è It Trionfo, allo Schiffbauerdamm di Berlino, della Dreigroschenoper (the opera Da Tre soldi). It Teatro epico di Brecht rivela who sue ascendenze anti-aristoteliche, i suoi legami Col mistero medievale, Col Teatro elisabettiano, con gli Spagnoli del Siglo de Oro, con cinesi e giapponesi, e quindi The SUA rottura Col Teatro sia naturalistico sia impressionistico, fondati entrambi sull'Einfühlung, the empathy emotiva e irrazionale fra scena e Platea, the facoltà of immedesimarsi dello Spettatore nello Stato of Animo dell'attore, e sull'identificarsi dell'attore Col personaggio, con it duplice effetto di creare o a Mondo irreale o An illusione di realtà e, comunque, di consolidare The La coscienza dell'immutabilità della condizione Umana, caposaldo, questo, del conservatorismo Borghese. If deve assistere has uno spettacolo non immersi nella "penombra narcotica" della Sala, ma come if assisterebbe has a Incontro Sportivo, e cioè con competenza e con Passione; the attore non DEVE "interpretare" my "riferire" he personaggio, così come Chi ha assistito has a Stradale incident può riferirne have sopraggiunti che sono Not all Oscuro. Crescendo, Climax, catastrofe e aristotelica catarsi sono sostituiti da una serie di sciolta scene, montaggio narrativo inframmezzato di songs e di mimate party (large importanza attribuiva Brecht, sul modello del Teatro Eastern Europe, Al Gesto), che devono produrre The'"effetto di straniamento" (Verfremdungseffekt), Ossia a Brusco cambiamento di will be e Tono, wave evitare the empathy. Scopo di Brecht è mostrare allo spettatore, attraverso a fatto immaginario (O anche desunto da autori precedenti), una situazione Reale negativa (in fondo sempre The disumanità del capitalismo), che abbiamo The obbligo di analizzare trasponendola in Termini dialettici, razionali, per poi mutarla: Il Piacere del Teatro è appunto The voluttà del capire, l'esercizio della Ragione critica alla ricerca di soluzioni. Il Primo periodo creativo di Brecht if conclure con Aufstieg und Fall der Stadt Mahagonny (1929; Ascesa e caduta della città di Mahagonny), Storia di una giungla of asphalt capitalistica sui cui peccati non può più abbattersi it giudizio universale, perched Mahagonny è già the inferno. The Musica è di K. Weill, Col quale Brecht aveva iniziato una feconda collaborazione che continuò fino al 1933 quando anche Weill, per the avvento del nazismo, dovette scegliere The esilio. Nello stesso 1929, Dopo a decennio di ribellione più genericamente anarchico-antiborghese di espressionistica matrix, Brecht inizia una serie di drammi propriamente didattici, di Stretta osservanza marxista: v'è tuttavia Chi scorge in him a figlio dell'espressionismo anche nelle opere mature, V'è Chi nega The appartenenza di Brecht al Movimento, e constatando in him the assenza of ogni propensione metafisica, religiosa e irrazionalistica, lo pone sulla Linea dei grandi "cinici", Büchner, Heine, Wedekind, Morgenstern. Religion The religious system that builded and supported the imperial structure of Inca you configure as a polytheism oriented from the cult of the sun-god, Inti, almost a divine personification of the Empire. To Inti is offered daily meals and sacrifices of the blade. Solstices and equinoxes were the basis for a festive calendar solar typically. In all the temples Inti had some form of veneration, so much so that the first Spanish chroniclers each temple appeared as a "temple of the Sun" for antonomasia and every priest as "priest of the Sun". The chroniclers of the Spaniards called also "virgins of the Sun" certain virgins dedicated to various functions public sacral closely connected with the kingship: name that does not translated nor the indigenous name (acllacuna, "chosen women", the "elected") nor the inca conception. The capital of the Empire stood the most important temple of the sun, the so-called Coricancha, where burned a solar fire perennial. The Coricancha was a sort of Pantheon that welcomed all the divinity officially recognized, the traditional Inca divinity, and those of the various populations subjection: Illapa ("Tuono-Lampo"), a god is common to the whole of the andean region; Pachacamac, a kind of Supreme Being the Central Coast, entered from the inca conquest in the ranks of the gods governed by Inti; a series of "mothers" divine: