BRECHTBRECHTAND THE EPIC THEATREAND THE EPIC THEATRE

Bertolt Brecht (1898-1956)Bertolt Brecht (1898-1956)

It is easier to rob by setting up a bank than by It is easier to rob by setting up a bank than by holding up a bank clerkholding up a bank clerk

There’s more than one Bertolt There’s more than one Bertolt BrechtBrecht

up Pompeiiup Pompeii

Brecht’s theatre Brecht’s theatre is constantly is constantly

changingchangingYou cannot separate You cannot separate the theory from the the theory from the

playsplaysYou cannot separate You cannot separate the politics from the the politics from the

playsplaysThe Good Person of The Good Person of

SzechwanSzechwan

Brechtian Theory is not ‘Set in Brechtian Theory is not ‘Set in Stone’Stone’

Eugen Berthold Friedrich Eugen Berthold Friedrich Brecht Brecht

• Born on 10th Feb 1898 in Augsburg, GermanyBorn on 10th Feb 1898 in Augsburg, Germany

• Brecht was a sickly child, with a congenital heart condition and a facial Brecht was a sickly child, with a congenital heart condition and a facial tic, He suffered a heart attack at the age of twelve, but soon recovered tic, He suffered a heart attack at the age of twelve, but soon recovered and continued his educationand continued his education

• While in school, he began writing and ended up co-founding and co-While in school, he began writing and ended up co-founding and co-editing a school magazine called ‘The Harvest’ and wrote his first play editing a school magazine called ‘The Harvest’ and wrote his first play ‘The Bible’‘The Bible’

• Studied medicine in Munich (1917-1921) and served in a army hospital Studied medicine in Munich (1917-1921) and served in a army hospital in 1918 during World War Iin 1918 during World War I

• After the war, he moved to Berlin where he was attracted to modern After the war, he moved to Berlin where he was attracted to modern theatretheatre

• Appointed as a consultant in 1924 in Deutches Theater in BerlinAppointed as a consultant in 1924 in Deutches Theater in Berlin

• Works with Erwin Piscator (originator of the phrase ‘Epic Theatre’)Works with Erwin Piscator (originator of the phrase ‘Epic Theatre’)

BRECHTBRECHT

• In 1922, his play ‘Drums in the In 1922, his play ‘Drums in the night’ opened and received the night’ opened and received the prestigious Kleist prize for young prestigious Kleist prize for young dramatist as a resultdramatist as a result

• In 1923 his two plays ‘Jungle of In 1923 his two plays ‘Jungle of Cities’ and ‘Baal’ cause Cities’ and ‘Baal’ cause controversy in Berlin theatre controversy in Berlin theatre worldworld

• First professional production – First professional production – ‘Edward II’ in 1924‘Edward II’ in 1924

• 1928 - ‘The Threepenny Opera’ 1928 - ‘The Threepenny Opera’ becomes a sensation and begins becomes a sensation and begins a long collaboration with a long collaboration with composer Kurt Weillcomposer Kurt Weill

BAAL BAAL 19181918

BRECHTBRECHT

• Violent antibourgeois attitudeViolent antibourgeois attitude

• Among his friends were members of the Dadaist Among his friends were members of the Dadaist groupgroup

• Discovered Marxism in the late 1920s with Karl Discovered Marxism in the late 1920s with Karl Korsch, an eminent Marxist theoreticianKorsch, an eminent Marxist theoretician

• He developed his theory of ‘epic theater’ and an He developed his theory of ‘epic theater’ and an austere form of irregular verse and embraced austere form of irregular verse and embraced MarxismMarxism

The Beggar’s Opera (1728)The Beggar’s Opera (1728)

The Threepenny Opera The Threepenny Opera (1928)(1928)

BRECHTBRECHT

• In 1933 to 1941 he went on exile in Scandinavia (mainly in Denmark)In 1933 to 1941 he went on exile in Scandinavia (mainly in Denmark)

• From 1941 until 1947 he lived in the USA where he did some film work From 1941 until 1947 he lived in the USA where he did some film work for Hollywoodfor Hollywood

• In this period, his books were burned and his citizenship was withdrawnIn this period, his books were burned and his citizenship was withdrawn

• He was cut off from German theatreHe was cut off from German theatre

• In this period away from Germany, Brecht wrote most of his greatest plays, In this period away from Germany, Brecht wrote most of his greatest plays, major theoretical essays and dialoguesmajor theoretical essays and dialogues

