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Bertolt Brecht [ edit on Wikidata ] Conceptualised by 20th century German director and theatre practitioner Bertolt Brecht (1898–1956), " The Modern Theatre Is the Epic Theatre " is a theoretical framework implemented by Brecht in the 1930s, which challenged and stretched dramaturgical norms in a postmodern style. [ 1 ]
Eugen Berthold Friedrich Brecht [a] (10 February 1898 – 14 August 1956), known as Bertolt Brecht and Bert Brecht, was a German theatre practitioner, playwright, and poet.. Coming of age during the Weimar Republic, he had his first successes as a playwright in Munich and moved to Berlin in 1924, where he wrote The Threepenny Opera with Elisabeth Hauptmann and Kurt Weill and began a life-long ...
Bertolt Brecht in 1954. Epic theatre (German: episches Theater) is a theatrical movement that arose in the early to mid-20th century from the theories and practice of a number of theatre practitioners who responded to the political climate of the time through the creation of new political dramas.
Set design for a production of Brecht's Mother Courage and Her Children, featuring a large scene-setting caption Polen ("Poland") above the stage. The distancing effect, also translated as alienation effect (German: Verfremdungseffekt or V-Effekt), is a concept in performing arts credited to German playwright Bertolt Brecht.
This relates to Brecht's theory of Gestus, his substitution for traditional drama's mimesis. The relation to reality is a critical one. Brecht's refunctioned mimesis is understood not as a simple mirroring or imitation, but as a measuring; it always involves some kind of attitude on our part. It is not possible, in Brecht's view, to produce a ...
Brecht here makes reference to the tragedies of Sophocles, and to the comedies and dramas of Shakespeare. He takes Oedipus as an example and mentions that there is still an interest in producing/performing it because such taboos still exist. He attacks the core of the Poetics, that is, the finality of the tragedy.
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The German modernist theatre practitioner Bertolt Brecht invented the term and used it in a range of critical and creative projects, including the material that he developed in the mid-1930s for his so-called Tui-Novel—an unfinished satire on intellectuals in the German Empire and Weimar Republic—and his epic comedy from the early 1950s ...