How many plays did Shakespeare write in total?

"The Shakespeare reception in Brecht" is a fascinating subject for Brecht researchers, but at the same time difficult to deal with, because Brecht has dealt with Shakespeare all his life and his Shakespeare reception has many different aspects has found expression in his plays, ranges from borrowings and parodies of individual replicas, to taking the conception of scenes and plays, to editing entire plays. Brecht's reception of Shakespeare also has a lot to do with his theory of theater and the art of acting, based on the scenes from Shakespeare's plays often explain to Brecht his theory of theater; Brecht did "Practice Pieces for Actors ”, which are based on a few scenes from Shakespeare's plays. The latter means: Brecht believed that Shakespeare's plays could also be performed with epic acting and that they put epic acting to the test. In addition, in the twenties Brecht got involved in the debates about the classic stage, which partly contributed to the development of his epic theater and had a great influence on his plays in the thirties.
Brecht's reception of Shakespeare, which is so diverse, raises fundamental methodological problems that have so far remained unsolved. As far as reception research is concerned, there are two methods: one based on the history of reception and one based on reception aesthetics. The method of reception history is primarily concerned with the evaluation of received poets or works. Brecht's Shakespeare reception is not only about his assessment of Shakespeare, but above all about how Brecht appropriated Shakespeare's replicas, scene constructions, configurations of dramatis personae, plays, etc. and used them in his own plays. It would seem obvious that the aesthetics of reception could help better. But the aesthetics of reception, which deals with the interaction between what a work of art offers in terms of subject, content and form, and the horizon of expectations and the readiness of the recipient to understand, cannot be so easy in the more than three hundred years that lie between Shakespeare and Brecht bridge.
Is it then in Brecht's adaptation of Shakespeare? "Coriolan ”and his piece "The round heads and the pointed heads “about a reception? It is obvious that neither of the plays is about his evaluation of Shakespeare. The fact that poets or directors edit or change a play in order to bring it closer to the audience does not mean that they rate it badly. Rather, the processing or modification of a piece consists in distinguishing the living from the dead in one piece and working them out. In this sense, it is inevitable that the processing represents a twist, if one wants to evaluate it from the original piece. But doesn't the adaptation have its own right compared to the original? Especially in the case of the adaptations of Shakespeare's plays? Because, as is well known, almost all of his pieces have templates and already represent adaptations of these.
E.g. in Shakespeare "Coriolan “is named as the cause of the uprising of the citizens, the high grain price, which is never mentioned in Plutarch. According to Plutarch, it is not the grain price, but the profiteering of the creditors that drove Rome's citizens to revolt. The reason for Shakespeare's adaptation is probably to be found in

著者 関 連 情報