Influences - Murder Influences - Murder BalladsBallads

• Typically recounts the Typically recounts the details of a mythic or true details of a mythic or true crime — who the victim is, crime — who the victim is, why the murderer decides why the murderer decides to kill him or her, how the to kill him or her, how the victim is lured to the victim is lured to the murder site and the act murder site and the act itself — followed by the itself — followed by the escape and/or capture of escape and/or capture of the murdererthe murderer

EINFÜHLUNGEINFÜHLUNG

• Translates as “Understanding/Empathy”Translates as “Understanding/Empathy”

• Originates in Aristotle’s ‘Poetics’Originates in Aristotle’s ‘Poetics’

• The audience feel what the character feelsThe audience feel what the character feels

• Therefore - the audience must be passiveTherefore - the audience must be passive

• Brecht terms this type of drama an ‘emotional Brecht terms this type of drama an ‘emotional orgy’orgy’

PIRATE JENNYPIRATE JENNY

You people can watch while I'm scrubbing You people can watch while I'm scrubbing these floors these floors And I'm scrubbin' the floors while you're And I'm scrubbin' the floors while you're gawking gawking Maybe once ya tip me and it makes ya feel Maybe once ya tip me and it makes ya feel swell swell In this crummy Southern town In this crummy Southern town In this crummy old hotel In this crummy old hotel But you'll never guess to who you're talkin'. But you'll never guess to who you're talkin'. No. You couldn't ever guess to who you're No. You couldn't ever guess to who you're talkin'. talkin'.

Then one night there's a scream in the night Then one night there's a scream in the night And you'll wonder who could that have been And you'll wonder who could that have been And you see me kinda grinnin' while I'm And you see me kinda grinnin' while I'm scrubbin' scrubbin' And you say, "What's she got to grin?" And you say, "What's she got to grin?" I'll tell you. I'll tell you.

There's a ship There's a ship The Black Freighter The Black Freighter With a skull on it's masthead With a skull on it's masthead Will be coming in Will be coming in

You gentlemen can say, "Hey gal, finish You gentlemen can say, "Hey gal, finish them floors! them floors! Get upstairs! What's wrong with you! Earn Get upstairs! What's wrong with you! Earn your keep here! your keep here! You toss me your tips You toss me your tips And look out to the ships And look out to the ships But I'm counting your heads But I'm counting your heads As I'm making the beds As I'm making the beds Cuz there's nobody gonna sleep here, Cuz there's nobody gonna sleep here, tonight tonight Nobody's gonna sleep here Nobody's gonna sleep here Nobody! Nobody! Nobody! Nobody!

Then one night there's a scream in the Then one night there's a scream in the night night And you say, "Who's that kicking up a And you say, "Who's that kicking up a row?" row?" And ya see me kinda starin' out the winda And ya see me kinda starin' out the winda And you say, "What's she got to stare at And you say, "What's she got to stare at now?" now?" I'll tell ya. I'll tell ya.

There's a ship There's a ship The Black Freighter The Black Freighter Turns around in the harbor Turns around in the harbor Shootin' guns from her bow Shootin' guns from her bow

PIRATE JENNYPIRATE JENNYNow Now You gentlemen can wipe off that smile off You gentlemen can wipe off that smile off your face your face Cause every building in town is a flat one Cause every building in town is a flat one This whole frickin' place will be down to the This whole frickin' place will be down to the ground ground Only this cheap hotel standing up safe and Only this cheap hotel standing up safe and sound sound And you yell, "Why do they spare that one?" And you yell, "Why do they spare that one?" Yes. Yes. That's what you say. That's what you say. "Why do they spare that one?" "Why do they spare that one?"

All the night through, through the noise and All the night through, through the noise and to-do to-do You wonder who is that person that lives up You wonder who is that person that lives up there? there? And you see me stepping out in the morning And you see me stepping out in the morning Looking nice with a ribbon in my hair Looking nice with a ribbon in my hair

And the ship And the ship The Black Freighter The Black Freighter Runs a flag up it's masthead Runs a flag up it's masthead And a cheer rings the air And a cheer rings the air

By noontime the dock By noontime the dock Is a-swarmin' with men Is a-swarmin' with men Comin' out from the ghostly freighter Comin' out from the ghostly freighter They move in the shadows They move in the shadows Where no one can see Where no one can see And they're chainin' up people And they're chainin' up people And they're bringin' em to me And they're bringin' em to me Askin' me, Askin' me, "Kill them NOW, or LATER?" "Kill them NOW, or LATER?" Askin' ME! Askin' ME! "Kill them now, or later?" "Kill them now, or later?"

