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                <text>This international event combined an academic conference with an arts festival that featured many performances of Brecht works, including guest performances of "Die Dreigroschenoper" and "Der kaukasische Kreidekreis" by the Berliner Ensemble. It also led to the publication of the book "Re-interpreting Brecht: his influence on contemporary drama and film", edited by Pia Kleber and Colin Visser, Cambridge University Press, 1990.</text>
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                <text>Burgess, David. "Toronto Brecht: 30 Years After." Canadian Theatre Review, vol. 50, 1987, pp. 75-77.
Communications from the International Brecht Society, vol. 15, no. 1, Nov. 1985, p. 73.
Communications from the International Brecht Society, vol. 16, no. 1, Nov. 1986, pp. 78-79.
Frank, Glenda. Communications from the International Brecht Society, vol. 17, no. 1, Nov. 1987, pp. 16-18.
Kleber, Pia. Interview conducted by Joerg Esleben, online, 18 May 2021.
Willett, John. “International Brecht Conferences in Toronto and Hong Kong: A Comparative Review.” Communications from the International Brecht Society, vol. 16, no. 2, April 1987, pp. 21-24.</text>
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                <text>Schmidt, Klaus M., and Daniela Fromann. “Survey on Brecht Productions in the US and Canada from 1975/76 to 1985/86 with Comparative Figures in the FRG, GDR, and Austria.” Gestus: A Quarterly Journal of Brechtian Studies, vol. 2, no. 3, 1987, p. 244.</text>
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                <text>Lukac, Aleksandar. “Theatre Offensives from Belgrade to Toronto.” Interview by Judith Rudakoff, The Drama Review, vol. 43, no. 4, 1999, pp. 95–112.</text>
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“Rouvan Silogix.” Factory Theatre, 31 July 2020, www.factorytheatre.ca/people/rouvan-silogix.
“The Private Life Cabaret.” Theatre Artaud, 2018, https://www.theatreartaud.com/theprivatelife/.
“The Private Life of the Master Race.” Summer Works, 2018, summerworks.ca/artists/the-private-life-of-the-master-race.
"The Private Life of the Master Race (2018)." The Toronto Theatre Database, https://ttdb.ca/shows/the-private-life-of-the-master-race/. Accessed 24 Aug. 2022.</text>
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Eventful Notice. http://toronto.eventful.com/events/resistible-rise-arturo-ui-/E0-001-063178751-1@2013112920. Accessed 10 Sept. 2018.
Hoile, Christopher. Review - The Resistible Rise of Arturo Ui - the Red Light District, Toronto. Stage Door, 24 Nov. 2013, www.stage-door.com/Theatre/2013/Entries/2013/11/24_The_Resistible_Rise_of_Arturo_Ui.html. 
The RESISTIBLE Rise of Arturo UI — the Red Light DistrictTM. 2013, theredlightdistrict.ca/show/ui/. 
“Remounting The Resistible Rise of Arturo Ui.” Indiegogo. www.indiegogo.com, www.indiegogo.com/projects/450676/fblk. Accessed 15 July 2020.
Wu, Samantha. “Review: The Resistible Rise of Arturo Ui (The Red Light District).” Mooney on Theatre, 28 Nov. 2013, www.mooneyontheatre.com/2013/11/28/review-the-resistible-rise-of-arturo-ui-the-red-light-district/. Accessed 10 Sept. 2018.</text>
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Portman, Jamie. “Brecht production dismal.” Ottawa Citizen, 28 Nov. 1979, p. 59.</text>
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Erdelyi, Joseph. “A square ‘Circle’.” Ottawa Citizen, 21 Oct. 1976, p. 91.
Fulford, Robert. “Brecht’s message, satire, and mess on Toronto stage.” Ottawa Citizen, 30 Oct. 1976, p. 40.</text>
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                <text>Canadian Theatre Review Yearbook 1978, p. 213.
Daley, Frank. “The reasons why Phipps isn’t a star.” Interview with Jennifer Phipps. Ottawa Journal, 18 March 1978, p. 37.
Portman, Jamie. “Major respected Brecht too much.” Edmonton Journal, 15 March 1978, p. H6.</text>
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Erdelyi, Joseph. “Rotten character, rotten play, and a rotten production.” Ottawa Citizen, 25 Feb. 1977, p. 60.
File Card, Bertolt-Brecht-Archiv, Berlin, Germany.
Galloway, Myron. “Early Brecht is emotional wringer.” Montreal Star, 25 Feb. 1977, p. B10.</text>
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Kaplan, Jon. “Bold Brecht.” NOW Magazine, 8 Feb. 2007, https://nowtoronto.com/culture/theatre/bold-brecht.
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Ouzounian, Richard. “Sponsored | A Penny for Your Soul.” The Toronto Star, 15 Feb. 2007. Toronto Star, https://www.thestar.com/sponsored_sections/2007/02/15/a_penny_for_your_soul.html.
