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59:. Epic theatre is not meant to refer to the scale or the scope of the work, but rather to the form that it takes. 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. The purpose of epic theatre is not to encourage an audience to suspend their disbelief, but rather to force them to see their world as it is.
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directly out of character ("breaking the fourth wall") and play multiple roles. Brecht thought it was important that the choices the characters made were explicit, and tried to develop a style of acting wherein it was evident that the characters were choosing one action over another. For example, a character could say, "I could have stayed at home, but instead I went to the shops." This he called "fixing the
115:", or "total artwork", which intends each piece of art to be composed of other art forms. Since epic theatre is so focused on the specific relationship between form and content, these two ideas contradict each other, despite the fact that Brecht was heavily influenced by Wagner. Brecht discussed the priorities and approach of epic theatre in his work "
79:(1924–27). Piscator aimed to encourage playwrights to address issues related to "contemporary existence." This new subject matter would then be staged by means of documentary effects, audience interaction, and strategies to cultivate an objective response. Epic theatre incorporates a mode of acting that utilises what Brecht calls
253:
Each scene, and each section within a scene, must be perfected and played as rigorously and with as much discipline as if it were a short play, complete in itself. Without any smudges. And without there being the slightest suggestion that another scene, or section within a scene, is to follow those
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Acting in epic theatre requires actors to play characters believably without convincing either the audience or themselves that they have "become" the characters. This is called Gestus when an actor takes on the physical embodiment of a social commentary. Actors frequently address the audience
208:
is another example of
Verfremdungseffekt at work. Lighting can also be used to emulate the effect. For example, flooding the theatre with bright lights (not just the stage) and placing lighting equipment on stage can encourage the audience to fully acknowledge that the production is merely a
122:
Near the end of his career, Brecht preferred the term "dialectical theatre" to describe the kind of theatre he pioneered. From his later perspective, the term "epic theatre" had become too formal a concept to be of use anymore. According to
170:, who sought to affect audiences viscerally, psychologically, physically, and irrationally. While both produced 'shock' in the audience, epic theatre practices would also include a subsequent moment of understanding and comprehension.
655:
119:". Although many of the concepts and practices involved in Brechtian epic theatre had been around for years, even centuries, Brecht unified them, developed the approach, and popularised it.
158:
and to absorb the audience completely in the fictional world of the play, Brecht saw this type of theatre as escapist. Brecht's own social and political focus was distinct, too, from
191:, known in English as the "estrangement effect" or the "alienation effect", was made popular by Brecht and is one of the most significant characteristics of epic theatre.
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offset against a selective realism in costuming and props, as well as announcements or visual captions that interrupt and summarize the action. Brecht used
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Historicization is also employed in order to draw connections from a historical event to a similar current event. This can be seen in the plays
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his audiences from the depicted events and was heavily influenced by musicals and fairground performers, putting music and song in his plays.
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can be achieved is by having actors play multiple characters, rearrange the set in full view of the audience, and "break the
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turn that is able to stand on its own. Common production techniques in epic theatre include a simplified, non-realistic
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275:, both written by Brecht, which comment on a current social or political issue using historical contexts.
150:. Like Stanislavski, Brecht disliked the shallow spectacle, manipulative plots, and heightened emotion of
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706:. Trans. John Willett. Bertolt Brecht: Plays, Poetry, Prose Ser. London: Methuen, 1985.
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who responded to the political climate of the time through the creation of new
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Epic theatre is distinct from other forms of theatre, particularly the early
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involved in the epic form of spoken drama amalgamated or what Brecht calls "
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Brecht, too, advised treating each element of a play independently, like a
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Erwin
Piscator's Political Theatre: The Development of Modern German Drama
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The Craft of
Theatre: Seminars and Discussions in Brechtian Theatre
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678:. Ed. and trans. John Willett. British edition. London: Methuen.
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in his dramas from that found in Brecht's, in a letter to the
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technique of fragmentation, contrast and contradiction, and
135:' of events" that this approach to theatre-making produces.
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who coined it during his first year as director of Berlin's
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249:
in 1966, he advises an epic approach to its production:
202:" by speaking to the audience. The use of a narrator in
728:. Trans. Richard Seaver. London: Faber, 1972. 7–60.
549:"Richard Wagner's Concept of the 'Gesamtkunstwerk'"
220:", the epic approach to play production utilizes a
107:. Epic theatre and its many forms is a response to
774:Brecht on Theatre: The Development of an Aesthetic
676:Brecht on Theatre: The Development of an Aesthetic
668:". Trans. John Willett. In Brecht (1964, 179–205).
166:, as developed in the writings and dramaturgy of
2238:
243:on the most appropriate approach to staging his
743:. New edition. Cambridge: Cambridge UP, 1977.
51:from the theories and practice of a number of
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726:Reflections on the Theatre and Other Writings
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619:"Brecht, interruptions, and epic theatre"
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686:. USA edition. New York: Hill and Wang.
450:"Brecht, interruptions and epic theatre"
20:
1203:The Trial of Joan of Arc at Rouen, 1431
656:Brecht, interruptions, and epic theatre
481:
305:
2247:Bertolt Brecht theories and techniques
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1393:The Modern Theatre Is the Epic Theatre
980:Rise and Fall of the City of Mahagonny
776:, by Bertolt Brecht. London: Methuen.
616:
607:
584:. Bloomsbury Publishing. p. 205.
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131:at the time, the term refers to the "'
1434:
931:Downfall of the Egotist Johann Fatzer
830:
532:
178:
490:
477:
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758:Chicago: Chicago University Press.
617:Gordon, Robert (7 September 2017).
127:, one of Brecht's directors at the
13:
1056:Fear and Misery of the Third Reich
856:
456:. 7 September 2017. Archived from
258:
185:While not invented by Brecht, the
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966:The Baden-Baden Lesson on Consent
815:University of Southern Queensland
797:
472:
85:. One of Brecht's most-important
1415:
1414:
1119:The Resistible Rise of Arturo Ui
1049:The Horatians and the Curiatians
1399:A Short Organum for the Theatre
1147:Schweyk in the Second World War
1091:Mother Courage and Her Children
666:A Short Organum for the Theatre
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573:
266:Mother Courage and Her Children
209:production instead of reality.
117:A Short Organum for the Theatre
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508:
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442:
228:. While the French playwright
1:
1182:Die Verurteilung des Lukullus
1133:The Visions of Simone Machard
1042:Round Heads and Pointed Heads
570:Quoted by Willett (1964) 282.
533:Brown, Hilda Meldrum (1991).
436:
232:articulates a very different
173:
1105:Mr Puntila and His Man Matti
1007:Saint Joan of the Stockyards
772:. 1964. Editorial notes. In
486:. Bloomsbury Publishing Plc.
7:
1112:The Good Person of Szechwan
959:The Flight Across the Ocean
784:. New York: Hill and Wang.
337:
272:The Good Person of Szechwan
10:
2278:
2199:Situationist International
1378:Separation of the elements
1154:The Caucasian Chalk Circle
1014:The Exception and the Rule
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537:. Oxford: Clarendon Press.
205:The Caucasian Chalk Circle
62:
2095:
2017:
1856:
1796:
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1300:
1263:What Keeps Mankind Alive?
1233:
903:Mysteries of a Barbershop
864:
820:The Good Woman of Setzuan
809:25 September 2008 at the
739:Innes, Christopher 1972.
703:The Messingkauf Dialogues
580:Schall, Ekkehard (2015).
405:John McGrath (playwright)
212:As with the principle of
49:early to mid-20th century
2252:Metafictional techniques
1242:Reminiscence of Marie A.
425:Theatre of the Oppressed
370:David Edgar (playwright)
89:innovations prioritised
2262:Political theatre forms
1709:Experimental literature
1168:The Days of the Commune
910:In the Jungle of Cities
482:Barnett, David (2015).
148:Konstantin Stanislavski
1975:Second Viennese School
1606:Neue Slowenische Kunst
1477:Abstract expressionism
1322:Non-Aristotelian drama
1077:How Much Is Your Iron?
1063:Señora Carrar's Rifles
817:Artsworx Resources on
256:
254:that have gone before.
218:non-Aristotelian drama
97:dichotomous opposition
40:
29:
2082:Theatre of the Absurd
2005:Twelve-tone technique
1884:Electroacoustic music
1386:Messingkauf Dialogues
1189:Report from Herrnburg
1098:The Trial of Lucullus
1035:The Seven Deadly Sins
754:Wiles, Timothy 1980.
722:Letters to Roger Blin
375:Epic Theatre Ensemble
251:
214:dramatic construction
194:Some of the ways the
156:Stanislavski's system
144:psychological realism
53:theatre practitioners
24:
2067:Postdramatic theatre
2052:Experimental theatre
1589:Multidimensional art
1140:The Duchess of Malfi
952:The Threepenny Opera
380:Experimental theatre
332:Friedrich DĂĽrrenmatt
306:Famous practitioners
142:approach and later "
71:theatre" comes from
1569:Lyrical Abstraction
896:Driving Out a Devil
561:Brecht (1949, 276).
535:Leitmotiv and Drama
523:Willett (1964) 281.
317:Vladimir Mayakovsky
2182:Postmodernist film
2087:Theatre of Cruelty
1970:Rock in Opposition
1911:Free improvisation
1554:Post-Impressionism
1487:Art & Language
1224:Trumpets and Drums
882:Drums in the Night
756:The Theatre Event.