Noon by the clock Noon by the clock And so still at the dock And so still at the dock You can hear a foghorn miles away You can hear a foghorn miles away And in that quiet of death And in that quiet of death I'll say, "Right now. I'll say, "Right now. Right now!" Right now!"

Then they pile up the bodies Then they pile up the bodies And I'll say, And I'll say, "That'll learn ya!" "That'll learn ya!"

And the ship And the ship The Black Freighter The Black Freighter Disappears out to sea Disappears out to sea And And On On It It Is Is MeMe

PIRATE JENNYPIRATE JENNY

Brecht and the un-American committeeBrecht and the un-American committee(1947)(1947)

THE BALLAD OF MAC THE KNIFETHE BALLAD OF MAC THE KNIFEAnd the shark, oh, it has teethAnd the shark, oh, it has teethAnd it wears them in its face.And it wears them in its face.And Macheath, he has a knife,And Macheath, he has a knife,But this knife, no one sees. But this knife, no one sees. 

Oh, how red is the shark’s fin,Oh, how red is the shark’s fin,when the blood flows.when the blood flows.

Mack the Knife, he wears a glove,Mack the Knife, he wears a glove,From which no atrocity can be read.From which no atrocity can be read.

In the Thames’ green waters,In the Thames’ green waters,People suddenly fall.People suddenly fall.

Is it either plague or cholera?Is it either plague or cholera?No, it means Macheath’s been around.No, it means Macheath’s been around.

On a beautiful blue Sunday,On a beautiful blue Sunday,A dead man lies on the beachA dead man lies on the beach

And a man goes around the cornerAnd a man goes around the cornerKnown as Mackie the Knife.Known as Mackie the Knife.

And Schul Meier is still missingAnd Schul Meier is still missingAnd so many rich men,And so many rich men,

Mackie the Knife has his money,Mackie the Knife has his money,But no one can prove anything.But no one can prove anything.

Jenny Towler was foundJenny Towler was foundWith a knife in her breast,With a knife in her breast,

And on the dock goes Macheath,And on the dock goes Macheath,Who knows nothing at all.Who knows nothing at all.

Where is Alfons Gilte, the cabman?Where is Alfons Gilte, the cabman?Will this ever come to light?Will this ever come to light?

Anyone could know.Anyone could know.Macheath knows nothing.Macheath knows nothing.

And the great fire in Soho,And the great fire in Soho,Seven children and an old man.Seven children and an old man.In the crowd, Mackie the Knife —In the crowd, Mackie the Knife —He’s not asked and doesn’t know.He’s not asked and doesn’t know.

And the underaged widowAnd the underaged widowWhose name everyone knows,Whose name everyone knows,

Woke up and was raped.Woke up and was raped.Mackie, what was your price?Mackie, what was your price?

For some are in darknessFor some are in darknessAnd some are in light.And some are in light.One sees those in light,One sees those in light,But those in darkness, one sees not.But those in darkness, one sees not.

The Ballad Of Mack The KnifeThe Ballad Of Mack The Knife

BRECHTBRECHT• 1949 - tempted back to East Germany by the 1949 - tempted back to East Germany by the

Communist party with promise of own theatreCommunist party with promise of own theatre

• 1950 - forms Berliner Ensemble1950 - forms Berliner Ensemble

• 1954 - Berliner Ensemble theatre opened1954 - Berliner Ensemble theatre opened

• Dedicates himself to directing and nurturing new Dedicates himself to directing and nurturing new directorsdirectors

• Dies 1956 - In his will he provided instructions that a Dies 1956 - In his will he provided instructions that a stiletto be placed in his heart and that he be buried in a stiletto be placed in his heart and that he be buried in a steel coffin so that his corpse could not be eaten by steel coffin so that his corpse could not be eaten by wormsworms

BRECHT ON THEATREBRECHT ON THEATRE...Looking around one discovers more or ...Looking around one discovers more or

less motionless bodies in a curious state - less motionless bodies in a curious state - they seem to be contracting their muscles they seem to be contracting their muscles in a strong physical effort, or else to have in a strong physical effort, or else to have relaxed them after a violent strain... they relaxed them after a violent strain... they have their eyes open, but they don’t look, have their eyes open, but they don’t look, they stare... they stare at the stage as if they stare... they stare at the stage as if spellbound, which is an expression from spellbound, which is an expression from the Middle Ages, an age of witches and the Middle Ages, an age of witches and

obscurantists.obscurantists.

