In this article David Barnett explores the Berliner Ensemble's production in 1956 of Synge's classic The Playboy of the Western World. Although it was directed by Peter Palitzsch and Manfred Wekwerth, Bertolt Brecht, the company's co-founder, loomed large in planning and rehearsal. This staging serves as an example of how a politicized approach to theatre-making can bring out relationships, material conditions, and power structures that the play's production history has often ignored. In addition, Barnett aims to show how Brechtian methods can be applied more generally to plays not written in the Brechtian tradition and the effects they can achieve. David Barnett is Professor of Theatre at the University of York. He is the author of Heiner Müller's ‘The Hamletmachine’ (Routledge, 2016), A History of the Berliner Ensemble (Cambrige, 2015) and Brecht in Practice: Theatre, Theory, and Performance (Bloomsbury, 2014). His recent AHRC-funded ‘Brecht in Practice: Staging Drama Dialectically’, led to a Brechtian production of Patrick Marber's Closer, and he offers theatre-makers and teachers workshops on using Brecht's method on stage and in the classroom.

中文翻译：

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抵制爱尔兰他者：柏林乐团制作的《西方世界的花花公子》

在这篇文章中，David Barnett 探讨了柏林乐团在 1956 年制作的 Synge 经典作品西方世界的花花公子. 尽管它由彼得·帕利茨奇和曼弗雷德·韦克沃思执导，但该公司的联合创始人贝托尔特·布莱希特 (Bertolt Brecht) 却在计划和排练中脱颖而出。这个舞台是一个例子，说明戏剧制作的政治化方法如何带来戏剧制作历史经常忽视的关系、物质条件和权力结构。此外，巴内特旨在展示布莱希特方法如何更广泛地应用于非布莱希特传统的戏剧以及它们可以达到的效果。David Barnett 是约克大学的戏剧教授。他是作者海纳·穆勒的《哈姆雷特机器》（劳特利奇，2016），柏林乐团的历史（剑桥，2015 年）和实践中的布莱希特：戏剧、理论和表演（布卢姆斯伯里，2014）。他最近由 AHRC 资助的“实践中的布莱希特：辩证地上演戏剧”，促成了帕特里克·马伯的布莱希特作品更接近，他还为戏剧制作人和教师提供在舞台上和课堂上使用布莱希特方法的讲习班。