title: Kurt Weill
Saint Joan of the Stockyards
Imminent, Indeed
The Tutor (Brecht)
Complex seeing
Threepenny Novel
Marc Blitzstein
The Threepenny Opera
Captain Macheath
The Threepenny Opera (1931 film)
sentences: Kurt Julian Weill (March 2, 1900April 3, 1950) was a German composer, active from the 1920s in his native country, and in his later years in the United States.
 He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht.
 With Brecht, he developed productions such as his best-known work "The Threepenny Opera", which included the ballad "Mack the Knife".
 Weill held the ideal of writing music that served a socially useful purpose.
 He also wrote several works for the concert hall.
 He became a United States citizen on August 27, 1943.
Saint Joan of the Stockyards (German: "Die Heilige Johanna der Schlachthöfe" ) is a play written by the German modernist playwright Bertolt Brecht between 1929 and 1931, after the success of his musical "The Threepenny Opera" and during the period of his radical experimental work with the "Lehrstücke".
 It is based on the musical that he co-authored with Elisabeth Hauptmann, "Happy End" (1929).
 In this version of the story of Joan of Arc, Brecht transforms her into "Joan Dark", a member of the "Black Straw Hats" (a Salvation Army-like group) in 20th-century Chicago.
 The play charts Joan's battle with Pierpont Mauler, the unctuous owner of a meat-packing plant.
 Like her predecessor, Joan is a doomed woman, a martyr and (initially, at least) an innocent in a world of strike-breakers, fat cats, and penniless workers.
 Like many of Brecht's plays it is laced with humor and songs as part of its epic dramaturgical structure and deals with the theme of emancipation from material suffering and exploitation.
Imminent, Indeed (or "Polly Peachum's Peculiar Penchant for Plosives") is a gothic adaptation of John Gay’s "The Beggar’s Opera".
 Written and directed by Bryn Manion with the assistance of Wendy Remington, and leading man, Sam.
 Produced by the Creatives and the founding board members of the company of Aisling Arts.
 This adaptation focuses on Polly Peachum's side of the story and her world as it trips alongside that of Jenny Diver, a new Peachum brother, several comically nefarious underlings, and of course, the ever villainous Henry Macheath (known as "Mack the Knife" in the Bertolt Brecht and Kurt Weill adaptation, "The Threepenny Opera").
The Tutor is the 1950 adaptation, by 20th century German dramatist Bertolt Brecht, of an 18th-century play by Lenz.
 The original Lenz play was produced in 1774 and is also known by the title "The Advantages of a Private Education".
 Brecht contributed few additions to the plot of the original work, but made many cuts and alterations.
 Brecht's work is two thirds the length of the original play and over half the material is new.
 The play was Brecht's first production which featured work from the German Classical Era for the Berliner Ensemble.
 Overall, it was the third production the Berliner Ensemble performed.
 Brecht himself directed this production.
 'The Tutor' was translated by Ralph Manheim and Wolfgang Sauerlander.
The English term Complex Seeing is taken from Bertolt Brecht's writing on theatre and opera.
 First found in Brecht's notes to the "Threepenny Opera", a subsequently edited and updated version was published.
 This text can be found in English translation as "The Literarization of Theatre" from 1931, in Brecht on Theatre, where the key passage on complex seeing reads:
ThreePenny Novel is a 1934 novel by the German dramatist and poet Bertolt Brecht, first published in Amsterdam by in 1934 as "Dreigroschenroman ".
 It is similar in structure to his more famous "The Threepenny Opera" and features several of the same characters such as Macheath, together with a general anti-capitalist focus and a didactic technique that is often associated with the dramatist.
 It is a novel that has been the focus of much critical attention and that is often described as both a continuation and a variation of the themes and motifs of Brecht's other work that focuses on alienation and on the communication of a social message.
 It can be seen alternatively as a careful development of the detective novel genre and as scathing criticism of the Brecht's own social conditions and the economic practices of German businesses and banks in the middle of the 20th century.
Marcus Samuel Blitzstein (March 2, 1905January 22, 1964), was an American composer, lyricist, and librettist.
 He won national attention in 1937 when his pro-union musical "The Cradle Will Rock", directed by Orson Welles, was shut down by the Works Progress Administration.
 He is known for "The Cradle Will Rock" and for his Off-Broadway translation/adaptation of "The Threepenny Opera" by Bertolt Brecht and Kurt Weill.
 His works also include the opera "Regina", an adaptation of Lillian Hellman's play "The Little Foxes"; the Broadway musical "Juno", based on Seán O'Casey's play "Juno and the Paycock"; and "No for an Answer".
 He completed translation/adaptations of Brecht's and Weill's musical play "Rise and Fall of the City of Mahagonny" and of Brecht's play "Mother Courage and Her Children" with music by Paul Dessau.
 Blitzstein also composed music for films, such as "Surf and Seaweed" (1931) and "The Spanish Earth" (1937), and he contributed two songs to the original 1960 production of Hellman's play "Toys in the Attic".
The Threepenny Opera (Die Dreigroschenoper ) is a "play with music" by Bertolt Brecht and Elisabeth Hauptmann, adapted from John Gay's 18th-century English ballad opera, "The Beggar's Opera", with music by Kurt Weill and insertion ballads by François Villon and Rudyard Kipling.
 Although Hauptmann produced 80 to 90 percent of the text, Brecht suppressed this and assumed sole credit, and is usually listed as sole author in printed versions.
Captain Macheath is a fictional character who appears both in John Gay's "The Beggar's Opera" (1728), its sequel "Polly" (1777), and roughly 200 years later in Bertolt Brecht's "The Threepenny Opera".
The Threepenny Opera (German: Die 3 Groschen-Oper ) is a 1931 German musical film directed by G. W. Pabst.
 It was produced by Seymour Nebenzal's Nero-Film for Tonbild-Syndikat AG (Tobis), Berlin and Warner Bros.
 Pictures GmbH, Berlin.
 The film is loosely based on the 1928 musical theatre success "The Threepenny Opera" by Bertolt Brecht and Kurt Weill.
 As was usual in the early sound film era, Pabst also directed a French language version of the film, "L'Opéra de quat'sous", with some variation of plot details (the French title literally translates as "the four penny opera").
 A planned English version was not made.
 The two existing versions were released by The Criterion Collection on home video.

