A Quote by John Hurt
I've never done a [Berthold] Brecht. In the 1960s when the Berliner Ensemble came over [to England] with Helene Weigel [Brecht's second wife], I saw all the Berlin actors. It was an amazing time, very exciting early 1960s.
Related Quotes
What I like about [Berthold] Brecht, it's very interesting. When Helene Weigel came over and somebody talked about Lotte Lenya and said "well, she wasn't alienating." And Weigel said "No, no, no. Why, Lotte Lenya was so true - who cares?" She said: "Berti only developed the theory of alienation in order to stop bad acting." I heard her say that. Now that's brilliant.
The notion of 'history from below' hit the history profession in England very hard around the time I came to Oxford in the early 1960s.
The 1960s were a time of cultural revolution in Poland. And I was a part of that revolution. For me, those years - the late 1950s and early 1960s - were the most fruitful.
I'm from East Berlin. I grew up in the Bertold Brecht, Kurt Weil tradition, also in the old hippie tradition.
In the 1960s we were fighting to be recognized as equals in the marketplace, in marriage, in education and on the playing field. It was a very exciting, rebellious time.
My wife is from Copenhagen and her father has been a huge Liverpool supporter since the early 1960s.
The programs that came to be known as the New Deal were not simply handed down by the benevolence of FDR and the Democrats. They were fought for. And in the 1960s, it was the similar. You had incredible movements against Jim Crow, poverty and the Vietnam War in the 1960s.
By the early 1960s, there was a moral consensus on what needed to be done on civil rights.
[Bertholt] Brecht looked very thin, like a herring with very sensitive hands.
Everything Brecht wrote—plays, dialogues, and poetry—was his attempt to clarify the inner contradictions not only of the capitalism and fascism of his times, but also of the communism that was always disappointing his deepest hopes. In a book that makes Brecht’s struggle to reveal these hidden contradictions its central theme, Glahn issues, by implication, a call to arms to today’s artists—who are faced with a world that seems to defy attempts to treat the global crisis with an art that is rarely more than notes on ‘local’ angst.
I believe that hundreds of years from now, history will be divided into pre-1960s and post-1960s.
I had begun my professional career when I was 9 years old at the Cleveland Play House, and it was a very specific, real theater sort of like, you know, in England and the Berliner Ensemble - very devoted people. And I thought the theater was the greatest place I had ever been, and that's what I wanted to do.
Back in the early 1960s, when I was eight or nine. Some neighborhood boys and I saw a disc-shaped, windowless object that hovered, silent, then simply vanished. My parents said, "That's very nice" and ignored it, but I knew what I'd seen, and it was life-changing.
Bob was very influenced by Bertolt Brecht and Kurt Weill. That huge type of creativity which takes nothing and makes it into something very wrenching.
The heartthrob thing came in the late 1960s, and to be honest, it was fun! But I was very aware that well-known actors are two people - who you are and who other people think you are. Life only gets tricky if you confuse the two.
I think the activism of the 1960s had a very definite civilizing effect on the whole society in all kinds of ways. So lots of things that by now are almost taken for granted were heretical in the 1960s. We had anti-sodomy laws until not many years ago.
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