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121:) reveals that the human being is determined by and determining of its circumstances ("social" and "physical"). The epic form enables the drama to stage humanity in a way that incorporates this scientific understanding; the dramatist becomes able to show the human (the level of interpersonal relationships) in interaction with the larger forces and dynamics at work in society (the supra-personal, historical scale):
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The epic drama, with its materialistic standpoint and its lack of interest in any investment of its spectators' emotions, knows no objective but only a finishing point, and is familiar with a different kind of chain, whose course need not be a straight one but may quite well be in curves or even in
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Today, when the human being has come to be seen as 'the sum of all social circumstances' the epic form is the only one that can embrace those processes which serve the drama as matter for a comprehensive picture of the world. Similarly man, flesh and blood man, can only be embraced through those
78:(1928) as an example of "epic form". "y Aristotle's definition," Brecht writes, "the difference between the dramatic and epic forms was attributed to their different methods of construction." Method of construction here refers to the relation the play establishes between its parts and its whole:
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It is this materialist perspective on the world, and specifically on the human being, that renders the epic form particularly appropriate and useful to the dramatist, Brecht argues. Contemporary science (the term includes what
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coined the term 'non-Aristotelian drama' to describe the dramaturgical dimensions of his own work, beginning in 1930 with a series of notes and essays entitled "On a non-aristotelian drama". In them, he identifies his musical
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provided an excellent criterion when he said that with an epic work, as opposed to a dramatic, one can as it were take a pair of scissors and cut it into individual pieces, which remain fully capable of
295:, particularly as theorized by the Soviets, is not coincidental, but rather part of a shared radical modernist aesthetic exploration. (Brecht 1964, 70).
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408:. Ed. and trans. Michael Hays. Theory and History of Literature Ser. 29. Minneapolis: University of Minnesota Press, 1987.
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Brecht also defines the contrast between the traditional, Aristotelian 'dramatic' and his own 'epic' as corresponding to
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leaps. henever one comes across materialism epic forms arise in the drama, and most markedly and frequently in
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The resonance between this image as a means of describing epic dramaturgical form and the concrete practice of
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An
Introduction to the Social and Political Philosophy of Bertolt Brecht: Revolution and Aesthetics
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390:. Trans. John Willett. Bertolt Brecht: Plays, Poetry, Prose Ser. London: Methuen, 1985.
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From an essay by Brecht probably written in 1936; Brecht (1964, 70).
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362:. Ed. and trans. John Willett. British edition. London: Methuen.
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processes by which and in the course of which he exists.
108:, whose 'tone' is always 'lower' and more materialistic.
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by
Bertolt Brecht. British edition. London: Methuen.
424:Brecht on Theatre: The Development of an Aesthetic
360:Brecht on Theatre: The Development of an Aesthetic
140:used in his categorization of plants and animals.
31:structure departs from the features of classical
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117:calls "human sciences"; especially, for Brecht,
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130:Epic Theatre also rejects the principle of
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434:. USA edition. New York: Hill and Wang.
370:. USA edition. New York: Hill and Wang.
841:The Trial of Joan of Arc at Rouen, 1431
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1079:Bertolt Brecht theories and techniques
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1031:The Modern Theatre Is the Epic Theatre
618:Rise and Fall of the City of Mahagonny
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569:Downfall of the Egotist Johann Fatzer
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246:Speculations: An Essay on the Theater
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694:Fear and Misery of the Third Reich
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316:This gloss draws on Szondi (1965).
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604:The Baden-Baden Lesson on Consent
39:, as defined in each case by the
35:in favour of the features of the
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757:The Resistible Rise of Arturo Ui
687:The Horatians and the Curiatians
1037:A Short Organum for the Theatre
785:Schweyk in the Second World War
729:Mother Courage and Her Children
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319:
1:
820:Die Verurteilung des Lukullus
771:The Visions of Simone Machard
680:Round Heads and Pointed Heads
743:Mr Puntila and His Man Matti
645:Saint Joan of the Stockyards
422:. 1964. Editorial notes. In
205:Ontological-Hysteric Theater
19:, or the 'epic form' of the
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750:The Good Person of Szechwan
597:The Flight Across the Ocean
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1016:Separation of the elements
792:The Caucasian Chalk Circle
652:The Exception and the Rule
450:Drama from Ibsen to Brecht
406:Theory of the Modern Drama
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901:What Keeps Mankind Alive?
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541:Mysteries of a Barbershop
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387:The Messingkauf Dialogues
326:Squiers, Anthony (2014).
99:philosophical positions:
880:Reminiscence of Marie A.
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806:The Days of the Commune
548:In the Jungle of Cities
133:natura non facit saltus
960:Non-Aristotelian drama
715:How Much Is Your Iron?
701:Señora Carrar's Rifles
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119:historical materialism
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17:Non-Aristotelian drama
1024:Messingkauf Dialogues
827:Report from Herrnburg
736:The Trial of Lucullus
673:The Seven Deadly Sins
330:. Amsterdam: Rodopi.
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778:The Duchess of Malfi
590:The Threepenny Opera
220:Postdramatic theatre
170:Experimental theatre
75:The Threepenny Opera
66:theatre practitioner
534:Driving Out a Devil
460:. pp. 277–290.
452:. London: Hogarth.
270:Willett (1964, 46).
862:Trumpets and Drums
520:Drums in the Night
307:Brecht (1964, 46).
165:Elizabeth LeCompte
1084:Modernist theatre
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972:Defamiliarization
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446:Williams, Raymond
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230:Richard Schechner
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894:Pirate Jenny
887:Alabama Song
872:Poems, songs
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138:Carl Linnæus
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55:(c.335 BCE)
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922:Kinderhymne
666:Kuhle Wampe
625:Der Jasager
349:Works cited
155:Avant-garde
97:materialist
44:philosopher
1073:Categories
954:LehrstĂĽcke
941:techniques
929:Die Lösung
834:Coriolanus
659:The Mother
195:Intermedia
185:Happenings
1006:Not / But
813:The Tutor
611:Happy End
555:Edward II
527:A Wedding
290:cinematic
63:modernist
47:Aristotle
1059:Category
855:Don Juan
848:Turandot
799:Antigone
503:Dramatic
448:. 1993.
404:. 1965.
384:. 1965.
358:. 1964.
144:See also
93:idealist
293:montage
115:English
52:Poetics
49:in his
33:tragedy
990:Gestus
722:Dansen
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180:Fluxus
106:comedy
84:Döblin
60:German
27:whose
983:Fabel
505:works
258:Notes
87:life.
21:drama
513:Baal
454:ISBN
436:ISBN
428:ISBN
410:ISBN
392:ISBN
372:ISBN
364:ISBN
332:ISBN
95:and
58:The
37:epic
25:play
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300:^
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