Mother Luna (Mama-Quilla) bride of Inti, Mother Sea (Mama Cocha) evidently connected with an unknown experience to Inca up to the conquest of the coastal region, Mother Earth (Pacha Mama) important goddess pan-Peruvian, and Mother Corn (Mama Sara) that, in private worship, could also identify with individual maize plants exceptionally grown. In addition to real, the Coricancha upheld even certain objects venerable, said huaca, who in a certain sense, had the ability to concentrate in itself the sacredness of the conquered territories from which they came. You could say that they represented on the plane of religion, confirming to the city of Cuzco that harbored them the role of capital of the Empire. Generally the term huaca it designates things (images, stones, trees, etc..), places (sources, heights, etc.) and buildings (chapels, tombs, etc.) considered "sacred" or seats of exhibitions of the "sacred". With respect to the cult of the countless local huaca, that at the religious level could jeopardize the unity of the Empire, there were two official attitudes: on the one hand we tried to absorb the huaca more important, accogliendole materially or symbolically in the Coricancha, under the jurisdiction of the god Inti; on the other hand he tried to destroy the remaining, as did the ninth emperor, Pachacútec ("reformer of the World"), said for this "enemy of the huaca". To the religious building of the Empire opposed, in addition to the huaca, even the cults of local ancestors, for their ability to produce a human group bound by the worship of a common ancestor (ayllu), and therefore the same released within certain limits from the broader community constituting the empire. The empire maintained the ayllu, but deprived them of their characteristics "ethnic" and religious. The empire is divided into two halves, the "upper" and "lower", in turn divided into two sections: It thus took four seyu, determined by two ideal lines intersecting at Cuzco, which became the cultural center town, a world open to conquest or to transpose in the quadripartite diagram of the Empire, said "Land of the four regions" (Tahuantinsuyo). The Inca emperor, residing at Cuzco, which was the son of the sun" (Intip churin), a living god. In his own family was the high priest, the villac umu. In this unifying process must also be seen the religious reform of the eighth emperor Hatum Tupac, who introduced the cult of Viracocha and it took the name. Viracocha was a cultural hero of Andean populations, or perhaps a "creator lazy", recalled in various myths but never made the object of worship. His first and only the temples were actually erected by Hatum Tupac, which he gave to Viracocha the character of "father" universal, by replacing single "ancestors" of the various ethnic groups. With the acquisition of Viracocha were born complex theological elaboration (including recalls the investiture of sovereignty, transmitted by Viracocha to Inti and Inti to the emperor and the formulae for which each solar sacrifice became an offering to Viracocha in the name of Inti), which is expressed sometimes in prayers and hymns of high spiritual value and aesthetic. The Vita e the premium opere Scrittore e drammaturgo Tedesco (Augusta 1898-Berlino is 1956). Appassionato dei sidui spettacoli Popolari di Burattini e cantastorie della sua Città e assiduo frequentatore di cabarets, dove if esibì più tardi con testi e musiche owner, if mischiò nel 1917 alla anarchica di Monaco, abbandonando gli Studi di Medicina. Nel 1918 prestò servizio militare come infermiere in a Lazzaretto e nel 1919 divenne membro attivo di a Soviet operaio in seno alla Repubblica Comunista bavarese. Nello stesso anno, has Monaco, terminò it suo primo dramma, Baal, in cui esplode what "mito baalico", vitalistico, dionisiaco, divenuto poi, seppure meno vistosamente, the componente di una serie di personaggi brechtiani, IVI compreso Galilei. Ancora nel 1919 Brecht scrisse The Commedia ispirata alla rivoluzione monacense, e poi insignita del Premio Kleist (1922), Trommeln in der Nacht (Tamburi nella notte), in cui is agitava già il tema della possibile manipolazione dell'uomo has Opera di a social sistema-politico-moral e in cui usava Per la prima volta scritte didascaliche dissacranti su striscioni, intese a scuotere il