How long are our souls going to have to How long are our souls going to have to leave our ‘gross’ bodies under cover of leave our ‘gross’ bodies under cover of darkness to penetrate into those dream darkness to penetrate into those dream

figures up on the rostrum, in order to share figures up on the rostrum, in order to share their transports that would otherwise be their transports that would otherwise be

denied to us.denied to us.

The work of an actor?The work of an actor?On the stage the actor is On the stage the actor is

surrounded entirely by fictions... the surrounded entirely by fictions... the actor must be able to regard all this actor must be able to regard all this as though it were true, as though he as though it were true, as though he

were convinced that all that were convinced that all that surrounds him on the stage is a surrounds him on the stage is a

living reality and, along with living reality and, along with himself, he must convince the himself, he must convince the

audience as well. This is the central audience as well. This is the central feature of our method of work on feature of our method of work on

the part... Take any object, a cap for the part... Take any object, a cap for example; lay it on a table or the example; lay it on a table or the

floor and try and regard it as though floor and try and regard it as though it were a rat; make believe that it is it were a rat; make believe that it is a rat and not a cap... Picture what a rat and not a cap... Picture what sort of rat it is; what size, colour? sort of rat it is; what size, colour?

We thus commit ourselves to We thus commit ourselves to believe quite naively that the object believe quite naively that the object before us is something other than it before us is something other than it is and, at the same time, learn to is and, at the same time, learn to compel the audience to believe.compel the audience to believe.

RAPAPORT: THE WORK OF THE RAPAPORT: THE WORK OF THE ACTOR (1936)ACTOR (1936)

This might be thought to be a course of This might be thought to be a course of instruction for conjurers, but in fact it is a instruction for conjurers, but in fact it is a course of acting, supposedly according to course of acting, supposedly according to Stanislavsky’s method. One wonders if a Stanislavsky’s method. One wonders if a technique that equips an actor to make technique that equips an actor to make an audience see rats where there aren’t an audience see rats where there aren’t any can really be all thats suitable for any can really be all thats suitable for

discerning the truth. Given enough discerning the truth. Given enough alcohol it doesn’t take acting to persuade alcohol it doesn’t take acting to persuade almost anybody that they are seeing rats: almost anybody that they are seeing rats:

pink ones.pink ones.

BRECHT ON THEATREBRECHT ON THEATRE

THE MODERN THEATRE IS THE EPIC THE MODERN THEATRE IS THE EPIC THEATRE (1930)THEATRE (1930)

•Dramatic TheatreDramatic Theatre

•PlotPlot

•implicates the spectator in a implicates the spectator in a situationsituation

•wears down the capacity for wears down the capacity for actionaction

•provides spectator with provides spectator with sensationssensations

•experienceexperience

•the spectator is involved in the spectator is involved in somethingsomething

• Epic TheatreEpic Theatre

• NarrativeNarrative

• turns the spectator into an observerturns the spectator into an observer

• arouses the capacity for actionarouses the capacity for action

• provokes the spectator to make decisionsprovokes the spectator to make decisions

• picture of the worldpicture of the world

• spectator is made to face somethingspectator is made to face something

THE MODERN THEATRE IS THE EPIC THE MODERN THEATRE IS THE EPIC THEATRE (1930)THEATRE (1930)

• Dramatic TheatreDramatic Theatre

• SuggestionSuggestion

• instinctive feelings are preservedinstinctive feelings are preserved

• the spectator is in the thick of the spectator is in the thick of thingsthings

• the human being is taken for the human being is taken for grantedgranted

• humans do not changehumans do not change

• eyes on the finisheyes on the finish

• Epic TheatreEpic Theatre

• ArgumentArgument

• brought to the point of recognitionbrought to the point of recognition

• the spectator stands outside and the spectator stands outside and studiesstudies

• the human being is the object of the human being is the object of inquiryinquiry

• humans can and do changehumans can and do change

• eyes on the processeyes on the process

THE MODERN THEATRE IS THE EPIC THE MODERN THEATRE IS THE EPIC THEATRE (1930)THEATRE (1930)

• Dramatic TheatreDramatic Theatre

• one scene gives way to anotherone scene gives way to another

• GrowthGrowth

• linear developmentlinear development

• evolutionary determinismevolutionary determinism

• human being as a fixed pointhuman being as a fixed point

• thought determines beingthought determines being

• feelingfeeling

• Epic TheatreEpic Theatre

• each scene for itselfeach scene for itself

• montagemontage

• curvescurves

• jumpsjumps

• human being as a processhuman being as a process

• social being determines social being determines thoughtthought

• reasonreason

VERFREMDUNGSEFFEKTVERFREMDUNGSEFFEKT

• This is a big German word This is a big German word with a very big meaning.with a very big meaning.

• It is made up of three parts:It is made up of three parts:

• A noun,A noun,

• An adjective, andAn adjective, and

• A prefix.A prefix.

VERFREMDUNGSEFFEKTVERFREMDUNGSEFFEKT

• Is a translation (of sorts) of Is a translation (of sorts) of Victor Schklovsky’s term Victor Schklovsky’s term ‘Ostrannenie’ which literally ‘Ostrannenie’ which literally means “to make strange”means “to make strange”

• The noun:The noun:

• ““Effekt” is exactly the same Effekt” is exactly the same as the English word “effect”, as the English word “effect”, something which produces a something which produces a result.result.

VERFREMDUNGSEFFEKTVERFREMDUNGSEFFEKT• The adjective:The adjective:

• ““Fremd” is the German Fremd” is the German for “strange”, “alien”, for “strange”, “alien”, “foreign”.“foreign”.

• The prefix:The prefix:

• ““Ver-” is the German Ver-” is the German prefix which denotes prefix which denotes great strength or very great strength or very much.much.

VERFREMDUNGSEFFEKTVERFREMDUNGSEFFEKT

• Thus the whole word Thus the whole word means:means:

• ““Something which Something which makes things we take for makes things we take for granted look very granted look very strange, as if from strange, as if from another land or time.”another land or time.”

VERFREMDUNGSEFFEKTVERFREMDUNGSEFFEKT

• Brecht used this idea at Brecht used this idea at every level of making and every level of making and performing a play: from performing a play: from constructing the action to constructing the action to choice of costumes and choice of costumes and props; from the way actors props; from the way actors use their voices to where a use their voices to where a performance takes place.performance takes place.

VERFREMDUNGSEFFEKTVERFREMDUNGSEFFEKT

The V-Effekt consists of turning the object of which one is to be made aware, to The V-Effekt consists of turning the object of which one is to be made aware, to which one’s attention is to be drawn, from something ordinary, familiar, which one’s attention is to be drawn, from something ordinary, familiar,

immediately accessible, into something peculiar, striking and unexpected...immediately accessible, into something peculiar, striking and unexpected...A common use of the V-Effekt is when someone says ‘have you ever really looked A common use of the V-Effekt is when someone says ‘have you ever really looked carefully at your watch?’ The questioner knows that I’ve looked at it often enough, carefully at your watch?’ The questioner knows that I’ve looked at it often enough, and now his question deprives me of the sight which I’ve grown used to and which and now his question deprives me of the sight which I’ve grown used to and which accordingly has nothing more to say to me. I used to look at it to see the time, and accordingly has nothing more to say to me. I used to look at it to see the time, and now when he asks me in this importunate way I realise that I have given up seeing now when he asks me in this importunate way I realise that I have given up seeing

the watch itself with an astonished eye...the watch itself with an astonished eye...

Brecht: Short Description of a new Acting TechniqueBrecht: Short Description of a new Acting Technique

Key Features of the V-EffektKey Features of the V-Effekt

• Use of Slides/Inter titlesUse of Slides/Inter titles

• Acting style is deliberately Acting style is deliberately unrealisticunrealistic

• Set is minimalSet is minimal

• Actors ‘drop out of Actors ‘drop out of character’ to singcharacter’ to sing

• Mechanics of stage lighting Mechanics of stage lighting clearly visibleclearly visible