Question: Question: Kurt Julian Weillwas a German composer, active from the 1920s in his native country, and in his later years in the United States, with Brecht, he developed productions such as his best-known work, the Threepenny Opera is a "play with music" by Bertolt Brecht and who, adapted from John Gay's 18th-century English ballad opera, "The Beggar's Opera"? 

 Your answer will be verified with exact match score. To ensure correct verification, only provide the answer within the <answer> </answer> tags. Do not put any sentences or reasoning process within the <answer> </answer> tags. 

Supporting Information: Paragraph 0 

 Kurt Julian Weill (March 2, 1900April 3, 1950) was a German composer, active from the 1920s in his native country, and in his later years in the United States.
 He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht.
 With Brecht, he developed productions such as his best-known work "The Threepenny Opera", which included the ballad "Mack the Knife".
 Weill held the ideal of writing music that served a socially useful purpose.
 He also wrote several works for the concert hall.
 He became a United States citizen on August 27, 1943. 

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Paragraph 1 

 Imminent, Indeed (or "Polly Peachum's Peculiar Penchant for Plosives") is a gothic adaptation of John Gay’s "The Beggar’s Opera".
 Written and directed by Bryn Manion with the assistance of Wendy Remington, and leading man, Sam.
 Produced by the Creatives and the founding board members of the company of Aisling Arts.
 This adaptation focuses on Polly Peachum's side of the story and her world as it trips alongside that of Jenny Diver, a new Peachum brother, several comically nefarious underlings, and of course, the ever villainous Henry Macheath (known as "Mack the Knife" in the Bertolt Brecht and Kurt Weill adaptation, "The Threepenny Opera"). 