"The Threepenny Opera (2007)." The Toronto Theatre Database, https://ttdb.ca/shows/the-threepenny-opera/.</text>
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                <text>Trinity College Dramatic Society Collection F2126, Series 3, Box 5, File Number 44 and Oversize Box 2, Trinity College Archive, University of Toronto, https://discoverarchives.library.utoronto.ca/downloads/ottca-f2126.pdf, p. 51.</text>
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                <text>Edinborough, Arnold. “Banff version of Brecht/Weill a jerky, muddled shout.” National Post, 20 Mar. 1980, p. 20.
File card, Bertolt-Brecht-Archiv, Berlin, Germany.
Morrow, Martin. “Surreal set overpowers the cast’s realistic style.” Calgary Herald, 24 Feb. 1989, p. C2.
“New Publications 1988-1989.” The Kurt Weill Foundation for Music, https://www.kwf.org/images/newsletter/kwn071p20-28.pdf.</text>
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                <text>Canada on Stage: 1982-1986. Toronto: Communications Centre, Professional Association of Canadian Theatres, 1989, p. 508.
Q Art Theatre. “Brief presented by Q Art Theatre in response to The New Cultural Policy of the City of Montreal.” Document, p. 17 (Mandate and History page 4), https://ocpm.qc.ca/sites/ocpm.qc.ca/files/pdf/PD05/22h.pdf.</text>
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                <text>Carter, Jill. “Kicking the Heroin Habit: Memorializing the Survivance Skirmishes and Little Victories of the Merely Mortal Women Who Fought Them.” Solo Performance, edited by Jenn Stephenson. Playwrights Canada Press, 2011, pp. 191-199.
Esleben, Joerg and Ecem Yucel. “Indigenous Theatre meets Brecht in Sucker Falls and Red Mother.” Annual Conference of the Canadian Association of University Teachers of German, University of British Columbia, Vancouver, June 2019.
Esleben, Joerg. “Brechtian Theatre in Canada between Domestication and Alienation.” Congress of the International Brecht Society, Leipzig, Germany, June 2019.
“LaMaMa presents the premiere of Red Mother.” Press release, LaMaMa Theatre, New York City, 2010. URL: http://www.loosechangeproductions.org/wp-content/uploads/2016/08/RedMother_PR.pdf. Accessed 12 June 2019.
Red Mother. Touring Brochure by Spiderwoman Theater, 2013. http://mail.spiderwomantheater.org/docs/RM_Brochure2013.pdf. Accessed 7 May 2019.</text>
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                <text>Canada on Stage: 1982-1986. Toronto: Communications Centre, Professional Association of Canadian Theatres, 1989, p. 253.
Czarnecki, Mark. “Windy City surrealism.” Maclean’s 19 Dec. 1983, p. 77, https://archive.macleans.ca/article/1983/12/19/windy-city-surrealism.</text>
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Theaterdokumentation 1574, Bertolt-Brecht-Archiv, Berlin, Germany, permalink: https://archiv.adk.de/objekt/2582978.
Whittaker, Herbert. “Centre’s Galileo recalls historic production.” Globe and Mail, 23 Oct. 1971, p. 25.
Whittaker, Herbert. “St. Lawrence exudes a new authority.” Globe and Mail, 26 Oct. 1971, p. 15.</text>
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Theaterdokumentation 4487, Bertolt Brecht Archiv, Berlin, Germany, permalink: https://archiv.adk.de/objekt/2584397.
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“NOW’s 1981 Interview with Blues Icon Salome Bey.” NOW Magazine, 11 Aug. 2020, https://nowtoronto.com/music/now-magazine-1981-interview-salome-bey.</text>
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                <text>Brennan, Brian. “Novelty Insufficient to Carry Musical.” Calgary Herald, 27 Mar. 1981, p. D1. 
Brennan, Brian. “TC Director Is Hoping for Back-to-Back Winners.” Calgary Herald, 13 Sept. 1980, p. D5. 
Canadian Theatre Review Yearbook 1980-81. Edited by Don Rubin, CTR Publications, York University. p. 172, 177.
“Puppet Players Come Back.” The Province, 16 Apr. 1981, p. D1. 
Review of "Happy End", Puppet Theatre, Created by Felix Mirbt, Tarragon Theatre, Toronto, 1981. Globe and Mail, 12 Feb. 1981, p. 19.
“Weekend Guide.” The Gazette, 30 Oct. 1981, p. 26. </text>
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                <text>Program Notes for "Puntila and Matti, His Hired Hand", Toronto Arts Foundation, 1971. Bertolt Brecht Archiv, Berlin, Germany.
Theaterdokumentation 2386, Bertolt Brecht Archiv, Berlin, Germany, permalink: https://archiv.adk.de/objekt/2583278.</text>
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