Presentaton on Bertolt Brecht and an intro to Epic Theatre

Brecht

1. Brecht & Epic Theatre Pt. 1 It’s Bertolt’s world... were just living in it. THE MAN

2. Born in Augsburg, Germany. German poet, playwright, and theatrical reformer. Studied medicine but dropped out of a Munich University to take up literature and performance writing. Wrote political and satirical articles that had him exiled from Germany. Bertolt Brecht “Buh-told Brekt” 1898 - 1956

3. Brecht (like many other citizens and artists alike) was dissillusioned with society and class systems post WW1 Admiration for Chinese theatre blended with his Marxist ideologies led to his formation of Epic Theatre; wanting audiences to question the world around them. Bertolt Brecht “Buh-told Brekt” 1898 - 1956

4. Why go to all this trouble... Theatre before the 1900s had its roots melodrama and in many ways was primarily catered for the rich and elite. Working class audiences sought fresh experiences and a departure from worn-out conventions. Innovations were necessary to revitalize the art form. Theatre as an artform pre -1900

5. Why go to all this trouble... After World War I, Germany’s self-destruction triggered a significant struggle among the working class. In response, artists throughout Germany produced works that vividly reflected the dire state of their country and Europe. German expressionism and politically charged art gained immense popularity. However, many of these creators were labeled as anti-establishment and perceived as threats by the rising political powers of the era, leading them to flee their home countries. Impact of WW1

6. Why go to all this trouble... Albeit, of a similar time to many famous German Expressionist artists, poets and filmmakers, Bertoldt Brecht turned his focus to creating art and literature that had audiences emphatically question the state of society around them. The basis of his artwork was not to wollow in pity, or to become emotionally enraged but to have audiences looking to act upon the themes, social issues and politcal turmoil of the time, that were presented in his plays. Acting to have people act!

7. Research Task Chinese Theatre Marxist Ideologies EPIC Theatre WW1

8. What are the key features of chinese theatre? What are the main ideological ideas behind marxism?

9. Brecht & Epic Theatre Pt. 2 Let’s play with Epic Theatre conventions Into Practice

10. Warm-up Game “ Gestus is the Best- oos ” Creating Tableaux from given words.

11. Epic Theatre ‘FORM’ Epic Theatre ‘STYLE’ Didactic - Designed to teach Episodic - Broken into episodes or chapters (not always chronological) Directed at the working class - addressing common social issues Fragmented for impact - often spoiling dramatic tension Presentational - not attempting to represent reality Breaking fourth wall - Audience involved/responding to themes Bare settings/costumes - audiences reminded they are watching a performance Narration & Placards - audiences reminded they are watching a performance Gestus - Thematic Physical actions (exaggeration)

12. Epic Theatre ‘FORM’ Epic Theatre ‘STYLE’ Didactic - Designed to teach Episodic - Broken into episodes or chapters (not always chronological) Directed at the working class - addressing common social issues Fragmented for impact - often spoiling dramatic tension Presentational - not attempting to represent reality Breaking fourth wall - Audience involved/responding to themes Bare settings/costumes - audiences reminded they are watching a performance Narration & Placards - audiences reminded they are watching a performance Gestus - Thematic Physical actions (Social Meaning) Verfremmdungseffekt V- effect Alienation effect. Brecht Theorised that if audiences are disconnected emotionally, or ‘alienated’ from the characters in performance pieces they will be FORCED to think critically and uncomfortably about social and political issues. Appealing to intellect, not emotion.

13. Experimenting with Epic Theatre We will think about the plot of ‘The Lion King’. Break the plot of the film up into 10 (brief) sections/descriptions. In small groups you will have to recreate a section of the film and utilise (a randomly chosen) convention of epic theatre. e.g. 1) Introduction: Simba is born, and the animals of the Pride Lands gather to celebrate. Rafiki, the wise mandrill, presents Simba to the kingdom. Mufasa explains the Circle of Life to Simba and teaches him about his future role as king.

14. V- Effect Cards Deliver lines in a monotone. Engage in direct audience address. Use exaggerated facial expressions. Pause for an extended moment of silence. Break the fourth wall to comment on the action. Swap roles with another actor mid-scene. Use placards to announce emotional states. Recite lines while facing away from the audience. Alter the tempo or rhythm of speech unpredictably. Use exaggerated gestures or movements. Interrupt the scene with a piece of political commentary. Perform with an overtly affected voice or accent. Play multiple characters in quick succession. Use stage directions as dialogue. Perform while seated, disregarding natural blocking. Insert a brief monologue that directly questions the action of the scene. Perform in slow motion during heightened emotional moments. Choose TWO for your scene.

15. Dont Hate Narrate A character arrives home with the concerning news that they have been fired from their job, they attempt to break the news to their partner. Or A character is grappling with the idea of robbing a convenient store, they ultimately decide they have to, just to financially get by. In small groups, students are given a stimulus scenario, and are to come up with a short scene. One of the students from each group will be the ‘narrator’ of the scene, and will stand out the front (independently from the action), and dictate/ narrate the scene whilst the other students act it out behind him/ her This narration aims to prevent an emotional connection with the audience.