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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]
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.
Pages in category "Works by Bertolt Brecht" The following 6 pages are in this category, out of 6 total. This list may not reflect recent changes. A.
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.
Refunctioning (German: Umfunktionierung) is a core strategy of the aesthetic developed by the German modernist theatre practitioner Bertolt Brecht. "Brecht wanted his theatre to intervene in the process of shaping society," Robert Leach explains, so in his work:
The principle of the "separation of elements" stemmed from Brecht's development of "Epic Theatre" which advocated that a play should encourage rational self-reflection and a critical assessment of the event on stage, rather than causing the audience to invest and empathise with the characters emotionally or the action in front of them.
The principle of historicization is a fundamental part of the aesthetic developed by the German modernist theatre practitioner Bertolt Brecht. In his poem "Speech to Danish working-class actors on the art of observation", Brecht offers a vivid portrait of the attitude he suggested an actor should cultivate: