1. Theatre: A Way To Teach Rather Than Delight
Introduction to the key ideas of Bertolt Brecht and Epic Theatre

2. Introducing Bertolt Brecht
Born in 1898 in Germany
Held strong political views: Pacifist and a Communist
Playwright and Director
Believed that theatre could present society and its faults and suggest that it is within the audience's power to alter it: Epic Theatre

3. What is Epic Theatre?
A style of theatre which provided a social and political commentary not for mere entertainment.
“I’m not writing for the scum who want the cockles of their heart warmed.”
Brecht was concerned with examining a situation in dramatic action; looking at what happened in a story in terms of causes, effects and the nature of the action.
Audience were encouraged to NOT empathise with characters; theatrical devices were used to ‘distance’ the audience so they would focus on the social/political issue being presented.
Was a reaction against the popular realistic style of theatre, pioneered by Stanislavski.

4. Brecht on Acting:
Characters in Bertolt Brecht plays are ‘types of people,’ rather than complex individuals, which society has conditioned to behave in particular way.
In a director role, Brecht asked actors to demonstrate their character rather than become their character to emphasise their social status.
The Stanislavskian actor is to work at identifying with the character he or she portrays. The Brechtian actor is to work at expressing social attitudes in clear and stylised ways.

5. Gestus
Gestus is Brecht's term for an expresses ion or representation of basic human attitudes.
Not merely “gesture” but all signs of social relations, e.g. intonation of the voice and facial expression.
Attitude expressed through words or actions
Contrasts with naturalism and realism

6. Gestus
Example: An actor’s physical presentation of the body language of a character from a particular social class – such as the genteel manners of a group of upper class women as they stir their tea or the posture of a farmer just back from a day’s work in the fields.

7. PRACTICAL EXERCISES

8. Gestic Tableau http://www.youtube.com/watch?v=GiQG9ONjmx4
Read the Summary of the Caucasian Chalk Circle

9. War – the taker of lives

10. War – the maker of heroes

11. Verfremdung Effect (V-Effect)
Also referred to as the ‘distancing,’ ‘defamiliarisation, ’or ‘alienation’ effect.
Brecht wanted his audience to remember that they are watching a story (a presentation of a sequence of events) NOT reality.
As both a playwright and a director he used a variety of theatrical devices to constantly remind the audience of this fact – these devices are often referred to as V-Effects or Epic Theatre techniques.

12. V-effect: Demands on the actor
An actor in a Brechtian play is often required to:
Play more than one character
Directly address the audience
Speak using the third person
Sing
Narrate
Play a musical instrument

13. V-effect: Staging Breaking Down the Fourth Wall
The audience must not be hypnotised into accepting the theatre as ‘real’
Breaking Down the Fourth Wall
Often left the house lights on or used harsh lights instead of simple naturalistic lighting.
 The set design was mainly simple, with only items that matter to the structure of the play or the service of the actors that appear on the stage
The designs often used placards, sub-titles, projections of sketches, films, sound effects and photographs.
Exaggerated/obvious use of props

14. Naturalism vs Epic theatre
Plot
Implicates the spectator in a stage situation
Wears down the spectator’s capacity for action
Provides the audience with sensations
The spectator is involved in something
Suggestion
Instinctive feelings are preserved
The spectator is in the thick of it, shares the experience
Narrative
Turns the spectator into an observer
Arouses the spectator’s capacity for action
Forces the audience to take decisions
The spectator is made to face something
Argument
Brought to the point of recognition
The spectator stands outside, studies

15. Naturalism vs Epic theatre
The human being is taken for granted
The human being is unalterable
One scene makes another
Growth
Linear development
A human being is a fixed point
Thought determines being
Feeling
The human being is the object of the enquiry
The human being is alterable and able to alter
Each scene for itself
Montage
Broken up
A human being is a process
Social being determines thought
Reason

16. Epic Theatre Montage Music and Song Gestus Placards Design
Verfremdungseffekt
Epic Theatre
Music and Song
Gestus
Placards
Narration
Design

17. Montage Similar images juxtaposed together
Intended to ‘shock’ the audience
Kept audience alert and awake
Drew attention to the content
Opposed progressive growth of plot

18. Music and Song Essential in Brechtian theatre Interrupted the text
Music and Song used separately
Commented upon character’s feelings
Used non-naturalistically

19. Design Use of ‘half-curtain’ allowing backstage to be seen
Costume changes made on stage
Projections separate from action
Sharp, clear lighting
Restricted colour schemes
Placards