PowerPoint Presentation

Good Person of Szechwan (1938-1943)Good Person of Szechwan (1938-1943)Written in exileGood Person of Szechwan (1938-1943)Written in exileCollaboration with Ruth Berlau and Margarete SteffinGood Person of Szechwan (1938-1943)Written in exileCollaboration with Ruth Berlau and Margarete SteffinMusic by Paul DessauGood Person of Szechwan (1938-1943)Written in exileCollaboration with Ruth Berlau and Margarete SteffinMusic by Paul DessauMulti-art; collision of different artsKurt Weil, Mac the Knife (Three Penny Opera)

Good Person of SzechwanGood Person of SzechwanGeographic estrangement: ChinaSource: Greek fable. Old couple, Philemon and Baucis, are the only ones who give shelter to disguised gods, who have come to test the goodness of humansGood Person of SzechwanGeographic estrangement: ChinaFable:Good Person of SzechwanGeographic estrangement: ChinaFable: simple structureGood Person of SzechwanGeographic estrangement: ChinaFable: simple structuresupernaturalGood Person of SzechwanGeographic estrangement: ChinaFable: simple structuresupernaturalmoral conclusion

Good Person of SzechwanGeographic estrangement: ChinaFable: simple structuresupernaturalmoral conclusionuniversal, not tied to specific location

Shen Te and Shui Ta played by same actor

Shen Te and Shui Ta played by same actorVisible costume change: audience knows something the characters on stage dont

Shen Te and Shui Ta played by same actorVisible costume change: audience knows something the other characters dontExpert audience

Shen Te and Shui Ta played by same actorVisible costume change: audience knows something the other characters dontExpert audienceEstranged acting

Brecht on Chinese actingBrecht on Chinese actingNo fourth wallBrecht on Chinese actingNo fourth wallUse of symbols Brecht on Chinese actingNo fourth wallUse of symbols visible scene changesBrecht on Chinese actingNo fourth wallUse of symbols visible scene changesthe actors openly choose those positions which will best show them off to the audience, just as if they were acrobatsEstranged actingWestern drama and Asia: non-naturalistic theaterEstranged actingWestern drama and Asia: non-naturalistic theaterOvert theatricality: Estranged actingWestern drama and Asia: non-naturalistic theaterOvert theatricality: scene titlesEstranged actingWestern drama and Asia: non-naturalistic theaterOvert theatricality: scene titlesdirect address to audienceBerliner Ensemble, 1957

dramatic theater epic theater

dramatic theater epic theater

suspenseprocess

dramatic theater epic theater

suspenseprocessfeelingreason

dramatic theater epic theater

suspenseprocessfeelingreasonsuggestionargument

dramatic theater epic theater

suspenseprocessfeelingreasonsuggestionargumentexperiencespicture of world

dramatic theater epic theater

suspenseprocessfeelingreasonsuggestionargumentexperiencespicture of worldworld unalterableworld alterable

dramatic theater epic theater

suspenseprocessfeelingreasonsuggestionargumentexperiencespicture of worldworld unalterableworld alterableindividualsocial being

dramatic theater epic theater

suspenseprocessfeelingreasonsuggestionargumentexperiencespicture of worldworld unalterableworld alterableindividualsocial beingabsorptionaction

Shen Te Shui TaNot psychological conflict (split personality)Shen Te Shui TaNot psychological conflict (split personality), but conflicting social conditionsShen Te Shui TaNot psychological conflict (split personality), but conflicting social conditionsGoodness versus economic survivalShen Te Shui TaNot psychological conflict (split personality), but conflicting social conditionsGoodness versus economic survival under capitalismWangWang: mediating figure; go-betweenWang: mediating figure; go-betweencompromiseWang: mediating figure; go-betweencompromiseDoes it work?Gods: guardians of goodnessGods: guardians of goodnessThey are ignorant of the real worldGods: guardians of goodnessThey are ignorant of the real worldThey ignore economic relationsGods: guardians of goodnessThey are ignorant of the real worldThey ignore economic relations or rather, they dont want to interfereGods: guardians of goodnessThey are ignorant of the real worldThey ignore economic relations or rather, they dont want to interfere: morality and economics are kept separate

Brecht wants to make connections, connect that which the gods want to keep separateTrial scene

Trial scene

Street scene

The Street Scene: A Basic Model for an Epic Theatrean eyewitness demonstrating to a collection of people how a traffic accident took place. The bystanders may not have observed what happened, or they may simply not agree with him, may see things a different way; the point is that the demonstrator acts the behavior of driver or victim or both in such a way that the bystanders are able to form on opinion about the accident. The Street Scene: A Basic Model for an Epic Theatrean eyewitness demonstrating to a collection of people how a traffic accident took place. The bystanders may not have observed what happened, or they may simply not agree with him, may see things a different way; the point is that the demonstrator acts the behavior of driver or victim or both in such a way that the bystanders are able to form an opinion about the accident. Solution?

Solution?

Get rid of the gods

Solution?

Get rid of the godsGet rid of capitalism

Bruce Norris, The Low Road (2013)Estrangement of capitalismNorris, The Low RoadNarrator: Adam Smith(epic theater)Norris, The Low RoadNarrator: Adam Smith(epic theater)Actors walk across stage with signs (titles)Norris, The Low RoadNarrator: Adam Smith(epic theater)Actors walk across stage with signs (titles)Overt theatricalityNorris, The Low RoadNarrator: Adam Smith(epic theater)Actors walk across stage with signs (titles)Overt theatricalityPlay about economic relations: Norris, The Low RoadNarrator: Adam Smith(epic theater)Actors walk across stage with signs (titles)Overt theatricalityPlay about economic relations: distorted view of Smith through a character who articulates clichs about invisible hand, self interest, anti-charityNorris, The Low RoadNarrator: Adam Smith(epic theater)Actors walk across stage with signs (titles)Overt theatricalityPlay about economic relations: distorted view of Smith through a character who articulates clichs about invisible hand, self interest, anti-charitySecond act: contemporary talk show about economics