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audience to understand intellectually the characters' dilemmas and the wrongdoing producing these dilemmas exposed in his dramatic plots. By being thus "distanced" emotionally from the characters and the action on stage, the audience could be able to reach such an intellectual level of understanding (or intellectual empathy); in theory, while alienated emotionally from the action and the characters, they would be empowered on an intellectual level both to analyze and perhaps even to try to change the world, which was Brecht's social and political goal as a playwright and the driving force behind his dramaturgy.
315:, a traditional form of Marathi theatre. Mujumdar argues that distancing effects have already been present in Tamasha; albeit the concept itself has yet been conceptualized or coined during the 18th century (i.e. the time whereby Tamasha was considered as the popular folk arts). Through songs, narratives, dances, music, and commentaries that are embedded within Tamasha, the audience is said to be unconsciously performing a social role and achieving the distancing effects advocated by Brecht.
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mind that serves to disabuse them of the notion that what they are watching is necessarily an inviolable, self-contained narrative. This effect of making the familiar strange serves a didactic function insofar as it aims to teach the viewer not to take the style and content for granted, since (proponents argue) the theatrical medium itself is highly constructed and contingent upon many cultural and economic conditions.
242:
techniques, such as playing dialogue forward to remind the audience that there is no fourth wall, or guiding the cast to act "in quotation marks". The actor (usually with the director's permission) may play scenes with an ironic subtext. These techniques and many more are available for artists in different aspects of the show. For the playwright, reference to
150:, that Brecht first used the German term in print to label an approach to theater that discouraged involving the audience in an illusory narrative world and in the emotions of the characters. Brecht thought the audience required an emotional distance to reflect on what was being presented in critical and objective ways, rather than being
218:"observes himself", his objective is "to appear strange and even surprising to the audience. He achieves this by looking strangely at himself and his work". Whether Brecht intended the distancing effect to refer to the audience or to the actor or to both audience and actor is still controversial among teachers and scholars of "
115:", combined with John Willett's 1964 translation of Brecht's 1935 coinage as "alienation effect"—and the canonization of both translations in Anglophone literary theory in the decades since—has served to obscure the close connections between the two terms. Not only is the root of both terms "strange" (
217:
besides the three surrounding him ... The audience can no longer have the illusion of being the unseen spectator at an event which is really taking place". The use of direct audience-address is one way of disrupting stage illusion and generating the distancing effect. In performance, as the performer
204:
Brecht wanted to "distance" or to "alienate" his audience from the characters and the action and, by dint of that, render them observers who would not become involved in or to sympathize emotionally or to empathize by identifying individually with the characters psychologically; rather, he wanted the
241:
Actors, directors, and playwrights may draw on alienating effects in creating a production. The playwright may describe them in the script's stage directions, in effect requiring them in the staging of the work. A director may take a script that has not been written to alienate and introduce certain
326:
theatre. Even though Likay is performed in a way which could be perceived as evoking Brecht's alienation effect, Brechtian acting troupes and Thai Likay troupes approaches are distinctly different. While the goal for Brecht's alienation effect in the western theatre is to make the audience always
233:
themselves in empathetic emotions and to draw them into an attitude of critical judgment may lead to reactions other than intellectual coolness. Brecht's popularization of these effects has come to dominate the understanding of its dynamics. But the particulars of a spectator's psyche and of the
225:
By disclosing and making obvious the manipulative contrivances and "fictive" qualities of the medium, the actors attempt to alienate the viewer from any passive acceptance and enjoyment of the play as mere "entertainment". Instead, the goal is to force viewers into a critical, analytical frame of
266:
Brecht's idea of distancing effects has garnered academic interest from a number of researchers in various non-Brechtian performances. Although the term "distancing effect" was first coined by Brecht, the concept has appeared before his usage. Among some notable studies on distancing effects in
82:
Brecht first used the term in his essay "Alienation
Effects in Chinese Acting" published in 1936, in which he described it as performing "in such a way that the audience was hindered from simply identifying itself with the characters in the play. Acceptance or rejection of their actions and
424:
497:
or "silent scream," following the death of
Courage's son Swiss Cheese, moved some to experience deep empathy—based on a vicarious feeling of what it is to so restrain oneself that the full expression of grief is
304:. While Rissover does not exclusively consider distancing effects of Beat Poetry as a poetry performance, the paper still demonstrates how beat poetry is able to project distancing effects to the audience.
