référence : http://listes.cru.fr/arc/mascarene/1997-08/msg00005.html
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TIME 100 et la reconnaissance du theatre Carrie Loffree



Bonjour, Queatre.

On m'excusera, j'espere, de poster un message en anglais que j'ai recu de
l'ASTR.  L'auteur souleve une question tres pertinente, je trouve.  Qu'en
pensez-vous?  Ca serait bien qu'on reconnaisse l'art vivant du theatre  sur
la fameuse liste TIME 100, non?

- Carrie Loffree, Montreal


>Dear ASTR Folks,
>
>        In the hope that TIME magazine will include at least one
>representative of the live theatre world in their list of the most
>influential people in the 20th century, I am actively campaigning for
>the inclusion of Bertolt Brecht.  While I know that there are many other
>deserving candidates, he's my choice, and I'm hoping people will back it.
>If not, I encourage theatre and performance scholars to send in at least
>one suggestion of their own.  Below is a brief letter which I sent to
>TIME.  Perhaps you don't view these kinds of things (top 100 lists) as
>being important, and that's ok.  Just can't resist a chance to get a few
>million people to read an article about Brecht (or at least someone from
>the theatre!)
>
>        You can contact the "TIME 100" people
>
>                via e-mail: time100@time.com
>                via the web: time.com
>                via snail mail:         Time 100
>                                        Room 24-48
>                                        Time & Life Building
>                                        Rockefeller Center
>                                        NBew York, NY 10020
>
>Dear "Time 100,"
>
>        It is my sincere hope that the good people of TIME magazine will
>include at least one representative of the live theatre world in their
>collection of the 100 most influential people of the 20th century.  While
>there are certainly numerous other possibilities, I can think of no better
>representative for the art than the great German playwright, director and
>theorist: Bertolt Brecht.
>
>        His plays are the most produced in the world after Shakespeare,
>his theories on the "Epic" theatre and alienation are central to 20th
>century dramatic theory, and his work with the Berliner Ensemble achieved
>world renown.  Most important, he opened our eyes to both the political
>possibilities of theatre, and the desirability of staging narrative image
>and text.  Although Brecht's claim to be the only original theorist since
>Aristotle is debateable, he certainly helped to shift our ideas about the
>theatre and poerformance away from a (frequently misinterpreted)
>Aristotelian view. He was also a prime advocate of the acceptnace (however
>misunderstood) of Asian theatre conventions in the West, and the
>cross-cultural performances that have become almost commonplace in the
>field owe a small debt to Brecht.
>
>        Just as the people whose ideas he appropriated and/or modified
>were giants of the age in their respective fields: Karl Marx, Charlie
>Chaplain, Max Reinhardt, Erwin Piscator, et. al., so too were the people
>with whom he associated.  The list of artistic and cultural figures who
>workled with and/or were influenced by the man is impressive: Kurt Weill,
>Georgio Strehler, Tony Kushner, Jean-Luc Goddard, Charles Laughton, Mark
>Blitzstein, Caryl Churchill, Max Frisch, Clifford Odets, Augusto Boal and
>many, many others, including his "inner circle" of Helena Weigel, Casper
>Neher, Lotta Lenja and Erich Engel.
>
>        Bertolt Brecht spent all but two of his years on this earth in the
>twentieth century, and I can think of no better honor as we approach the
>100th anniversary of his birthday (in 1998) than to recognize him as one
>of the 100 most influential people in the 20th century.  I hope he will
>receive your full attention.  Thank you.
>
>James M. Brandon, Ph.D. Fellow
>Bowling Green State University
>Theatre Department