• Music used as separate Music used as separate elementelement

The Street SceneThe Street Scene The event has taken place; what you are seeing now is The event has taken place; what you are seeing now is a repeat. If the scene in the theatre follows the street a repeat. If the scene in the theatre follows the street

scene in this respect then the theatre will stop scene in this respect then the theatre will stop pretending not to be theatre, just as the street-corner pretending not to be theatre, just as the street-corner demonstration admits it is a demonstration (and does demonstration admits it is a demonstration (and does not pretend to be the actual event). The element of not pretend to be the actual event). The element of

rehearsal in the acting and of learning by heart in the rehearsal in the acting and of learning by heart in the text, the whole machinery and the whole process of text, the whole machinery and the whole process of

preparation: it all becomes plainly apparent. What room preparation: it all becomes plainly apparent. What room is left for experience? Is the reality portrayed still is left for experience? Is the reality portrayed still

experienced in any sense?experienced in any sense?

The Rise and Fall of the City of The Rise and Fall of the City of Mahagonny (1930)Mahagonny (1930)

Execution of Jimmy Gallaher. Many Execution of Jimmy Gallaher. Many of you, perhaps will be shocked at of you, perhaps will be shocked at

what you are about to see. But what you are about to see. But ladies and gentlemen, ask ladies and gentlemen, ask

yourselves this question: “Would I yourselves this question: “Would I have paid Jimmy Gallaher’s have paid Jimmy Gallaher’s

Debts?” Would you? Are you sure?Debts?” Would you? Are you sure?

Mother Courage and her Children Mother Courage and her Children (1938, 1939, 1941)(1938, 1939, 1941)

Spring 1624. The Swedish Spring 1624. The Swedish Commander-in-Chief, Count Commander-in-Chief, Count

Oxenstierna, is raising Oxenstierna, is raising troops in Dalecarlia for the troops in Dalecarlia for the

Polish campaign. The Polish campaign. The Canteen woman, Anna Canteen woman, Anna

Fierling, known under the Fierling, known under the name of Mother Courage, name of Mother Courage,

loses one sonloses one son

NOT NOT “WHAT?”“WHAT?”““HOWHOW

?”?”““WHY?WHY?””

The Good Person of SzechwanThe Good Person of Szechwan(1939,1942,1943)(1939,1942,1943)

Ladies and gentlemen, don’t feel let down:Ladies and gentlemen, don’t feel let down:We know this ending makes some people frown. We know this ending makes some people frown.

We had in mind a sort of golden mythWe had in mind a sort of golden mythThen found the ending had been tampered with.Then found the ending had been tampered with.

Indeed it is a curious way of coping:Indeed it is a curious way of coping:To close the play, leaving the issue open.To close the play, leaving the issue open.

Especially since we live by your enjoyment.Especially since we live by your enjoyment.Frustrated audiences mean unemployment.Frustrated audiences mean unemployment.

But what would you suggest?But what would you suggest?What is your answer? Nothing’s been arranged.What is your answer? Nothing’s been arranged.

Should men be better? Should the world be Should men be better? Should the world be changed?changed?

Or just the gods? Or ought there to be none?Or just the gods? Or ought there to be none?...What sort of measures would you recommend...What sort of measures would you recommend

To help good people to a happy end?To help good people to a happy end?Ladies and gentlemen, in you we trust:Ladies and gentlemen, in you we trust:

There must be happy endings, must, must, must!There must be happy endings, must, must, must!

PTOLEMAIC SYSTEM OF THE PTOLEMAIC SYSTEM OF THE COSMOSCOSMOS

COPERNICAN SYSTEM OF THE COPERNICAN SYSTEM OF THE COSMOSCOSMOS

The Life of GalileoThe Life of Galileo(1937,1943,1945,1947)(1937,1943,1945,1947)

You see! what do you You see! what do you see? You see see? You see

nothing. You only nothing. You only goggle. Goggling is goggle. Goggling is

not seeing.not seeing.