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will often allow rapid segues from empathy to a judgmental attitude through comic distancing. A notable example of such estrangement in an
English-language script can be found in
327:
aware that they are watching a play, and not being "taken out of themselves" and thus not being distracted from the main meaning of the story, Thai Likay aims to do otherwise.
639:
Amin, Dina; أمين, دينا (2014). "Bā Kathīr's "Hārūt wa-Mārūt": Can the Qur'an Have an
Alienating Effect? / هاروت وماروت" لعلي باكثير: أيكون القران اداة تباعدية؟"".
622:""Yes,we fully realize that we're watching a play.we just don't realize that lt's brecht.": An analysis of brecht's v-effect technique used in thai likay theatre"
238:
emotional impact. Audience reactions are rarely uniform, and there are many diverse, sometimes unpredictable, responses that may be achieved through distancing.
752:
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Rissover's paper discusses the integration of twenty poems (which were either excerpted or taken as whole) by nine Beat poets into the performance of
135:
taught
Shklovsky's term to Brecht during Brecht's visit to Moscow in the spring of 1935. For this reason, many scholars have recently taken to using
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is a resuscitation of a long-obsolete term in German. In addition, according to some accounts, Shklovsky's
Russian friend playwright
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It may be noted that Brecht's use of distancing effects in order to prevent audience members from what he characterizes as
546:"Bertolt Brecht's concept of 'epic-drama' and alienation theory and 'Tamasha art' in Marathi theatre: A comparative study"
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It was in any case not long after returning in the spring of 1935 from Moscow, where he saw a command performance of
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utterances was meant to take place on a conscious plane, instead of, as hitherto, in the audience's subconscious".
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claims is the essence of all art. Lemon and Reis's 1965 English translation of
Shklovsky's 1917 coinage as "
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to translate both terms: "the estrangement device" in
Shklovsky, "the estrangement effect" in Brecht.
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300:
132:
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990:
757:
An
Introduction to the Social and Political Philosophy of Bertolt Brecht: Revolution and Aesthetics
572:"Comparative Study of Performance: Swang and Bretolt Brecht's Epic Theatre and Verfremdungseffekt"
1390:
1137:
1046:
879:
804:
593:
Rissover, Fredric (January 1971). "Beat poetry, the
American dream , and the alienation effect".
510:"A comparative study: The principles of the distancing effect in Brechtian theater and Ta'ziyeh"
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The distancing effect is achieved by the way the "artist never acts as if there were a
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Furthermore, Paradee's (2015) article emphasized that the extensive use of the
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The Poetics of Difference and Displacement: Twentieth-Century Chinese-Western
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as "the V-Effekt"; many scholars similarly leave the word untranslated.
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Estrangement and the Somatics of Literature: Tolstoy, Shklovsky, Brecht
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410:
Estrangement and the Somatics of Literature: Tolstoy, Shklovsky, Brecht
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in German), but both terms are unusual in their respective languages:
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322:(the V-effect) or "alienation effect" can be found commonly in Thai
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Additionally, Mujumdar's paper (2013) examined the elements of
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is a matter of controversy. The word is sometimes rendered as
271:(Shi'ite ritualistic passion play) (Mohd Nasir et al., 2020),
1314:
749:. Baltimore and London: Johns Hopkins University Press, 2008.
412:(Baltimore and London: Johns Hopkins University Press, 2008).
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tension aroused by a specific alienating device may actually
678:
Brecht, Bertolt; Bentley, Eric (1961). "On Chinese Acting".
279:(ancient Indian folk theatre) (Sharma & Kashyap, 2018),
378:"Art as Device", translated by Benjamin Sher in Shklovsky,
508:
Hashim, Mohd Nasir; Alizadeh, Farideh (1 January 2020).
775:Brecht on Theatre: The Development of an Aesthetic
391:Lee T. Lemon and Marion J. Reis, eds. and trans.,
1402:
619:
570:Sharma, Sandhya; Kashyap, Satish (1 July 2018).