--------------------------------

Paragraph 2 

 The Tutor is the 1950 adaptation, by 20th century German dramatist Bertolt Brecht, of an 18th-century play by Lenz.
 The original Lenz play was produced in 1774 and is also known by the title "The Advantages of a Private Education".
 Brecht contributed few additions to the plot of the original work, but made many cuts and alterations.
 Brecht's work is two thirds the length of the original play and over half the material is new.
 The play was Brecht's first production which featured work from the German Classical Era for the Berliner Ensemble.
 Overall, it was the third production the Berliner Ensemble performed.
 Brecht himself directed this production.
 'The Tutor' was translated by Ralph Manheim and Wolfgang Sauerlander. 

--------------------------------

Paragraph 3 

 The English term Complex Seeing is taken from Bertolt Brecht's writing on theatre and opera.
 First found in Brecht's notes to the "Threepenny Opera", a subsequently edited and updated version was published.
 This text can be found in English translation as "The Literarization of Theatre" from 1931, in Brecht on Theatre, where the key passage on complex seeing reads: 

--------------------------------

Paragraph 4 

 ThreePenny Novel is a 1934 novel by the German dramatist and poet Bertolt Brecht, first published in Amsterdam by in 1934 as "Dreigroschenroman ".
 It is similar in structure to his more famous "The Threepenny Opera" and features several of the same characters such as Macheath, together with a general anti-capitalist focus and a didactic technique that is often associated with the dramatist.
 It is a novel that has been the focus of much critical attention and that is often described as both a continuation and a variation of the themes and motifs of Brecht's other work that focuses on alienation and on the communication of a social message.
 It can be seen alternatively as a careful development of the detective novel genre and as scathing criticism of the Brecht's own social conditions and the economic practices of German businesses and banks in the middle of the 20th century. 

--------------------------------

Paragraph 5 

 Marcus Samuel Blitzstein (March 2, 1905January 22, 1964), was an American composer, lyricist, and librettist.
 He won national attention in 1937 when his pro-union musical "The Cradle Will Rock", directed by Orson Welles, was shut down by the Works Progress Administration.
 He is known for "The Cradle Will Rock" and for his Off-Broadway translation/adaptation of "The Threepenny Opera" by Bertolt Brecht and Kurt Weill.
 His works also include the opera "Regina", an adaptation of Lillian Hellman's play "The Little Foxes"; the Broadway musical "Juno", based on Seán O'Casey's play "Juno and the Paycock"; and "No for an Answer".
 He completed translation/adaptations of Brecht's and Weill's musical play "Rise and Fall of the City of Mahagonny" and of Brecht's play "Mother Courage and Her Children" with music by Paul Dessau.
 Blitzstein also composed music for films, such as "Surf and Seaweed" (1931) and "The Spanish Earth" (1937), and he contributed two songs to the original 1960 production of Hellman's play "Toys in the Attic". 

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Paragraph 6 

 The Threepenny Opera (Die Dreigroschenoper ) is a "play with music" by Bertolt Brecht and Elisabeth Hauptmann, adapted from John Gay's 18th-century English ballad opera, "The Beggar's Opera", with music by Kurt Weill and insertion ballads by François Villon and Rudyard Kipling.
 Although Hauptmann produced 80 to 90 percent of the text, Brecht suppressed this and assumed sole credit, and is usually listed as sole author in printed versions. 

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Paragraph 7 

 Captain Macheath is a fictional character who appears both in John Gay's "The Beggar's Opera" (1728), its sequel "Polly" (1777), and roughly 200 years later in Bertolt Brecht's "The Threepenny Opera". 

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Answer: Elisabeth Hauptmann