Although both forms of theatre vary greatly between acting and staging techniques, they can often share common themes. An example of this would be a comparison of 'He who says yes' by Bertolt Brecht and 'X-Stacey' by Margery Forde which both present a situation were the audience is positioned to examine the choices a person makes in life and the consequences of these choices. Brecht designed Epic theatre to intellectually stimulate the audience and have them question the motives of the characters, inter-character relationships and the overall theme in relation to their own lives. This can often result in disgusting the audience with melodramatic gestures and obscure movements/actions, such as the disposal of the boy into the abyss in order to continue the quest that they had originally embarked upon in 'He who says yes'. Characters presented are stereotypical and impersonal, with no individual names.
In The Visit by Friedrich Dürrenmatt you feel unattached and are constantly reminded that you are in fact watching a play, nothing else. Dürrenmatt constructs this play using Bertolt Brecht’s epic theatre, a twentieth-century theatrical movement that was a reaction against popular forms of theatre, Dürrenmatt uses epic theatre in his work, The Visit, because he wants his audience to analysis what is being said and done instead of what they see and hear. An intellectual audience member will make connections when watching an epic play. Epic plays often relate back to a fable or a historical event (McDonald). This helps the audience relate to the play because they are aware of that subject matter.
In this paper, I will examine Artaud’s role as a major contributor to modern theatre in his attempt to rid performance of its fake realism, as well as the bourgeoisie neoclassical ideals. Typically, when one imagines theatre, he often envisions a stage, with three walls, and an audience. Artaud was concerned with this view, and recognized a necessity to bring about something innovative and contrasting to this conventional perception. Artaud was an actor, poet, playwright, and theoretician with a will to create material that “probes issues of abandonment, confinement, and creativity…[producing] crucial images of the resurrection of language and life” (1-Barber). In particular, he thoroughly believed that “theatre restricts itself” (108), and that it needed to “[wake] us up heart and nerves” (108).
Examination of specific characters and their corresponding role in the theatrical world encourages a deeper understanding of self-reflexivity of The Tempest; which highlights William Shakespeare’s struggle to relinquish his art. The scenes and language used by Shakespeare also help to reveal the play’s self-reflexivity. As the play reflects reality, it also reminds the audience that it is an artistic interpretation and not reality. This dynamic creates an interesting contrast between art and reality; which embodies the play’s significance as Shakespeare’s farewell to the theatrical world. Three of the main characters in this play are Prospero, Ariel and Caliban; these characters can be interpreted to represent significant roles in the theatre which are the roles of playwright, stagehand and actor.
In contrast to the suspension of disbelief, Brecht never wanted the audience to fall into the performance. He wanted the audience to make judgments on the argument dealt in the play. The aim of epic theatre is to detach the audience from any emotional connection in order for them to critically review the story. The ultimate goal of this theatre is creating awareness of social surroundings and encouraging the audience to take initiative on changing the society. Epic theatre developed in the 1920’s in Germany.
The resemblance between these two directors was that they both believed that drama should also be use to send a strong message to audience and make them think differently when watching a play of their creation to make them realize certain connection between the story showed to them and their own personal lives. Unfortunately, Brecht and Erwin had certain disagreements about the extent of the use of emotion in theatre and that made them stop working together. Epic theatre like all kind of theatre has its own techniques and Brecht came up with/ used a few of them: • Narration: The play is developed similarly to a story where a character in the play or a background voice tells the story as the acting is taking place on
Motherhood and Revolutionary Ideas About Theatre in Bertolt Brecht's The Caucasian Chalk Circle Bertolt Brecht’s play The Caucasian Chalk Circle is a social and political commentary, focusing on justice and motherhood. Using revolutionary theatrical techniques and devices to reinforce his theme, Brecht attempts to free his audience from the constraints of traditional theatre, enabling them to make impartial judgments of their own. Despite combining these radical ideas about theatre with the theme of motherhood, Brecht does not wholly succeed in alienating the audience, as it is impossible for them to totally distance themselves from such an emotive subject as motherhood. A German poet, playwright, and theatrical reformer, Brecht was born in Augsburg, Germany in 1898. He showed an interest in literature at an early age, writing articles for a school magazine and for the local newspaper.
In Romeo and Juliet, the older generation has evidently made peace and learned to live together, which resembles the principles of the Settlement. The families are still separate entities, but they have learned... ... middle of paper ... ...vidual, and would have understood that Romeo and Juliet's decision, based on individualism, is their one major flaw and that when acting as an individual, the consequences of ones actions affect not only oneself, but the whole society. Modern culture, now that we have grown so far from the age of Individualism, can idolize Romeo and Juliet and villainize social order, but it is uncertain to whether an Elizabethan audience would have had the same views. 'I suggest that Romeo and Juliet is not so much a play about romantic love as it is a religious and political commentary. To reduce Shakespeare's work to allegory would be an oversimplification of his work; however, to divorce it from the literary and socio-political trends of his time is to overlook an important element of theatre during the Elizabethan period'.
Absurdist authors, such as Ionesco, helped society transition from one instant to the next, giving people a glimmer of hope through art and theatre (Mackenzie). Although controversial at times, it showed the American people how to break out of traditional ways and look at things differently. It made a difference in 20th century life and was a major influence on theatre.
Othello’s audience has a distorted view of the play as a whole due to secrets Iago shares solely with them. In sharing his plans, Iago is gloating to the audience regarding his actions and boasting the point that his atrocious actions will most likely never be traced back to