Brecht Yearbook / Das Brecht-Jahrbuch 41

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.

• SPECIAL INTEREST SECTION: TEACHING BRECHTFrom Page to Stage and Classroom to Community: Teaching Brecht in the Twenty-First Century - Kristopher ImbrigottaFrom Page to Stage and Classroom to Community: Teaching Brecht in the Twenty-First Century - Per UrlaubPlaying Brecht: Creative Appropriation in the Foreign Language Classroom - Caroline WeistTeaching to Interrupt: Satire in Brecht's Arturo Ui and Chaplin's The Great Dictator - Ari LindenPerformative Discussion: Practicing Brechtian Praxis in the Classroom - Cohen AmbroseBrecht for Theater Majors: Teaching Epic Theater in a Play Analysis Course - Daniel SmithTeaching Performance Studies with Brecht's Lehrstu?ck Model: The Measures Taken - Ian MaxwellVerfremdung and Ethics in Brecht's Der Jasager / Der Neinsager - Elena PnevmonidouStaging Brecht at Carleton: Students as Actors at a Liberal Arts College - Julie Klassen and Ruth WeinerStudieren und über Vertrautes staunen: Brechtsches Stückeschreiben durch Forschen und Bilden und Darstellen - Gerd KochINTERVIEW42 Jahre Berliner Ensemble: Gespräch mit Annemone Haase, 23. Juni 2016 in ihrer Wohnung in Berlin - Margaret Setje-EilersNEW BRECHT RESEARCHArt Instead of Romance: Brecht's Collaborations with Women - Helen FehervaryCollaboration, Exile, and the Quotidian: Community on the Svendborg Sound, 1933-1939 - Katherine HollanderBrechts Adaptionen der Psychologie Kurt Lewins und ihre Weiterentwicklung fürs epische Theater - Ines LangemeyerHarry Smith and Mahagonny - Marc SilbermanInhabiting Empathy: Locating the Verfremdungseffekt in an Era of Immersion - James R, Ball IIIBOOK 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.