Paradise Theatre Essay

Dear Director of Paradise Theatres,

my plays are aimed to instruct the audience. I use learning-play. I want to make an impact on people’s points of view of the world and its societies, I want the plays to have an impact outside the theatres. In 1926 I embraced Marxism and my theatre techniques after this point serve as my title for a range of non-realistic techniques, like the V-effect , that consists in making the familiar, strange or to turn the estrange into something epic, basically regularize the abnormal.

I use an extended narrative, with different locations and time frames. The scenes are called episodes, where each scene is relatively self-contained in the story. The epic plays don’t follow any order, the events of an episode

During This period the pieces "Terror and Misery of the Third Reich," "Life of Galileo" and "Mother Courage and her children" were produced. With the invasion of Denmark by the Germans, I took refuge finally in New York in 1941 and soon began working in Hollywood. In 1947, I returned to Berlin in 1948, in part on the East Germany. And from 1949 that I run together with my wife, a theatre company which mainly stages my plays.

In my plays, I opt to name the audience as spectators. We can see direct contact by actors/characters to the spectators which was a very unconventional method used by performers.

The actor can never totally become the character, as in the naturalistic theatre. The actor is asked to show the character at arm’s length with a sense of detachment. Constantly, characters tend to be something oversimplified and stereotyped, yet other characters are sometimes complex. Character names are generic. The costume are sometimes incomplete and fragmentary. The sets are sometimes non-existent. There was makeup and mask use, but fake. Placards to show audience a range of information. Lighting instruments reminds the audience they are watching a play. Music and songs are to express the play’s themes