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Bertolt Brecht. 1898 - 1956. Epic Theatre and the principles of the Berliner Ensemble. Important social and political issues To educate as well as entertain – for the audience to “think for themselves” To bring about social change To reach a wide variety of audiences, not just upper class
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Bertolt Brecht 1898 - 1956
Epic Theatre and the principles of the Berliner Ensemble • Important social and political issues • To educate as well as entertain – for the audience to “think for themselves” • To bring about social change • To reach a wide variety of audiences, not just upper class • A rejection of Stanislavski’s “theatre of illusion”
Brecht did not want his audience to…. “hang their brains in the cloakroom with their hats.” His plays were Lehrstück… Plays that you LEARN from!
The Verfremdungseffekt or V-effect • To make the usual strange • To remind the audience that they are watching a play • To keep the focus on the political message • To act as an alienation device - create a “distance” between the actor and the character
Brecht’s influences were… • Karl Marx • Indian and Greek Theatre • Chinese actor Mei Lan-Fang • Charlie Chaplin & Marx Brothers films
The relationship between the actor and the audience • Abolition of the fourth wall • Direct address • Interaction • Audience are an important part of the process – the dialectic approach
Casper Neher’s stage design • Demystification of theatrical processes – all changes visible to audience • No proscenium arch or fourth wall • Built for a touring theatre company (2 hours) • Projections and placards • House lights • Boxing ring concept • Half curtain • Odd costumes/authentic props
The actor • The spirit of “acting in quotation marks” • Spass • Showing or demonstrating a character • Cross-casting/multi-casting • Geste • Tableau or tableaux • Archetypes • Music, narration and song (Kurt Weill)
Complete this quotation: • “Show that you are….”
Brecht’s ideas for scenic design • Built to last two hours – for Berliner Ensembler’s touring theatre • Some authentic props • Representational props and costumes • All stage machinery visible to the audience – a rejection of “illusion”
Ways of making the social message obvious: • Captions/placards • Projection screen • Drab clothes for social status • Allow for multi-role acting • Boxing ring effect • Out of scale props e.g. Mother Courage’s cart/oversized hat etc – can create comedy
Costumes for Good Person of Szechwan • Allow for simple costume changes – kept visible to the audience so that…? • Chinese tunic with mandarin collar • Harem style trousers in grey • Kimonos • Shawls • Rice hats • Mask for Shen Teh to turn into Shui Ta and maybe an oversized jacket? • Policeman’s helmet • Embroidered cloaks for the Gods
Minimal props – visible to the audience – people as props are ok • Wooden water bucket and pole for Wang • Tobacco boxes, cigars, cigarettes • Walking sticks for old people • Rope • Money • A beautiful embroidered shawl – colour? Texture? • Knitting needles and wool
Some Chinese props… • Zither • Ruan – a type of guitar • Bamboo flute • Bamboo curtain (half curtain?) • Cast iron Chinese teapot
Set for: • Street scene • Park • Tobacconist’s shop • Market • Factory • Court room
Lighting and sound • House lights – why? • Sound – some Chinese music and some sound effects e.g. rain – no detailed illusionary effects • Musicians can be on stage and visible to the audience or take on acting roles at other times
Stage and set should allow for… • The spectator to feel a part of the action not apart from the action. • This should help the spectator to be aware that they are watching a play and think about the social and political message • Brecht thought theatre should inspire social change and design supports this
Finally… • When you make reference to stage design, set or costumes/props, ensure you link it to performance – don’t just write lists of these items.