Abstract:This essay focuses on a two-fold conceptualization of theatre making pertaining to the production of Galileor Jibon (Life of Galileo, 1980), a Bengali translation of Bertolt Brecht's Leben des Galilei, by the Kolkata-based theatre group Calcutta Repertory Theatre in association with Fritz Bennewitz, a Brecht "expert" from the German Democratic Republic. The two-fold conceptualizations hinge around the contradictions regarding, on the one hand, the application of the Brechtian "model" of theatrical practices as espoused by Bennewitz and, on the other, its simultaneous contestations brought forward by the actual realizations of the actor's practices, as particularized by Shombhu Mitra, the actor playing Galileo. At stake here is an appraisal of a Marxist cultural practice within the period of cold-war mobilizations in the global South as might be exemplified in this particular theatre project involving Fritz Bennewitz.

中文翻译：

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应用/竞争布莱希特“模型”：加尔各答话剧团的伽利略·吉本（伽利略的一生）

摘要：本文重点介绍与 Galileor Jibon（伽利略的生活，1980 年）的制作有关的戏剧制作的双重概念化，该作品是 Bertolt Brecht 的 Leben des Galilei 的孟加拉语翻译，由位于加尔各答的剧团 Calcutta Repertory Theatre 于与来自德意志民主共和国的布莱希特“专家”弗里茨·本尼维茨 (Fritz Bennewitz) 的联系。双重概念化围绕着矛盾，一方面是本尼维茨所支持的布莱希特式戏剧实践“模型”的应用，另一方面是演员实践的实际实现所带来的同时争论。 ，正如扮演伽利略的演员 Shombhu Mitra 所特别指出的。