Elisabeth Hauptmann (1897–1973)
Autore di L'opera da tre soldi
Sull'Autore
Fonte dell'immagine: via fembio.org
Opere di Elisabeth Hauptmann
H. 12 = Versuche 27/32. 1 copia
Bd. 5. Die Mutter 1 copia
Opere correlate
Methuen Student Editions : Brecht : The threepenny opera {Manheim/Willet} : 2015 (2015) — Translator of Gay's original — 33 copie
Methuen Student Editions : Brecht : The threepenny opera {Manheim/Willet} : 2022 (2022) — Translator of Gay original — 3 copie
Etichette
Informazioni generali
- Nome canonico
- Hauptmann, Elisabeth
- Nome legale
- Hauptmann, Elisabeth Flora Charlotte
- Altri nomi
- Lane, Dorothy
Diestelhorst, Josefine
Ux, Catherine - Data di nascita
- 1897
- Data di morte
- 1973
- Luogo di sepoltura
- Dorotheenstädtischer Friedhof, Berlin, Deutschland
- Sesso
- female
- Nazionalità
- Duitsland
- Luogo di nascita
- Peckelsheim, Preußen
Peckelsheim, Willebadessen, Nordrhein-Westfalen, Deutschland (heute) - Luogo di morte
- Berlin, Berlin, Deutschland
- Luogo di residenza
- Berlin, Germany
St. Louis, Missouri, USA
New York, New York, USA - Attività lavorative
- Schriftstellerin
Übersetzerin
playwright
editor
librettist
translator (mostra tutto 8)
freelance writer
teacher - Relazioni
- Brecht, Berthold (Kollege)
Dessau, Paul (husband) - Organizzazioni
- Berliner Ensemble
- Premi e riconoscimenti
- Lessing-Preis der DDR (1961)
- Breve biografia
- Elisabeth Hauptmann was born in Peckelsheim, Westphalia, Germany to an American mother, and a German father who was a physician. She was initially tutored at home by her mother Josefine with her two siblings, learning English at a very young age. From 1912 to 1918, she trained as a teacher and worked in a school in Linde in 1918-1922. In 1922, she worked as a secretary for poet and writer Herman George Scheffauer in Berlin. There she met Berthold Brecht and began collaborating with him on his works in 1924, originally as his editor and translator. At the same time, she was a freelance writer, contributing short stories to magazines. She become co-author of The Threepenny Opera, writing the majority of the text as well as providing a German translation of John Gay's The Beggar's Opera, on which the musical play was based. She reportedly wrote at least half of the opera The Rise and Fall of the City of Mahagonny, but was not credited. She was the main text author of the musical Happy End (1929) under the pseudonym Dorothy Lane. When the Nazi regime rose to power in 1933, Brecht left Germany for Denmark. Hauptmann visited him there and was arrested after her return to Germany. After her release, she moved to Paris and in 1934 left for the USA. She lived in New York City, then with her sister in St. Louis, and worked as a high school teacher. In 1941, she returned to New York, and married German composer and conductor Paul Dessau in 1948. She went back to Europe in 1949 and was divorced from Dessau in 1952. In 1954, she became a playwright at Brecht's theatrical company Berliner Ensemble in East Berlin. After his death in 1956, she published his works at the Suhrkamp publishing house. In 1961, Hauptmann received the Lessing Prize from the Ministry of Culture of East Germany. In 1977, a collection of her works was published under the title Julia ohne Romeo (Julia without Romeo).
Utenti
Recensioni
Liste
Premi e riconoscimenti
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Statistiche
- Opere
- 4
- Opere correlate
- 7
- Utenti
- 1,678
- Popolarità
- #15,319
- Voto
- 3.8
- Recensioni
- 21
- ISBN
- 51
- Lingue
- 9
- Preferito da
- 1
La critica al capitalismo e alla borghesia è evidente e feroce, non si salva nulla nella ricostruzione dell'autore: non la famiglia, non gli amici e nemmeno le istituzioni, come dimostra l'assurda conclusione. [SPOILER]-La Regina senza motivi apparenti decide di graziare il reo confesso Mackie ed elevarlo allo status nobiliare, in una parodia di lieto fine che dimostra come nulla sia da prendere sul serio in questa vita-[FINE SPOILER]
Purtroppo per quanto io abbia apprezzato la vivacità della storia ed il messaggio che vuole comunicare, è evidente che questo è un testo pensato per essere rappresentato: su carta si percepisce solo qualche eco della potenza comunicativa che deve avere a teatro, fra ballate rivolte al pubblico e cartelli che rompono la quarta parete. Stando così le cose non ne consiglio la lettura, è l'approccio meno indicato per una commedia basata quasi totalmente sulle atmosfere.… (altro)