Translated and edited by John Willett, Brecht on Theater is essential to an understanding of one of the twentieth century's most influential dramatists. Frank Wedekind -- 2. A reckoning -- 3. Emphasis on sport -- 4. Three cheers for Shaw -- 5. Conversations with Bert Brecht -- 6. A radio speech -- 7. Shouldn't we abolish aesthetics?
The epic theatre and its difficulties -- 9. Last stage: Oedipus -- A dialogue about acting -- On form and subject-matter -- An example of pedagogics -- The modern theatre is the epic theatre -- The radio as an apparatus of communication -- The question of criteria for judging acting -- Indirect impact of the epic theatre -- Part II: : Interview with an exile -- Theatre for pleasure or theatre for instruction -- The German drama : pre-Hitler -- Criticism of the New York production of 'Die Mutter' -- On the use of music in an epic theatre -- Alienation effects in Chinese acting -- Notes to 'Die Rundkopfe und die Spitzkopfe' -- On Gestic music -- This also assists in breaking any The History of Masks in empathy that one might feel for a character.
They retell events and in doing so demonstrate actions and events that assist in the audience's understanding the situation. Brecht wanted his actors to always remember that they are an actor portraying another's emotions, feelings and experiences.
To assist in achieving this, Brecht often used a device or theatrical technique called Gestus. Gestus was a gesture or position that an actor would take up at crucial sections in the play. The gesture or action aimed to encapsulate the feelings of the character at the one time, and also briefly stopped the action. The most famous Gestus ever used was in Brecht's Mother Courage where the character of Mother Courage looks out to the audience, her face posed in a silent scream.
The audience is presented with a topic of social or political relevance and an opinion or message on said topic. The epic stage provides its audience with questions, possible solutions and actively encourages them to think, determine and act.
Brecht had no desire to hide any of the elements of theatrical production. Lighting, music, scenery, costume changes, acting style, projections and any other elements he called upon were in full view of the audience; a reminder that they are in a theatre, and what they are watching is not real. Brecht also wished to change the scale of the properties used, and then also use them out of context. For example, using a skyscraper that makes up part of the set and turning it over to use as a judges table in a courtroom.
This challenged the audience, and also reminded them that they were watching something that was being manufactured, and not real life. The Alienation Effect Perhaps the best known technique of Brecht's epic theatre is the Alienation Effect: to make the familiar strange. The A-effect takes "…the human social incidents to be portrayed and label[s] them as something striking, something that calls for explanation, is not to be taken for granted…" Willet The purpose is that the audience be put in a situation where they can reflect critically in a social context.
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