The Life of GalileoThe Life of Galileo

The Life of GalileoThe Life of Galileo(1937,1943,1945,1947)(1937,1943,1945,1947)

It is concerned with knowledge, achieved through It is concerned with knowledge, achieved through doubt. Making knowledge about everything doubt. Making knowledge about everything

available for everyone, science strives to make available for everyone, science strives to make sceptics of them all. Now the greater part of the sceptics of them all. Now the greater part of the population is kept permanently by their princes, population is kept permanently by their princes,

landlords and priests in a nacreous haze of landlords and priests in a nacreous haze of superstition and outmoded words which obscure superstition and outmoded words which obscure the machinations of these characters... Our new the machinations of these characters... Our new device of doubt delighted the great public, which device of doubt delighted the great public, which

snatched the telescope from our hands and snatched the telescope from our hands and turned it on its tormentors... I, as a scientist, had turned it on its tormentors... I, as a scientist, had

a unique opportunity. In my days astronomy a unique opportunity. In my days astronomy reached the market-places. In these quite reached the market-places. In these quite

exceptional circumstances, the steadfastness of exceptional circumstances, the steadfastness of one man could have shaken the world.one man could have shaken the world.

BRECHT ON THEATREBRECHT ON THEATRE

...and make...and makemy curtain half high, don’t seal off the stage!my curtain half high, don’t seal off the stage!

Leaning back in his chair, let the spectatorLeaning back in his chair, let the spectatorBe aware of the busy preparations made for him.Be aware of the busy preparations made for him.

Cunningly: he sees a tinfoil moonCunningly: he sees a tinfoil moonFloat down, or a tiled roofFloat down, or a tiled roof

Being carried in: do not show him too much,Being carried in: do not show him too much,But show him something! And let him noticeBut show him something! And let him notice

That you are not wizards,That you are not wizards,Friends, but workers...Friends, but workers...

Die VorhaengeDie Vorhaenge

Theatre For Pleasure or Theatre for instructionTheatre For Pleasure or Theatre for instruction(1935)(1935)

The dramatic theatre’s spectator The dramatic theatre’s spectator says: Yes, I have felt like that too - says: Yes, I have felt like that too - Just like me - It’s only natural - It’ll Just like me - It’s only natural - It’ll never change - The sufferings of never change - The sufferings of

this man appall me, because they this man appall me, because they are inescapable - That’s great art; are inescapable - That’s great art; it all seems the most obvious thing it all seems the most obvious thing

in the world - I weep when they in the world - I weep when they weep, I laugh when they laugh.weep, I laugh when they laugh. The epic theatre’s spectator The epic theatre’s spectator

says: I’d never have says: I’d never have thought it - That’s not the thought it - That’s not the

way - That’s extraordinary, way - That’s extraordinary, hardly believable - It’s got hardly believable - It’s got

to stop -The suffering of this to stop -The suffering of this man appalls me, because man appalls me, because

they are unnecessary - they are unnecessary - That’s great art: nothing That’s great art: nothing

obvious in it - I laugh when obvious in it - I laugh when they weep, I weep when they weep, I weep when

they laugh.they laugh.

No Emotional Involvement?No Emotional Involvement?

• Brecht wished for a ‘Scientific Brecht wished for a ‘Scientific audience’audience’

• He DID wish the audience to He DID wish the audience to become involved in the dramabecome involved in the drama

• The audience must not be The audience must not be passive (detached)passive (detached)

• Caucasian Chalk Circle even has Caucasian Chalk Circle even has a “Cliffhanger”!a “Cliffhanger”!

• They must be INTELLECTUALLY They must be INTELLECTUALLY involvedinvolved

The Structure of Epic TheatreThe Structure of Epic Theatre

• Montage-like construction. Each Montage-like construction. Each scene stands independently scene stands independently from each otherfrom each other

• Intended to divide rather than Intended to divide rather than unite the spectators - audience unite the spectators - audience treated as individuals rather treated as individuals rather than massthan mass

• Often uses obvious narrator Often uses obvious narrator figure to emphasise that the figure to emphasise that the story is ‘long ago and far away’story is ‘long ago and far away’

The Structure of Epic TheatreThe Structure of Epic Theatre

• Linear character development is Linear character development is abandoned - we rarely get to see abandoned - we rarely get to see a character’s “Inner Life”a character’s “Inner Life”

• Audience are often encouraged Audience are often encouraged to feel the opposite of the to feel the opposite of the character’s emotions - “I laugh character’s emotions - “I laugh when they weep, I weep when when they weep, I weep when they laugh”they laugh”

• ““Epic” is the way he told his Epic” is the way he told his stories, but the components of stories, but the components of this style changed from play to this style changed from play to play.play.

• Epic is constantly under Epic is constantly under developmentdevelopment

Pirate JennyPirate Jenny(Lotte Lenya)(Lotte Lenya)

Tango-BalladTango-Ballad