262:Distancing effects in non-Brechtian performances
739:. Hong Kong: Hong Kong University Press, 2008.
507:
382:(Bloomington, IL: Dalkey Archive Press, 1991).
154:as conventional entertainment attempts to do.
812:
677:
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287:(Thai folk theatre) (Tungtang, 2015), and
40:, featuring a large scene-setting caption
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592:
543:
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395:(Lincoln: University of Nebraska Press).
34:Set design for a production of Brecht's
29:
1173:The Trial of Joan of Arc at Rouen, 1431
440:
369:(New York: Hill and Wang, 1964), p. 91.
311:(which includes distancing effects) in
14:
1411:Bertolt Brecht theories and techniques
1403:
1363:The Modern Theatre Is the Epic Theatre
950:Rise and Fall of the City of Mahagonny
576:Indian Journal of Health and Wellbeing
434:
422:"Alienation Effects in Chinese Acting"
901:Downfall of the Egotist Johann Fatzer
800:
713:. London and New York: Verso, 1998.
620:Paradee Tungtang (May–August 2015).
493:Frau Weigel’s famous Gestus of the
24:
1026:Fear and Misery of the Third Reich
826:
671:
157:The proper English translation of
25:
1437:
936:The Baden-Baden Lesson on Consent
785:. New York: Hill and Wang, 1964.
127:is a neologism in Russian, while
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1089:The Resistible Rise of Arturo Ui
1019:The Horatians and the Curiatians
267:non-Brechtian performances are:
1369:A Short Organum for the Theatre
1117:Schweyk in the Second World War
1061:Mother Courage and Her Children
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37:Mother Courage and Her Children
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365:John Willett, ed. and trans.,
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1152:Die Verurteilung des Lukullus
1103:The Visions of Simone Machard
1012:Round Heads and Pointed Heads
527:10.1080/23311983.2020.1790195
352:
208:
1075:Mr Puntila and His Man Matti
977:Saint Joan of the Stockyards
514:Cogent Arts & Humanities
7:
1082:The Good Person of Szechwan
929:The Flight Across the Ocean
759:. Amsterdam: Rodopi. 2014.
641:Journal of Qur'anic Studies
393:Russian Formalist Criticism
330:
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1348:Separation of the elements
1124:The Caucasian Chalk Circle
984:The Exception and the Rule
44:("Poland") above the stage
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1233:What Keeps Mankind Alive?
1203:
873:Mysteries of a Barbershop
834:
777:. London: Methuen, 1964.
607:10.1080/03634527109377854
441:Jameson, Fredric (1998).
222:" and Brechtian theatre.
107:), which literary critic
86:
1426:Metafictional techniques
1212:Reminiscence of Marie A.
544:Mujumdar, Smita (2013).
163:defamiliarization effect
99:notion of the device of
1138:The Days of the Commune
880:In the Jungle of Cities
680:The Tulane Drama Review
152:taken out of themselves
1292:Non-Aristotelian drama
1047:How Much Is Your Iron?
1033:Señora Carrar's Rifles
626:มนุษยศาสตร์สังคมศาสตร์
427:July 19, 2013, at the
61:
45:
1356:Messingkauf Dialogues
1159:Report from Herrnburg
1068:The Trial of Lucullus
1005:The Seven Deadly Sins
736:Intercultural Theatre
653:10.3366/jqs.2014.0171
342:Theatre of the Absurd
52:, also translated as
33:
1416:Cinematic techniques
1110:The Duchess of Malfi
922:The Threepenny Opera
404:For discussion, see
27:Theatrical technique
866:Driving Out a Devil
380:The Theory of Prose
167:estrangement effect
72:credited to German
68:), is a concept in
1194:Trumpets and Drums
852:Drums in the Night
595:The Speech Teacher
320:Verfremdungseffekt
301:The American Dream
289:Quranic narratives
283:(Rissover, 2009),
275:(Mujumdar, 2013),
199:Verfremdungseffekt
159:Verfremdungseffekt
105:priyom ostraneniya
103:(приём остранения
93:Verfremdungseffekt
62:Verfremdungseffekt
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18:Verfremdungseffekt
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1304:Defamiliarization
1247:Einheitsfrontlied
1096:Hangmen Also Die!
