EPIC THEATRE AND BRECHT Kaukasiese Krytsirkel Moeder Courage

EPIC THEATRE AND BRECHT Kaukasiese Krytsirkel Moeder Courage Kanna

Inleiding - Introduction • Characteristics, theoretical, acting and presentation style – result of an organic revolution against or development from previous system. • Influences on theatrical/art styles – Historical. – Social. – Economic. – Religious.

Intro • • • Epic theatre – different possible meanings. Associated with Brecht. Influenced by Piscator and Reinard. Piscator – Agit Prop. German Expressionism. Strong political tones.

Epic theatre • 2 periods – early and later works of Brecht. • Political influences from Piscator – to be found in earlier works. • Later works also political, but not as overtly political as earlier works. • Moral issues of importance in later works. • Social awareness and didactic in nature.

• Later works are more poetical. • Breaking the frame of illusion – from Reinhardt. • Other influences on Brecht – Frank Wedekind (Spring Awakening, Cabaret) – Buchner (Woyzeck) – Greek and Elizabethan theatre – Chinese Theatre

Points of revolt • Revolt against German Realism and Expressionism. • Main problem of Expressionism was the portrayal of the hero. – Savior – Clear image for the future – Poet or poetic spirit – Sometimes a pompous character – Tries to change the world without success

Points of revolt • Brecht’s heroes – Anti-hero – Called them Rubber people – Did not necessarily try to achieve something bigger or better – History and earlier plays as points of inspiration. – Refined his style through his whole life.

GENERAL APPROACH TO THEATRE. • The text was never finished. • Always changed some aspect, whether it is the text of the performance. • Text should be rounded in performance.

GENERAL APPROACH TO THEATRE. • Already mentioned that the Epic theatre’s principles come from Piscator. What did it imply then? – 20 th Century German style – Unities of time, place and action not present – Action not always portrayed according to Realist conventions. – Telling the story in the simplest fashion. – Stimulation of critical thought in the audience.

POLITICAL BACKGROUND • • • Effects of the First World War on Germany. Strong patriotic feeling. Aesthetic space – Expressionism. Nazi’s Result – 2 nd World War

POLITICAL BACKGROUND • Influence of war on Brecht’s personal life. • Could not stand blind patriotism. • Could not stand the blind race for money – Capitalism • Dialectic of Marxism was the logical answer • Man is Man – strong Marxist ideological foundation.

MARXISM • • • Pattern to be found in history. Classes Proletariat – conquerors Logical answer to social problems. Could change your life and fate. All sources, results and relationships are dynamic processes. Everything is in constant flux.

MARXISM - DEFINITION • • Communist political and economic system. Against Capitalism. All classes of society should disappear. Society can be analyzed and categorized by its class systems. These categories are influenced by: – The relationship with economic and producing processes. – Belief in die development of the community that moves past the capitalist phase. – Revolution of the proletariat to no longer stand economic and political marginalization.

DRAMATIC • • • VS. EPIC Dramatic theatre One scene from the previous. Linear development Involves the spectator in a stageaction Reduces the audience’s capacity to think and move into action. Suggestion Feelings are preserved Focus on the end Man and conscious Thought determines what he is. • • Narrative storytelling Each scene is separate. Development in curves. Makes the audience and observer. • Awakens the capacity for action • • Audience becomes part of the emotions feelings • Argument Audience stands outside the emotion Man as process. Social consciousness determines thoughts Audience stands away from the stage actions Reason • • •

HISTORIFICATION • Events of the past, different times other places are by Brecht – – These events must not be close to the audience. The “Pastness” of the events are emphasized. See the correlation with current events The audience must get the idea that they can change the circumstances. – Sometimes change has already occurred. – The mistakes of the characters should not be repeated in life. – The past must become a lesson for the future. • Historification creates a critical distance. • Dulls the possible emotional reaction for the audience. • NB!!! Just because action is taking place in the past does not imply that historification is used.

Alienation • The audience should not be allowed to loose critical distance from the characters. • They must identify to strongly with events/characters. • The opposite of identification is distance (alienation). • The theatre practitioner should use all means to keep the audience and the action on stage separate.

Alienation • The techniques used are called the alienation techniques. • If the audience stays at a distance, the Alienation effect is achieved. • Alienation is then the portrayal of something that is familiar, but it is done in a strange manner. • Aim: to stimulate critical thought so that the audience will become active members of society to change society.

Alienation techniques • Historification • Presentation and text – Loose structure – Each scene has a name – Projections and placards.

Alienation techniques • Dramatic text techniques – Different scenes – Lack of single story line – Focus on social implications – Metatheatrical techniques.

• Characters – Types – Sometimes no names – We can see their functions change. • Design and space – Projections as backdrops – Projections as a means to give other perspective – Half curtain

• Design and space – Design independent from text – All elements should be autonomous from each other. – Should form antithesis with text • Décor and costumes – Should not represent reality. – Representation of time and place.

• Décor and costumes – Functional – Can be changed into different space. – Lack of detail – 2 dimensional – Minimal use of décor (NOT MINIMALISTIC USE OF DÉCOR!!!!!!) – Costumes and décor made grotesque – Stage instruments in full view of audience.

• Lighting – No creation of atmosphere – Lights are visible (only in early productions) – Acting suggestion should create scene – not lighting (evening) – House lights are left on. – Creates a collective feeling. – Smoke and drink in auditorium

• Music – Breaks the flow of the scene – Gives the audience time to think – Comments on events – Creates contrast with text – Text comments on music or other way around. – Songs are sometimes announced – Visible musicians

• Music dishes up • Heightens the text • Proclaims the text • Illustrates • Paints psychological situation • Music communicates • Sets for the text • Music takes text for granted. • Music takes up position. • Gives attitude.

• Acting style – Actors should not identify with the characters. – Should not created rounded characters – No psychological depth – No self-focused emotional world – The character emotions and the actor’s emotions should not be the same. – Relaxed state – Gestus