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Like Stanislavski, Brecht disliked the shallow spectacle, manipulative plots, and heightened emotion of melodrama; but where Stanislavski attempted to engender real human behaviour in acting through the techniques of Stanislavski's system and to absorb the audience completely in the fictional world of the play, Brecht saw this type of theatre ...
The technique of interruption pervades all levels of the stage work of the German modernist theatre practitioner Bertolt Brecht—the dramatic, theatrical and performative.At its most elemental, it is a formal treatment of material that imposes a "freeze", a "framing", or a change of direction of some kind; something that is in progress (an action, a gesture, a song, a tone) is halted in some way.
The Modern Theatre Is the Epic Theatre’ incorporates early formulations of Brechtian conventions and techniques such as Gestus and the V-Effect (or Verfremdungseffekt). It employs an episodic arrangement rather than a traditional linear composition and encourages an audience to see the world as it is regardless of the context. [ 5 ]
Bertolt Brecht coined the term "defamiliarization effect" (sometimes called "estrangement effect" or "alienation effect"; German Verfremdungseffekt) for an approach to theater that focused on the central ideas and decisions in the play, and discouraged involving the audience in an illusory world and in the emotions of the characters. Brecht ...
Set design for a production of Brecht's Mother Courage and Her Children, featuring a large scene-setting caption Polen ("Poland") above the stage. The distancing effect, also translated as alienation effect (German: Verfremdungseffekt or V-Effekt), is a concept in performing arts credited to German playwright Bertolt Brecht.
Defamiliarization has been associated with the poet and playwright Bertolt Brecht, whose Verfremdungseffekt ("estrangement effect") was a potent element of his approach to theatre. In fact, as Willett points out, Verfremdungseffekt is "a translation of the Russian critic Viktor Shklovskij's phrase 'Priem Ostranenija', or 'device for making ...
The production employed Brecht's epic theatre techniques to defamiliarize the behaviour of the characters and to make explicit the play's underlying message. The play consists of a series of playlets, portraying National Socialist Germany of the 1930s as a land of poverty, violence, fear and pretence.
Along with its companion, the radio cantata Lindbergh's Flight, the piece was offered as an example of a new genre, "the teaching-play or Lehrstück", in which the traditional division between actor and audience is abolished; the piece is intended for its participants only [5] (Brecht specifically including the film makers and clowns along with ...