908:The Elephant Calf
773:, ed. and trans.
743:Robinson, Douglas
727:978-1-85984-809-8
711:Brecht and Method
447:. London: Verso.
444:Brecht and method
367:Brecht on Theatre
191:Brecht and Method
179:distancing effect
175:alienation effect
113:defamiliarization
97:Russian Formalist
95:is rooted in the
54:alienation effect
50:distancing effect
16:(Redirected from
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1320:
1313:
1303:
1284:
1280:Epic theatre
1271:Theories and
1226:Pirate Jenny
1219:Alabama Song
1204:Poems, songs
1192:
1185:
1178:
1171:
1164:
1157:
1150:
1143:
1136:
1129:
1122:
1115:
1108:
1101:
1094:
1087:
1080:
1073:
1066:
1059:
1052:
1045:
1038:
1031:
1024:
1017:
1010:
1003:
996:
989:
982:
975:
970:The Decision
968:
961:
955:
948:
941:
934:
927:
920:
913:
906:
899:
892:
885:
878:
871:
864:
857:
850:
843:
774:
756:
746:
733:
710:
683:
679:
644:
640:
634:
625:
615:
601:(1): 36–43.
598:
594:
588:
579:
575:
565:
556:
553:Lapis Lazuli
552:
517:
513:
503:
494:
489:
480:
471:
443:
436:
417:
409:
400:
392:
387:
379:
374:
366:
361:
319:
317:
306:
299:
296:Edward Albee
293:
265:
255:
240:
235:
230:
228:
224:
212:
203:
198:
197:abbreviates
190:
186:
182:
178:
174:
170:
166:
162:
158:
156:
151:
141:
137:estrangement
136:
128:
124:
120:
119:in Russian,
116:
104:
100:
92:
90:
81:
65:
53:
49:
47:
41:
35:
1421:Film theory
1254:Kinderhymne
998:Kuhle Wampe
957:Der Jasager
347:Metafiction
281:beat poetry
256:The Hostage
246:or musical
220:Epic Acting
215:fourth wall
187:Entfremdung
183:Verfremdung
148:Mei Lanfang
129:Verfremdung
1405:Categories
1286:Lehrstücke
1273:techniques
1261:Die Lösung
1166:Coriolanus
991:The Mother
732:Min Tian,
498:prevented.
484:Willett 92
475:Willett 91
353:References
337:Mooreeffoc
309:epic drama
244:vaudeville
209:Techniques
125:ostranenie
74:playwright
1338:Not / But
1145:The Tutor
943:Happy End
887:Edward II
859:A Wedding
91:The term
1391:Category
1187:Don Juan
1180:Turandot
1131:Antigone
835:Dramatic
661:24280431
463:39477726
425:Archived
331:See also
269:Ta'ziyeh
258:(1958).
236:increase
66:V-Effekt
721:(10).
700:1125011
559:: 1–13.
313:Tamasha
231:bathing
1322:Gestus
1054:Dansen
789:
781:
763:
725:
717:
698:
659:
461:
451:
248:revues
117:stran-
87:Origin
58:German
1315:Fabel
837:works
729:(13).
696:JSTOR
657:JSTOR
549:(PDF)
324:Likay
285:Likay
189:. In
185:with
177:, or
121:fremd
42:Polen
845:Baal
787:ISBN
779:ISBN
761:ISBN
723:ISBN
715:ISBN
459:OCLC
449:ISBN
48:The
688:doi
649:doi
603:doi
522:doi
298:'s
254:'s
64:or
1407::
960:/
755:.
745:.
709:.
694:.
682:.
655:.
645:16
643:.
624:.
599:20
597:.
578:.
574:.
555:.
551:.
536:^
516:.
512:.
457:.
408:,
193:,
173:,
169:,
165:,
79:.
60::
1263:"
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1256:"
1252:"
1249:"
1245:"
1242:"
1238:"
1235:"
1231:"
1228:"
1224:"
1221:"
1217:"
1214:"
1210:"
820:e
813:t
806:v
793:.
767:.
702:.
690::
684:6
663:.
651::
628:.
609:.
605::
580:9
557:3
530:.
524::
518:7
465:.
56:(
20:)
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