pubblico dalla sua tradizionale passività. Nel 1922 Brecht if recò Per la prima volta has Berlino. Nello stesso anno sposò Marianne J. Zoff e dalla loro Unione nacque La Figlia note in Arte come Hanne Hiob. Nel 1924 Mr. Reinhardt lo chiamò al Deutsches Theater di Berlino, e In questa Città Brecht if stabilì, stringendo amicizia Col Gruppo dadaista e con the attrice Helene Weigel, da sposata him nel 1928 e dalla quale Ebbe due Figli. Lavorava intanto has Mann ist Mann (A uomo è a uomo), ambientato in a colonial India alla Kipling, dove if compiva The total manipolazione e alienazione di a povero scaricatore smarritosi nella società capitalistica. B. If the impegnò nello studio del marxismo PER TUTTO IL decennio 1926-36. Intanto, nel 1927, pubblicava The sua prima raccolta di versi, Hauspostille (Libro di devozioni domestiche), feroce paródia delle devozioni apprese dalla Madre Chiesa Cattolica, e collaborava con E. Piscator alla messinscena di Abenteuer of braven Soldaten Schweyk (it Buon soldato Švejk), tratto dal celebre romanzo del CECO Jaroslav Hasek. My fu IT 1928 has consacrare Brecht uno dei maggiori Geni teatrali Del Secolo: è It Trionfo, allo Schiffbauerdamm di Berlino, della Dreigroschenoper (the opera Da Tre soldi). It Teatro epico di Brecht rivela who sue ascendenze anti-aristoteliche, i suoi legami Col mistero medievale, Col Teatro elisabettiano, con gli Spagnoli del Siglo de Oro, con cinesi e giapponesi, e quindi The SUA rottura Col Teatro sia naturalistico sia impressionistico, fondati entrambi sull'Einfühlung, the empathy emotiva e irrazionale fra scena e Platea, the facoltà of immedesimarsi dello Spettatore nello Stato of Animo dell'attore, e sull'identificarsi dell'attore Col personaggio, con it duplice effetto di creare o a Mondo irreale o An illusione di realtà e, comunque, di consolidare The La coscienza dell'immutabilità della condizione Umana, caposaldo, questo, del conservatorismo Borghese. If deve assistere has uno spettacolo non immersi nella "penombra narcotica" della Sala, ma come if assisterebbe has a Incontro Sportivo, e cioè con competenza e con Passione; the attore non DEVE "interpretare" my "riferire" he personaggio, così come Chi ha assistito has a Stradale incident può riferirne have sopraggiunti che sono Not all Oscuro. Crescendo, Climax, catastrofe e aristotelica catarsi sono sostituiti da una serie di sciolta scene, montaggio narrativo inframmezzato di songs e di mimate party (large importanza attribuiva Brecht, sul modello del Teatro Eastern Europe, Al Gesto), che devono produrre The'"effetto di straniamento" (Verfremdungseffekt), Ossia a Brusco cambiamento di will be e Tono, wave evitare the empathy. Scopo di Brecht è mostrare allo spettatore, attraverso a fatto immaginario (O anche desunto da autori precedenti), una situazione Reale negativa (in fondo sempre The disumanità del capitalismo), che abbiamo The obbligo di analizzare trasponendola in Termini dialettici, razionali, per poi mutarla: Il Piacere del Teatro è appunto The voluttà del capire, l'esercizio della Ragione critica alla ricerca di soluzioni. Il Primo periodo creativo di Brecht if conclure con Aufstieg und Fall der Stadt Mahagonny (1929; Ascesa e caduta della città di Mahagonny), Storia di una giungla of asphalt capitalistica sui cui peccati non può più abbattersi it giudizio universale, perched Mahagonny è già the inferno. The Musica è di K. Weill, Col quale Brecht aveva iniziato una feconda collaborazione che continuò fino al 1933 quando anche Weill, per the avvento del nazismo, dovette scegliere The esilio. Nello stesso 1929, Dopo a decennio di ribellione più genericamente anarchico-antiborghese di espressionistica matrix, Brecht inizia una serie di drammi propriamente didattici, di Stretta osservanza marxista: v'è tuttavia Chi scorge in him a figlio dell'espressionismo anche nelle opere mature, V'è Chi nega The appartenenza di Brecht al Movimento, e constatando in him the assenza of ogni propensione metafisica, religiosa e irrazionalistica, lo pone sulla Linea dei grandi "cinici", Büchner, Heine, Wedekind, Morgenstern. Religion The religious system that builded and supported the imperial structure of Inca you configure as a polytheism oriented from the cult of the sun-god, Inti, almost a divine personification of the Empire. To Inti is offered