A Quote by Ann Reinking

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. — © Ann Reinking
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.
When I do a film that has nothing to do with Kurt Weill, then I am happy, I am on my own. But in a Kurt Weill work I am as nervous as a cat. A burden falls on my shoulders. I feel a crushing responsibility.
Mr Fosse was obviously influenced by Brecht and Weill, as well as Bergman and Fellini, and you could see the influence of vaudeville and African American hoofing - and Fred Astaire, too.
Acting, I started when I was six and a half years-old, on Broadway with Kurt Weill.
Great architects like Taut, Mendelsohn, and Gropius built some astonishing buildings which were to change the way architects around the world thought. Brecht and Weill forever changed musical theatre; Kaethe Kollwitz and others changed German perceptions of the purposes of art.
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.
I have a great interest in Victorian musical & cabaret performances and Weimar artists so the references are there, to Cabaret and also All That Jazz and other films where, where there's a kind of (influential German playwright Bertolt) Brecht-ian approach, almost to the character standing outside of himself or, in this case, he's "self-séance-ing."
I'm feeling more and more thoughts that aren't songs, just reflections. I'm always been very shy and in some ways a prisoner in one language and I feel that the liberation of creativity has to be in all senses. So I've been deciding to publishing something very simple but very small at the same time, nothing egocentric.
[Bertholt] Brecht looked very thin, like a herring with very sensitive hands.
I think Kurt Sutter's different as a creator for different people. My experience of Kurt Sutter has always been a really professional, lovely one. I like Kurt Sutter very much.
In school, I did a lot of computer work. I'd take splices from Kurt Weill songs and loop them in bars, in beats of seven, trying all different kinds of things.
God is Someone who creates something out of nothing. He takes emptiness and creates wholeness, He takes darkness and speaks light. Because of this, we can come to God empty and weak knowing that He takes us and with His power makes something out of nothing.
I got my interest in Lotte Lenya and the Brecht-Weill canon from my parents. And I love classical music - I got that from my parents. I love Cole Porter - that I got from my dad.
To have a record crowd for What Culture, to be in there with Kurt Angle and not to be just, like, Kurt Angle plus garnish, for it instead to be Kurt Angle v. Cody Rhodes, our second match, actually - it was very vindicating. It's also nice, you know: the greatest revenge in all the world is success, so it's nice to be vindicated.
The environment in Canada is much more conducive to doing critical work, though Canada has its own set of problems, but nothing like those emerging in the United States. Unlike Penn State which was a huge recipient of Pentagon funds, and was hostile to any criticism of its connection to the military and intelligence services, McMaster is a very open university that takes its commitment to a quality education and function as a democratic sphere very seriously.
I'm from East Berlin. I grew up in the Bertold Brecht, Kurt Weil tradition, also in the old hippie tradition.
I don't think of Kurt as 'Kurt Cobain from Nirvana'. I think of him as 'Kurt'. It's something that comes back all the time. Almost every day.
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