Brecht proposed the “epic-theater”, where the thoughts were more important than emotion. For Brecht a play was completed outside the theater, in the reflections of the audience when the play is over. Artists Influenced By Brecht's Theatre Techniques One of French cinema's greatest talents, Jean Luc Godard, used Brechtian devices in the majority of his films. Show More. The existence of a social message in this play further indicates that the CCC is indeed an example of epic theatre. Berthold Brecht's Techniques In Epic Theatre. In future posts, I will go into more depth with certain conventions, but for this post, we will look at a shopping list of Epic Theatre conventions my Year 11 Drama students summarised in class this morning. In the early 20 th Century Bertolt Brecht unified and employed non-traditional, non-Aristotelian, theater techniques to create a performance arena he referred to as the epic theater. Epic Theatre utilities many irregular conventions which aim to alienate the audience and invoke didacticism Conventions of Acting “The Actor only quotes a character… he never forgets nor does he allow anyone to forget that he is not the one whose action is being demonstrated, but the one who demonstrates it. When performing an epic drama many Brechtian alienation techniques can be incorporated. Using specific examples from Brecht’s methodology and plays you have seen discuss the influence that Berthold Brecht’s theories regarding production techniques have had on the theatre of today using examples from a play or plays you have seen. Epic theatre is not meant to refer to the scale or the scope of the work, but rather to the form that it takes. The theater was based on the demystification and de-familiarization of the production in relation to both the audience and the actors. It uses the stage as a place for instruction and education. Brecht’s early thoughts on Epic theatre come from Piscator. The aim of this style is to detach the audience from any emotion connection so they… Epic theatre emphasizes the audience's perspective and reaction to the piece through a variety of techniques that deliberately cause them to individually engage in a different way. A feeling that nothing can be changed. The literary counterpart of this was incarnated in the person of the German poet and writer Bertolt Brecht. theatre, but people should be inspired to go out and solve it. It has an intellectual base and is concerned with treating social or political issues of the time. Famous practitioners of epic theatre include Bertolt Brecht as the main component, Vsevolod Meyerhold, Vladimir Mayakovsky and Erwin Piscator. Part 2 of Brecht’s Epic Theatre conventions involves an overview of some of his techniques. The first section includes the early words of Brecht, like Baal (1923), A Man’s a Man (1926) and the famous Threepenny Opera (1928). Another of Brecht's principle theories is known as alienation, making the familiar seem foreign and thus compelling the audience to view it in a new light. Epic Theatre proposed that a play should not cause the spectator to identify emotionally with the characters or action before him or her, but should instead provoke rational self-reflection and a critical view of the action on the stage. To illustrate these possible techniques, scene 6 of the CCC will be briefly studied and directed. EPIC THEATRE AND BRECHT German Epic Theatre, and especially the works of Brecht (1898 – 1956) can be divided into two main sections. Therefore, things have always been the same and are unchangeable. He referred to this as epic theater, the elevation of the moral, social or political message over the exploraton of character. Epic Theatre is against the conventions of realistic and naturalistic theatre. 1705 Words 7 Pages. From The Modern Theatre is the Epic Theatre - Aristotelian theatre has reduced the spectator to passivity. (Yesterday is presented in terms of today.)

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