daily meals and sacrifices of the blade. Solstices and equinoxes were the basis for a festive calendar solar typically. In all the temples Inti had some form of veneration, so much so that the first Spanish chroniclers each temple appeared as a "temple of the Sun" for antonomasia and every priest as "priest of the Sun". The chroniclers of the Spaniards called also "virgins of the Sun" certain virgins dedicated to various functions public sacral closely connected with the kingship: name that does not translated nor the indigenous name (acllacuna, "chosen women", the "elected") nor the inca conception. The capital of the Empire stood the most important temple of the sun, the so-called Coricancha, where burned a solar fire perennial. The Coricancha was a sort of Pantheon that welcomed all the divinity officially recognized, the traditional Inca divinity, and those of the various populations subjection: Illapa ("Tuono-Lampo"), a god is common to the whole of the andean region; Pachacamac, a kind of Supreme Being the Central Coast, entered from the inca conquest in the ranks of the gods governed by Inti; a series of "mothers" divine: Mother Luna (Mama-Quilla) bride of Inti, Mother Sea (Mama Cocha) evidently connected with an unknown experience to Inca up to the conquest of the coastal region, Mother Earth (Pacha Mama) important goddess pan-Peruvian, and Mother Corn (Mama Sara) that, in private worship, could also identify with individual maize plants exceptionally grown. In addition to real, the Coricancha upheld even certain objects venerable, said huaca, who in a certain sense, had the ability to concentrate in itself the sacredness of the conquered territories from which they came. You could say that they represented on the plane of religion, confirming to the city of Cuzco that harbored them the role of capital of the Empire. Generally the term huaca it designates things (images, stones, trees, etc..), places (sources, heights, etc.) and buildings (chapels, tombs, etc.) considered "sacred" or seats of exhibitions of the "sacred". With respect to the cult of the countless local huaca, that at the religious level could jeopardize the unity of the Empire, there were two official attitudes: on the one hand we tried to absorb the huaca more important, accogliendole materially or symbolically in the Coricancha, under the jurisdiction of the god Inti; on the other hand he tried to destroy the remaining, as did the ninth emperor, Pachacútec ("reformer of the World"), said for this "enemy of the huaca". To the religious building of the Empire opposed, in addition to the huaca, even the cults of local ancestors, for their ability to produce a human group bound by the worship of a common ancestor (ayllu), and therefore the same released within certain limits from the broader community constituting the empire. The empire maintained the ayllu, but deprived them of their characteristics "ethnic" and religious. The empire is divided into two halves, the "upper" and "lower", in turn divided into two sections: It thus took four seyu, determined by two ideal lines intersecting at Cuzco, which became the cultural center town, a world open to conquest or to transpose in the quadripartite diagram of the Empire, said "Land of the four regions" (Tahuantinsuyo). The Inca emperor, residing at Cuzco, which was the son of the sun" (Intip churin), a living god. In his own family was the high priest, the villac umu. In this unifying process must also be seen the religious reform of the eighth emperor Hatum Tupac, who introduced the cult of Viracocha and it took the name. Viracocha was a cultural hero of Andean populations, or perhaps a "creator lazy", recalled in various myths but never made the object of worship. His first and only the temples were actually erected by Hatum Tupac, which he gave to Viracocha the character of "father" universal, by replacing single "ancestors" of the various ethnic groups. With the acquisition of Viracocha were born complex theological elaboration (including recalls the investiture of sovereignty, transmitted by Viracocha to Inti and Inti to the emperor and the formulae for which each solar sacrifice became an offering to Viracocha in the name of Inti), which is expressed sometimes in prayers and hymns of high spiritual value and aesthetic.