322:Vsevolod Meyerhold
196:Verfremdungseffekt
188:Verfremdungseffekt
180:Verfremdungseffekt
164:Theatre of Cruelty
47:that arose in the
43:) is a theatrical
30:
2257:Modernist theatre
2234:
2233:
2224:Russian symbolism
2209:Socialist realism
2047:Experimental film
2013:
2012:
1719:Hungry generation
1694:Conceptual poetry
1549:Neo-Impressionism
1428:
1427:
1334:Defamiliarization
1277:Einheitsfrontlied
1126:Hangmen Also Die!
938:The Elephant Calf
604:Genet (1966, 25).
365:Distancing effect
129:Berliner Ensemble
95:over the sterile
2269:
2128:Russian Futurism
2072:Remodernist film
1990:Stochastic music
1945:Musique concrète
1923:Microtonal music
1901:Experimental pop
1894:Industrial music
1889:Electronic music
1794:
1793:
1616:Nouveau réalisme
1524:Grosvenor School
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1270:Solidaritätslied
945:Little Mahagonny
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629:on 9 August 2022
625:. Archived from
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551:. 11 March 2013.
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460:on 9 August 2022
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430:Theatre Workshop
125:Manfred Wekwerth
57:political dramas
41:episches Theater
16:Theatrical genre
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1070:Life of Galileo
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698:Brecht, Bertolt
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662:Brecht, Bertolt
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415:Political drama
400:Joan Littlewood
390:French New Wave
360:Caryl Churchill
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259:Historicisation
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146:" developed by
113:Gesamtkunstwerk
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2103:Constructivism
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1879:Atonal music
1714:Flarf poetry
1704:Ego-Futurism
1502:Proto-Cubism
1419:
1404:Street scene
1391:
1384:
1350:
1343:
1314:
1310:Epic theatre
1309:
1301:Theories and
1256:Pirate Jenny
1249:Alabama Song
1234:Poems, songs
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1000:The Decision
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631:. Retrieved
627:the original
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462:. Retrieved
458:the original
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350:Augusto Boal
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2194:Primitivism
2020:and theatre
1960:Noise music
1933:Drone music
1764:Slam poetry
1651:Suprematism
1636:Process art
1564:Incoherents
1559:Color Field
1534:Divisionism
1482:Art Nouveau
1462:Avant-garde
1284:Kinderhymne
1028:Kuhle Wampe
987:Der Jasager
718:Genet, Jean
420:Franca Rame
246:The Screens
200:fourth wall
2241:Categories
2214:Surrealism
2152:Minimalism
2027:Cinéma pur
1672:and poetry
1670:Literature
1579:Minimalism
1470:Visual art
1316:LehrstĂĽcke
1303:techniques
1291:Die Lösung
1196:Coriolanus
1021:The Mother
437:References
302:element".
280:music hall
241:Roger Blin
234:world view
230:Jean Genet
174:Techniques
160:surrealism
77:VolksbĂĽhne
67:The term "
2219:Symbolism
2147:Modernism
1980:Serialism
1965:Post-rock
1906:Free jazz
1814:Free funk
1769:UltraĂsmo
1724:Imaginism
1699:Cyberpunk
1661:Vorticism
1464:movements
1368:Not / But
1175:The Tutor
973:Happy End
917:Edward II
889:A Wedding
664:. 1949. "
654:. 2017. "
410:Modernism
300:Not / But
152:melodrama
87:aesthetic
2167:Neo-Dada
2142:Lettrism
2123:Futurism
2037:Drop Art
2032:Dogme 95
2000:Totalism
1918:Futurism
1869:Ars nova
1797:By style
1744:Neoteric
1646:Rayonism
1599:De Stijl
1574:Mail art
1529:Devětsil
1421:Category
1217:Don Juan
1210:Turandot
1161:Antigone
865:Dramatic
807:Archived
720:. 1966.
700:. 1965.
674:. 1964.
633:12 April
464:12 April
385:Dario Fo
338:See also
292:distance
238:director
162:and the
99:between
92:function
45:movement
2096:General
1955:No wave
1729:Imagism
1679:Acmeism
1631:Pop art
1621:Orphism
1539:Fauvism
1517:Bauhaus
645:Sources
222:montage
105:content
63:History
28:in 1954
2172:Neoism
2118:Fluxus
2018:Cinema
1857:Others
1759:Oulipo
1754:Oberiu
1641:Purism
1507:Cubism
1352:Gestus
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484:Brecht
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2108:Dada
1841:Punk
1836:Prog
1831:Rock
1819:Yass
1809:Jazz
1804:Funk
1779:Zaum
875:Baal
786:ISBN
778:ISBN
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745:ISBN
730:ISBN
708:ISBN
688:ISBN
680:ISBN
635:2018
586:ISBN
466:2018
345:7:84
269:and
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69:epic
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