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An easy example in theater or film is "breaking the fourth wall," when characters suspend the progress of the story to speak directly to the audience. When the aesthetic distance is deliberately violated in theater, it is known as the distancing effect, or Verfremdungseffekt, a concept coined by playwright Bertolt Brecht.
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.
Brecht himself translated the term as learning-play, [1] emphasizing the aspect of learning through participation, whereas the German term could be understood as teaching-play. Reiner Steinweg goes so far as to suggest adopting a term coined by the Brazilian avant garde theatre director Zé Celso , Theatre of Discovery , as being even clearer.
Brecht offers a vivid representation of this concept in his speech "Speech to Danish working-class actors on the art of observation" [22] Portrait of Antonin Artaud 1926. Brecht's form of the ‘Modern Theatre' was a reaction against the conventional style of performance, particularly Konstantin Stanislavski’s naturalistic approach. [23]
Don Juan is an adaptation by the twentieth-century German dramatist Bertolt Brecht of the 17th century French play Dom Juan by Molière. It was the first performance of the Berliner Ensemble after its move to Theater am Schiffbauerdamm , in 1954.
"Brecht wanted his theatre to intervene in the process of shaping society," Robert Leach explains, so in his work: [the] duality of form and content was replaced (to over-schematise briefly) by a triad of content (better described in Brecht's case by the formalist term "material"), form (again the formalist term "technique" is more useful here ...
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 ...
The technique of interruption pervades all levels of the stage work of the German modernist theatre practitioner Bertolt Brecht—the dramatic, theatrical and performative.At its most elemental, it is a formal treatment of material that imposes a "freeze", a "framing", or a change of direction of some kind; something that is in progress (an action, a gesture, a song, a tone) is halted in some way.