Brecht

didactic theatre

didactic theatre

to educate

alienation

to make strange and wish to distance the audience from the emotion of the play in order to communicate the message

alienation (German)

verfremdungseffecte

Plot

Brechtian drama best suited to situations that span a long time in order to give a sense of historical perspective. They are described as episodic (i.e. the stories do not deliberately flow). Therefore, Brechtian plays can justify huge time lapses.

Placards

Used to aid the confusing plot line. Forces the audience to accept what will happen in a scene (which Narrator alienated them from guessing any dramatic development) and allows them to question the 'why?' of the events. Also breaks the theatrical convention of the fourth wall.

Characterisation

Incorporates alienation into the acting process. The actors do not become involved with the character in a personal, empathetic way; instead they observe them objectively. The Brechtian actor's main role is to demonstrate a character. The actor shows the character.

Spass

translates as 'fun'. Brecht wanted to make his audience think. He realised that while we are laughing we are also thinking. Spass was an excellent war to break the tension. Brecht needed to break rising tension to stop the audience from following characters on their emotional journey. It might be used i. the from of a comic song, slapstick or physical comedy or even a stand-up routine. It's silliness in effect but often a makes strong social comment in the way it's used in the treatment of a serious subject.

Gestus

a clear character gesture or movement used by the actor that captures a moment or attitude rather then delving into emotion. So every gesture was important. Brecht and his actors studied photographs of the plays in rehearsal to ensure each moment worked effectively. He didn't want the actors to be the character onstage, only to show them as a tule of person. For example the boss who profits through the exploitation of others. For this reason Brecht will often refer to his characters by archetypal names, such as 'the soldier' or 'the girl'

3rd person

The Brechtian actor had the ability to transpose themselves into 3rd person. This prevents the audience from empathising with any of the characters. Instead they are able to concentrate on the message of the performance.

scenery/props/lighting

the location of a play need only be suggested. Brecht aimed to stimulate the audience's imagination - not to numb it, as he believed Aristotelian theatrical sets did. Sets were minimal - allowing greater freedom for the audience's imagination. No attempts to create an illusion. Lighting sources, acting entrance, etc. we're all made visible to the spectator.

music

purpose is to further the alienation effect. Often narrative in essence. Audience were to listen to the words.

Audience

referred to as spectators. The intention was for them to be intellectually stimulated not emotionally moved. The analogy Brecht offered was that of a boxing match (people watching the performance; commenting on events; fully participating)

Marxist Ideology

the desire for (proletarian) true class-consciousness a revolt against prevailing bourgeois ideology money is viewed as the essential source of conflict